A47.Inglish BCEnc. Blauwe Kaas Encyclopedie, Duaal Hermeneuties Kollegium.
Inglish Site.47.
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TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
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In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
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Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
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This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
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Index.
165.Fantastic Planet/La Planète sauvage
166.Auteur Theory.
164.Anime.
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165.Fantastic Planet (French: La Planète sauvage, lit. The Savage Planet) is a 1973 cutout stop motion science fiction allegorical film directed by René Laloux, production designed by Roland Topor, written by both of them and animated at Ji?í Trnka Studio. The film was an international production between France and Czechoslovakia and was distributed in the United States by Roger Corman.
It won the special jury prize at the 1973 Cannes Film Festival. The story is based on the novel Oms en série, by the French writer Stefan Wul.
Oms en série (lit. Oms Linked Together, translation published as Fantastic Planet) is a French science fiction novel written by Stefan Wul, first published in 1957. It was later adapted into the animated feature film La Planète sauvage (Fantastic Planet, 1973). An English translation was first published in 2010 ? over 50 years later ? by United Kingdom publisher Creation Books.
Summary.
The story, set in the far future, deals with Oms (a play on the French word "hommes," meaning "men"), tiny people from Terre (French for "Earth"), who have been brought by the giant Draags to their home planet, Ygam. Some Oms are domesticated as pets, but others run wild in parks, and are exterminated every 2 Draag years (1 Draag day being roughly equivalent to 45 Earth days). The Draags' treatment of the Oms is ironically contrasted with their high level of technological and spiritual development. The protagonist is a domesticated Om named Terr (word play on the French word Terre, meaning Earth) who runs away and joins a group of wild Oms. He has learned some of the Draags' scientific knowledge while in captivity, and uses this to forge a new, equal relationship with the Draags.
A working title for the film while it was in development was Sur la planète Ygam (On the Planet Ygam). The film had a total of 809,945 admissions in France.
In the English-dubbed version, the title "Fantastic Planet" apparently refers to the small moon of a much-larger planet, though most of the story takes place on the latter. "Savage Planet" seems a better description of the mother planet itself.
Plot.
In an unimaginably distant future, human beings scrape for survival as a feral race?the Oms?on the world of the gargantuan humanoid Draags. While Draags sometimes make pets of Oms, they see them too as vermin that must be periodically controlled.
The story opens with a group of Draag children teasing an Om mother to death during play.
Her orphaned infant is rescued by Master Sinh, an adult Draag and an important leader. Sinh gives the child to his daughter Tiva, who names the baby Terr (a play on the French Terre, meaning Earth).
While Terr is still a child, Master Sinh scolds Tiva for not keeping better tabs on Terr when he interrupts an important meeting. Sinh solves the problem by locking a tracking collar around Terr's neck, which can be retrieved?along with Terr, no matter where he goes?using a special bracelet he gives to Tiva.
Draag children are educated by special earphones that transmit knowledge directly into their minds in ?info? sessions. Tiva likes to pet Terr in her hands during her, but a defect in Terr?s collar allows him to eavesdrop on Tiva's lessons.
As Terr grows into manhood, he learns who and what he is, and a great deal about Draags themselves. Terr escapes, stealing Tiva's earphones. When Tiva tries to fetch Terr back with the bracelet, a wild female Om frees Terr by cutting free the collar.
She helps Terr drag the earphones to her tribe in their meeting hall, who ridicule Terr for his domestication and Draag costume. But they conditionally accept him after Terr warns about a lethal Draag trap hidden in their midst. From then on Terr learns about wild Om society, and how to survive on a world dominated by the Draags and a hostile ecosystem.
In return Terr shows them how to use Tiva's earphones to acquire knowledge and literacy. They are then able to read an announcement of an impending "de-Omization" of the Draag park (the home range of the wild Oms). The Oms prepare best they can, but many still die.
When a Draag casually stomps some of the fleeing Oms, the tribe retaliates. For the first time in Draag history a Draag is killed by Oms. With the death of the chieftain, the new Om leader, a wise old woman and a former enemy chieftain, leads them to an abandoned Draag rocket depot.
Safe for now, the Oms restore and miniaturize Draag machinery, and begin constructing two rockets. They plan to use the rockets to flee the Draag world and discover the secret of the Draag world?s moon (the Fantastic Planet) and perhaps there begin a new life.
During a last-ditch de-Omization by the Draags, the tribe flees on the rockets to the Fantastic Planet. There they discover how the Draags reproduce, and the secret behind the Draags' voyages in their meditation spheres. The colossal headless statues they find imply an ancient co-dependence between Draags and Oms, but their vulnerability pose a sudden existential crisis for the Draags. The Draags have no choice but to sue for peace with the now powerful Oms, and come to realize that humans are hardly vermin, and deserve equal partnership in the Draag planetary system.
Cast.
Jennifer Drake as Tiva (voice)
Eric Baugin as Terr (voice)
Jean Topart as Master Sinh (voice)
Jean Valmont as adult Terr and the commentator (voice)
Themes
The film is chiefly noted for its surreal imagery, the work of French writer and artist Roland Topor. The landscape of the Draag planet is full of strange creatures, including a cackling predator which traps small fluttering animals in its cage-like nose, shakes them to death and hurls them to the ground. The Draag practice of meditation, whereby they commune psychically with each other and with different species, is shown in transformations of their shape and colour.
It is considered one of the first examples of film which introduce the theme of speciesism.
The interaction of science and superstition is most apparent in the Wizard, who resists the knowledge that Terr brings, fearing it will erode the power he maintains. Knowledge trumps ignorance, but in this case only after surviving an attempted assassination.
Terr's drive to share knowledge overpowers the fear of an unknown people. Only his courage to save others not of his adopted tribe allows that tribe to overcome the loss of their leader.
The Draags and Oms finally learn to live in peace and mutual benefit; presumably any groups can if they and their leaders really want to. This may have been a theme favoured by the filmmakers as it was made and released during the Cold War (the source novel was first published in 1957).
Soundtrack.
The music was composed by Alain Goraguer.[5]
Track listing
Deshominisation (II)
Deshominisation (I)
Generique
Le Bracelet
Ten et Tiwa
Maquillage de Tiwa
Course de Ten
Ten et Medor
Ten et Tiwa Dormet
Ten est Assome
Abite
Conseil des Draags
Les Hommes ? La Grande Co-existence
La Femme
Mira et Ten
Morte de Draag
L'Oiseau
La Cite des Hommes Libres
Attaque des Robots
La Longue Marche ? Valse Des Statues
Les Fusees
Generique
Strip Tease
Meditation des Enfants
La Vielle Meurt
Video releases
Burnt-in English subtitles on Anchor Bay's USA DVD release spell the name of the blue-skinned species as "Draag"; the original novel the film is based on spells it as "Traag".
In 2006, Eureka Entertainment released the film on DVD in the UK as #34 in their Masters of Cinema range. Unlike the Anchor Bay release, this uses an anamorphic widescreen transfer and newly translated subtitles which retain the "Draag" spelling. This version was released in Region 1 on October 23, 2007. In August 2010, Eureka released a restored high-definition transfer of the film on Blu-ray Disc, with special features including a collection of Laloux's short films, and a 27-minute documentary called Laloux sauvage. Eureka, a London-based company, has only produced the edition as a region B release.
On October 23, 2007 Facets Video and Accent Cinema released a newly restored version of the film on DVD, including many bonus features never available before. It is different from the version released by Eureka.
Televised airings
RTV (Retro Television Network) ran "Fantastic Planet" on January 2, 2011, as part of its Off Beat Cinema presentation originally aired in Buffalo, NY by WKBW-TV, channel 7. "Fantastic Planet" appeared at least once in the 1980s on USA Network's Night Flight weekend program. In the United Kingdom and Ireland it has been shown on the Sky Arts channel and has been available on demand via the Sky Anytime service.
References in other works.
Madlib cites the film as an influence, using visuals from the film on his album covers and samples of the soundtrack on his songs. The song "Come On Feet", on his album The Unseen, contains many samples from the movie, including the recurring melody of the main theme.
The band Failure named its third full-length album after the film.
In the movie The Cell, Jennifer Lopez's character Catherine Deane watches the movie on her bedroom television.
Music from Fantastic Planet is sampled in "Insomniak" by Mac Miller, "Chrysalis" by The Underachievers and "Don't do drugs kids" by Flatbush Zombies.
Flying Lotus explains that he drew inspiration from the film when producing the track ?Your Potential/The Beyond? from the album You're Dead!, .
References.
^ "La Planète Sauvage (Fantasic Planet) @ BCDB". BCDB. 2012-11-16.
^ "Festival de Cannes: Fantastic Planet". festival-cannes.com. Retrieved 2009-04-19.
^ Stephenson, Ralph (1967). "15. Filmographies". In Peter Cowie. Animation in the Cinema. International Film Guide. London: A. Zwemmer. p. 173.
^ La Planète sauvage
^ La Planete Sauvage Soundtrack ]
^ Stones Throw Records
^ Flying Lotus Provides A Track-By-Track Breakdown Of You're Dead!
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166.Auteur Theory.
In film criticism, auteur theory holds that a film reflects the director's personal creative vision, as if they were the primary "auteur" (the French word for "author"). In spite of?and sometimes even because of?the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory.
Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. This method of film analysis was originally associated with the French New Wave and the film critics who wrote for the French film review periodical Cahiers du Cinéma. Auteur theory was developed a few years later in the United States through the writings of The Village Voice critic Andrew Sarris. Sarris used auteur theory as a way to further the analysis of what he defines as serious work through the study of respected directors and their films.
Origin.
Auteur theory draws on the work of a group of cinema enthusiasts who wrote for Cahiers du Cinéma and argued that films should reflect a director's personal vision. The championed filmmakers such as Akira Kurosawa, Satyajit Ray, Alfred Hitchcock, Howard Hawks, and Jean Renoir are known as absolute "auteurs" of their films. Although André Bazin, co-founder of the Cahiers, provided a forum for auteurism to flourish, he explained his concern about its excesses in his article "On the Auteur Theory" (Cahiers du Cinéma #70, 1957). Another element of auteur theory comes from Alexandre Astruc's notion of the caméra-stylo or "camera-pen", which encourages directors to wield cameras as writers use pens and to guard against the hindrances of traditional storytelling.
Truffaut and the members of the Cahiers recognized that movie-making was an industrial process. However, they proposed an ideal to strive for, encouraging the director to use the commercial apparatus as a writer uses a pen, and, through the mise en scène, imprint his or her vision on the work (minimizing the role of the screenwriter). Recognizing the difficulty of reaching this ideal, they valued the work of directors who came close.
The definition of an auteur has been debated since the 1940s. André Bazin and Roger Leenhardt presented the theory that it is the director that brings the film to life and uses the film to express their thoughts and feelings about the subject matter as well as a worldview as an auteur. An auteur can use lighting, camerawork, staging and editing to add to their vision.
Truffaut's development.
In his 1954 essay "Une certaine tendance du cinéma français" ("A certain tendency in French cinema"), François Truffaut coined the phrase "la politique des Auteurs", asserting that the worst of Jean Renoir's movies would always be more interesting than the best of the movies of Jean Delannoy. "Politique" might very well be translated as "policy" or "program"; it involves a conscious decision to value and look at films in a certain way. One might see it as the policy of treating any director that uses a personal style or a unique worldview as an Auteur. Truffaut criticized the Cinema of Quality as "Scenarists' films", which are works that lack originality and rely on literary classics. According to Truffaut, this means that the director is only a metteur en scene, a "stager". This tradition suggests that the screenwriter hands the script to the director and the director simply adds the performers and pictures. Truffaut provocatively said: "(t)here are no good and bad movies, only good and bad directors".
Truffaut's article, by his own admission, dealt primarily with scenarists or screenwriters, precisely the screenwriting duo Jean Aurenche and Pierre Bost, who, Truffaut believed, simplified and compromised many of the great works of French literature in order to support the political agenda of their day. In Truffaut's article, he references the director Claude Autant-Lara's characterization of his adaptation of Raymond Radiguet's Devil in the Flesh as an "anti-war" book, citing the problem that the book pre-dated the Second World War. Truffaut applied the term "auteur" to directors like Jean Renoir, Max Ophüls, Jacques Becker, Jacques Tati, and Robert Bresson, who, aside from exerting their distinct style, wrote the screenplays or worked on the writing of screenplays of their films.
In its embryonic form, the auteur theory dealt with the nature of literary adaptations and Truffaut's discomfort with the screenwriters Aurenche's and Bost's maxim that any film adaptation of a novel should capture the spirit of the novel and deal only with its "filmable" aspects. Truffaut believed that film directors like Robert Bresson were able to use the film narrative to approach even the so-called "unfilmable" scenes. To support this assertion, he used the film version of Georges Bernanos's Diary of a Country Priest.
Much of the writing of Truffaut and his colleagues at the film criticism magazine Cahiers du cinéma was designed to lambaste not only the post-war French cinema but especially the big production films of the cinéma de qualité ("quality films"). Although it has become widely believed that Truffaut's circle referred to these films with disdain as sterile, old-fashioned cinéma de papa (or "Dad's cinema"), in fact Truffaut never used the term "cinéma de papa". During the Nazi occupation, the Vichy government did not allow the exhibition of U.S. films such as The Maltese Falcon and Citizen Kane. In 1946, when French film critics were finally able to see the 1940s U.S. movies, they were enamoured with these films.
Truffaut's theory maintains that a good director (like many bad ones) exerts such a distinctive style or promotes such a consistent theme that his or her influence is unmistakable in the body of his or her work. Truffaut himself was appreciative of directors whose work showed a marked visual style (such as Alfred Hitchcock) as well as those whose visual style was less pronounced but whose movies reflected a consistent theme (such as Jean Renoir's humanism). Truffaut et al. made the distinction between auteurs and 'metteurs en scene', the latter not being described as inferior directors making inherently poor films, just lacking the authorial signature.
Impact.
The auteur theory was used by the directors of the nouvelle vague (New Wave) movement of French cinema in the 1960s (many of whom were also critics at the Cahiers du Cinéma) as justification for their intensely personal and idiosyncratic films. One of the ironies of the Auteur theory is that, at the very moment Truffaut was writing, the break-up of the Hollywood studio system during the 1950s was ushering in a period of uncertainty and conservatism in American cinema, with the result that fewer of the sort of films Truffaut admired were actually being made.
The "auteur" approach was adopted in English-language film criticism in the 1960s. In the UK, Movie adopted Auteurism, while in the U.S., Andrew Sarris introduced it in the essay, "Notes on the Auteur Theory in 1962". This essay is where the term, "Auteur theory", originated. To be classified as an "auteur", according to Sarris, a director must accomplish technical competence in his technique, personal style in terms of how the movie looks and feels, and interior meaning (although many of Sarris's auterist criteria were left vague). Later in the decade, Sarris published The American Cinema: Directors and Directions, 1929?1968, which quickly became the unofficial bible of auteurism.
The auteurist critics?Truffaut, Jean-Luc Godard, Claude Chabrol, Éric Rohmer?wrote mostly about directors, although they also produced some shrewd appreciations of actors. However later Truffaut wrote: the auteur theory "was started by Cahiers du Cinema and is forgotten in France, but still discussed in American periodicals."
Today, auteur theory largely impacts the way films are categorized and spoken of by film critics and audiences alike. For example, it is the trademark, visionary aesthetics of Alfred Hitchcock's directing style that deem it appropriate to refer to his films as "Hitchcock films", even though he didn't write the screenplays for any of the films he directed.
Criticism.
Starting in the 1960s, some film critics began criticising auteur theory's focus on the authorial role of the director. Pauline Kael and Sarris feuded in the pages of The New Yorker and various film magazines. One reason for the backlash is the collaborative aspect of shooting a film, and in the theory's privileging of the role of the director (whose name, at times, has become more important than the movie itself). In Kael's review of Citizen Kane, a classic film for the auteur model, she points out how the film made extensive use of the distinctive talents of co-writer Herman J. Mankiewicz and cinematographer Gregg Toland.
Notable screenwriters such as Ernest Lehman, Nicholas Kazan, Robert Riskin and William Goldman have publicly balked at the idea that directors are more authorial than screenwriters, while film historian Aljean Harmetz, referring to the creative input of producers and studio executives in classical Hollywood, argues that the auteur theory "collapses against the reality of the studio system".
The auteur theory was also challenged by the influence of New Criticism, a school of literary criticism. The New Critics argued that critics made an "intentional fallacy" when they tried to interpret works of art by speculating about what the author meant, based on the author's personality or life experiences. New Critics argued that information or speculation about an author's intention was secondary to the words on the page as the basis of the experience of reading literature.
In 2006, David Kipen coined the term Schreiber theory to refer to the theory of the screenwriter as the principal author of a film.
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164.Anime.
Anime (Japanese: ??? Hepburn: [an?ime]?) is a term used to refer to Japanese animated productions featuring hand-drawn or computer animation. The word is the abbreviated pronunciation of "animation" in Japanese, where this term references all animation. In other languages, the term is defined as animation from Japan or as a Japanese-disseminated animation style often characterized by colorful graphics, vibrant characters and fantastic themes. Arguably, the stylization approach to the meaning may open up the possibility of anime produced in countries other than Japan. For simplicity, many Westerners strictly view anime as an animation product from Japan.
The earliest commercial Japanese animation dates to 1917, and production of anime works in Japan has since continued to increase steadily. The characteristic anime art style emerged in the 1960s with the works of Osamu Tezuka and spread internationally in the late twentieth century, developing a large domestic and international audience. Anime is distributed theatrically, by television broadcasts, directly to home media, and over the internet and is classified into numerous genres targeting diverse broad and niche audiences.
Anime is a diverse art form with distinctive production methods and techniques that have been adapted over time in response to emergent technologies. The production of anime focuses less on the animation of movement and more on the realism of settings as well as the use of camera effects, including panning, zooming and angle shots. Diverse art styles are used and character proportions and features can be quite varied, including characteristically large emotive or realistically sized eyes.
The anime industry consists of over 430 production studios including major names like Studio Ghibli, Gainax and Toei Animation. Despite having a fraction of the domestic film market, anime achieves a majority of DVD sales and has been an international success after the rise of televised English dubs. This rise in international popularly has resulted in non-Japanese productions using the anime art style, but these works have been defined as anime-influenced animation by both fans and the industry.
Definition and usage.
Anime is an art form, specifically animation, that includes all genres found in cinema, but it can be mistakenly classified as a genre. :7 In Japan, the term anime refers to all forms of animation from around the world. English-language dictionaries define anime as a "Japanese-style animated film or television entertainment" or as "a style of animation created in Japan".
The etymology of the word anime is disputed. The English term "animation" is written in Japanese katakana as ??????? (anim?shon, pronounced [anime??o?]), and is ??? (anime) in its shortened form. Some sources claim that anime derives from the French term for animation, dessin animé, but others believe this to be a myth derived from the French popularity of the medium in the late 1970s and 1980s. In English, anime, when used as a common noun, normally functions as a mass noun (for example: "Do you watch anime?", "How much anime have you collected?"). Prior to the widespread use of anime, the term Japanimation was prevalent throughout the 1970s and 1980s. In the mid-1980s, the term anime began to supplant Japanimation. In general, the term now only appears in period works where it is used to distinguish and identify Japanese animation.
In 1987, Hayao Miyazaki stated that he despised the truncated word "Anime" because to him it represented the desolation of the Japanese animation industry. He equated the desolation with animators lacking motivation and mass-produced, overly expressive products which rely on fixed iconography for facial expressions and protracted and exaggerated action scenes but lack depth and sophistication because they do not attempt to convey emotion or thought.
Format.
The first format of anime was theatrical viewing which originally began with commercial productions in 1917. Originally the animated flips were crude and required played musical components before adding sound and vocal components to the production. On July 14, 1958, Nippon Television aired Mole's Adventure, both the first televised and first color anime to debut. It wasn't until the 1960s when the first televised series were broadcast and it has remained a popular medium since. :13 Works released in a direct to video format are called "original video animation" (OVA) or "original animation video" (OAV); and are typically not released theatrically or televised prior to home media release. :14 The emergence of the internet has led some animators to distribute works online in a format called "original net anime" (ONA).
The home distribution of anime releases were popularized in the 1980s with the VHS and Laser Disc formats. :14 The VHS NTSC video format used in both Japan and the United States is credited as aiding the rising popularity of anime in the 1990s. :14 The Laser Disc and VHS formats were transcended by the DVD format which offered the unique advantages; including multiple subtitling and dubbing tracks on the same disc. :15 The DVD format also has its drawbacks in the its usage of region coding; adopted by the industry to solve licensing, piracy and export problems and restricted region indicated on the DVD player. :15 The Video CD (VCD) format was popular in Hong Kong and Taiwan, but became only a minor format in the United States that was closely associated with bootleg copies. :15
History.
Main article: History of anime.
A cel from the earliest surviving Japanese animated short, produced in 1917.
Anime arose in the early 20th century, when Japanese filmmakers experimented with the animation techniques also pioneered in France, Germany, the United States and Russia. A claim for the earliest Japanese animation is Katsud? Shashin, an undated and private work by an unknown creator. In 1917, the first professional and publicly displayed works began to appear. Animators such as ?ten Shimokawa and Seitarou Kitayama produced numerous works, with the oldest surviving film being Kouchi's Namakura Gatana, a two-minute clip of a samurai trying to test a new sword on his target only to suffer defeat. The 1923 Great Kant? earthquake resulted in widespread destruction to Japan's infrastructure and the destruction of Shimokawa's warehouse, destroying most of these early works.
By the 1930s animation was well established in Japan as an alternative format to the live-action industry. It suffered competition from foreign producers and many animators, such as Nobur? ?fuji and Yasuji Murata, who still worked in cheaper cutout animation rather than cel animation. Other creators, such as Kenz? Masaoka and Mitsuyo Seo, nonetheless made great strides in animation technique; they benefited from the patronage of the government, which employed animators to produce educational shorts and propaganda. The first talkie anime was Chikara to Onna no Yo no Naka, produced by Masaoka in 1933. By 1940, numerous anime artists' organizations had risen, including the Shin Mangaha Shudan and Shin Nippon Mangaka. The first feature-length animated film was Momotaro's Divine Sea Warriors directed by Seo in 1944 with sponsorship by the Imperial Japanese Navy.
A frame from Momotaro's Divine Sea Warriors (1944), the first feature-length anime film.
The success of The Walt Disney Company's 1937 feature film Snow White and the Seven Dwarfs profoundly influenced many Japanese animators. In the 1960s, manga artist and animator Osamu Tezuka adapted and simplified many Disney animation techniques to reduce costs and to limit the number of frames in productions. He intended this as a temporary measure to allow him to produce material on a tight schedule with inexperienced animation staff. Three Tales, aired in 1960, was the first anime shown on television. The first anime television series was Otogi Manga Calendar, aired from 1961 to 1964.
The 1970s saw a surge of growth in the popularity of manga, Japanese comic books and graphic novels, many of which were later animated. The work of Osamu Tezuka drew particular attention: he has been called a "legend" and the "god of manga". His work ? and that of other pioneers in the field ? inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (known as "mecha" outside Japan), for instance, took shape under Tezuka, developed into the Super Robot genre under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino who developed the Real Robot genre. Robot anime like the Gundam and The Super Dimension Fortress Macross series became instant classics in the 1980s, and the robot genre of anime is still one of the most common in Japan and worldwide today. In the 1980s, anime became more accepted in the mainstream in Japan (although less than manga), and experienced a boom in production. Following a few successful adaptations of anime in overseas markets in the 1980s, anime gained increased acceptance in those markets in the 1990s and even more at the turn of the 21st century. In 2002, Spirited Away, a Studio Ghibli production directed by Hayao Miyazaki won the Golden Bear at the Berlin International Film Festival and in 2003 at the 75th Academy Awards it won the Academy Award for Best Animated Feature.
Genres.
Anime are often classified by target demographic, including kodomo (children's), sh?jo (girls'), shounen (boys') and a diverse range of genres targeting an adult audience. Shoujo and shounen anime sometimes contain elements popular with children of both sexes in an attempt to gain crossover appeal. Adult anime may feature a slower pace or greater plot complexity that younger audiences typically find unappealing, as well as adult themes and situations.:44?48 A subset of adult anime works feature pornographic elements and are labeled "R18" in Japan, but internationally these works are grouped together under the term hentai (Japanese for "pervert"). By contrast, a variety of anime subgenres across demographic groups incorporate ecchi, sexual themes or undertones without depictions of sexual intercourse, as typified in the comedic or harem genres; due to its popularity among adolescent and adult anime enthusiasts, incorporation of ecchi elements in anime is considered a form of fan service. :89
Anime's genre classification is different from other types of animation and does not lend itself to simple identity. :34 Gilles Poitras compared the labeling Gundam 0080 and its complex depiction of war as a "giant robot" anime akin to simply labeling War and Peace a "war novel". :34 Science fiction is a major anime genre and includes important historical works like Tezuka's Astro Boy and Yokoyama's Tetsujin 28-go. A major subgenre of science fiction is mecha, with the Gundam metaseries being iconic. :35 The diverse fantasy genre includes works based on Asian and Western traditions and folklore; examples include the Japanese feudal fairytale InuYasha, and the depiction of Scandinavian goddesses who move to Japan to maintain a computer called Yggdrasil in Oh My Goddess. :37?40 Genre crossing in anime is also prevalent, such as the blend of fantasy and comedy in Dragon Half, and the incorporation of slapstick humor in the crime anime Castle of Cagliostro. :41?43 Other subgenres found in anime include magical girl, harem, sports, martial arts, literary adaptations, medievalism, and war. :45?49
Genres have emerged that explore homosexual romances. While originally pornographic in terminology, yaoi (male homosexuality) and yuri (female homosexuality) are broad terms used internationally to describe any focus on the themes or development of romantic homosexual relationships. Prior to 2000, homosexual characters were typically used for comedic effect, but some works portrayed these characters seriously or sympathetically. :50
Attributes.
Anime artists employ many distinct visual styles.
Anime differs greatly from other forms of animation by its diverse art styles, methods of animation, its production, and its process. Visually, anime is a diverse art form that contains a wide variety of art styles, differing from one creator, artist, and studio. While no one art style predominates anime as a whole, they do share some similar attributes in terms of animation technique and character design. Any other visual variation falls under the artists as they see fit.
Animation technique.
Anime follows the typical production of animation, including storyboarding, voice acting, character design, and cel production. Since the 1990s, animators have increasingly used computer animation to improve the efficiency of the production process. Artists like Nobur? ?fuji pioneered the earliest anime works, which were experimental and consisted of images drawn on blackboards, stop motion animation of paper cutouts, and silhouette animation. Cel animation grew in popularity until it came to dominate the medium. In the 21st century, the use of other animation techniques is mostly limited to independent short films, including the stop motion puppet animation work produced by Tadahito Mochinaga, Kihachir? Kawamoto and Tomoyasu Murata. Computers were integrated into the animation process in the 1990s, with works such as Ghost in the Shell and Princess Mononoke mixing cel animation with computer-generated images. :29 Fuji Film, a major cel production company, announced it would stop cel production, producing an industry panic to procure cel imports and hastening the switch to digital processes. :29
Prior to the digital era, anime was produced with traditional animation methods using a pose to pose approach. The majority of mainstream anime uses fewer expressive key frames and more in-between animation.
Japanese animation studios were pioneers of many limited animation techniques, and have given anime a distinct set of conventions. Unlike Disney animation, where the emphasis is on the movement, anime emphasizes the art quality and let limited animation techniques make up for the lack of time spent on movement. Such techniques are often used not only to meet deadlines but also as artistic devices. Anime scenes place emphasis on achieving three-dimensional views, and backgrounds are instrumental in creating the atmosphere of the work. The backgrounds are not always invented and are occasionally based on real locations, as exemplified in Howl's Moving Castle and The Melancholy of Haruhi Suzumiya. Oppliger stated that anime is one of the rare mediums where putting together an all-star cast usually comes out looking "tremendously impressive".
The cinematic effects of anime differentiates itself from the stage plays found in American animation. Anime is cinematically shot as if by camera, including panning, zooming, distance and angle shots to more complex dynamic shots that would be difficult to produce in reality. :58 In anime, the animation is produced before the voice acting, contrary to American animation which does the voice acting first; this can cause lip sync errors in the Japanese version.:59
Characters.
Body proportions of human anime characters tend to accurately reflect the proportions of the human body in reality. The height of the head is considered by the artist as the base unit of proportion. Head heights can vary, but most anime characters are about seven to eight heads tall. Anime artists occasionally make deliberate modifications to body proportions to produce super deformed characters that feature a disproportionately small body compared to the head; many super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, such that they resemble Western cartoons.
A common anime character design convention is exaggerated eye size. The animation of characters with large eyes in anime can be traced back to Osamu Tezuka, who was deeply influenced by such early animation characters as Betty Boop, who was drawn with disproportionately large eyes. Tezuka is a central figure in anime and manga history, whose iconic art style and character designs allowed for the entire range of human emotions to be depicted solely through the eyes. :60 The artist adds variable color shading to the eyes and particularly to the cornea to give them greater depth. Generally, a mixture of a light shade, the tone color, and a dark shade is used. Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign. However, not all anime have large eyes. For example, the works of Hayao Miyazaki are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.
Anime and manga artists often draw from a defined set of facial expressions to depict particular emotions
Hair in anime is often unnaturally lively and colorful or uniquely styled. The movement of hair in anime is exaggerated and "hair action" is used to emphasize the action and emotions of characters for added visual effect. :62 Poitras traces hairstyle color to cover illustrations on manga, where eye-catching artwork and colorful tones are attractive for children's manga. :61 Despite being produced for a domestic market, anime features characters whose race or nationality is not always defined, and this is often a deliberate decision, such as in the Pokémon animated series.
Anime and manga artists often draw from a common canon of iconic facial expression illustrations to denote particular moods and thoughts. These techniques are often different in form than their counterparts in Western animation, and they include a fixed iconography that is used as shorthand for certain emotions and moods. These expression are often exaggerated and are typically comedic in nature. For example, a male character may develop a nosebleed when aroused, stemming from a Japanese old wives' tale. A variety of visual symbols are employed, including sweat drops to depict nervousness, visible blushing for embarrassment, or glowing eyes for an intense glare. :52
Music.
The opening and credits sequences of most anime television episodes are accompanied by Japanese pop or rock songs, often by reputed bands. They may be written with the series in mind, but are also aimed at the general music market, and therefore often allude only vaguely or not at all to the themes or plot of the series. Pop and rock songs are also sometimes used as incidental music ("insert songs") in an episode, often to highlight particularly important scenes. More often than not, background music is employed as an added flavor to series either to drive story plot lines or to simply to decorate particular scenes and animated sequences. Furthermore, some series offer all applied music available in the form of OST, or original soundtracks.
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Inglish Site.47.
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TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
***
In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
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Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
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This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
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Index.
165.Fantastic Planet/La Planète sauvage
166.Auteur Theory.
164.Anime.
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165.Fantastic Planet (French: La Planète sauvage, lit. The Savage Planet) is a 1973 cutout stop motion science fiction allegorical film directed by René Laloux, production designed by Roland Topor, written by both of them and animated at Ji?í Trnka Studio. The film was an international production between France and Czechoslovakia and was distributed in the United States by Roger Corman.
It won the special jury prize at the 1973 Cannes Film Festival. The story is based on the novel Oms en série, by the French writer Stefan Wul.
Oms en série (lit. Oms Linked Together, translation published as Fantastic Planet) is a French science fiction novel written by Stefan Wul, first published in 1957. It was later adapted into the animated feature film La Planète sauvage (Fantastic Planet, 1973). An English translation was first published in 2010 ? over 50 years later ? by United Kingdom publisher Creation Books.
Summary.
The story, set in the far future, deals with Oms (a play on the French word "hommes," meaning "men"), tiny people from Terre (French for "Earth"), who have been brought by the giant Draags to their home planet, Ygam. Some Oms are domesticated as pets, but others run wild in parks, and are exterminated every 2 Draag years (1 Draag day being roughly equivalent to 45 Earth days). The Draags' treatment of the Oms is ironically contrasted with their high level of technological and spiritual development. The protagonist is a domesticated Om named Terr (word play on the French word Terre, meaning Earth) who runs away and joins a group of wild Oms. He has learned some of the Draags' scientific knowledge while in captivity, and uses this to forge a new, equal relationship with the Draags.
A working title for the film while it was in development was Sur la planète Ygam (On the Planet Ygam). The film had a total of 809,945 admissions in France.
In the English-dubbed version, the title "Fantastic Planet" apparently refers to the small moon of a much-larger planet, though most of the story takes place on the latter. "Savage Planet" seems a better description of the mother planet itself.
Plot.
In an unimaginably distant future, human beings scrape for survival as a feral race?the Oms?on the world of the gargantuan humanoid Draags. While Draags sometimes make pets of Oms, they see them too as vermin that must be periodically controlled.
The story opens with a group of Draag children teasing an Om mother to death during play.
Her orphaned infant is rescued by Master Sinh, an adult Draag and an important leader. Sinh gives the child to his daughter Tiva, who names the baby Terr (a play on the French Terre, meaning Earth).
While Terr is still a child, Master Sinh scolds Tiva for not keeping better tabs on Terr when he interrupts an important meeting. Sinh solves the problem by locking a tracking collar around Terr's neck, which can be retrieved?along with Terr, no matter where he goes?using a special bracelet he gives to Tiva.
Draag children are educated by special earphones that transmit knowledge directly into their minds in ?info? sessions. Tiva likes to pet Terr in her hands during her, but a defect in Terr?s collar allows him to eavesdrop on Tiva's lessons.
As Terr grows into manhood, he learns who and what he is, and a great deal about Draags themselves. Terr escapes, stealing Tiva's earphones. When Tiva tries to fetch Terr back with the bracelet, a wild female Om frees Terr by cutting free the collar.
She helps Terr drag the earphones to her tribe in their meeting hall, who ridicule Terr for his domestication and Draag costume. But they conditionally accept him after Terr warns about a lethal Draag trap hidden in their midst. From then on Terr learns about wild Om society, and how to survive on a world dominated by the Draags and a hostile ecosystem.
In return Terr shows them how to use Tiva's earphones to acquire knowledge and literacy. They are then able to read an announcement of an impending "de-Omization" of the Draag park (the home range of the wild Oms). The Oms prepare best they can, but many still die.
When a Draag casually stomps some of the fleeing Oms, the tribe retaliates. For the first time in Draag history a Draag is killed by Oms. With the death of the chieftain, the new Om leader, a wise old woman and a former enemy chieftain, leads them to an abandoned Draag rocket depot.
Safe for now, the Oms restore and miniaturize Draag machinery, and begin constructing two rockets. They plan to use the rockets to flee the Draag world and discover the secret of the Draag world?s moon (the Fantastic Planet) and perhaps there begin a new life.
During a last-ditch de-Omization by the Draags, the tribe flees on the rockets to the Fantastic Planet. There they discover how the Draags reproduce, and the secret behind the Draags' voyages in their meditation spheres. The colossal headless statues they find imply an ancient co-dependence between Draags and Oms, but their vulnerability pose a sudden existential crisis for the Draags. The Draags have no choice but to sue for peace with the now powerful Oms, and come to realize that humans are hardly vermin, and deserve equal partnership in the Draag planetary system.
Cast.
Jennifer Drake as Tiva (voice)
Eric Baugin as Terr (voice)
Jean Topart as Master Sinh (voice)
Jean Valmont as adult Terr and the commentator (voice)
Themes
The film is chiefly noted for its surreal imagery, the work of French writer and artist Roland Topor. The landscape of the Draag planet is full of strange creatures, including a cackling predator which traps small fluttering animals in its cage-like nose, shakes them to death and hurls them to the ground. The Draag practice of meditation, whereby they commune psychically with each other and with different species, is shown in transformations of their shape and colour.
It is considered one of the first examples of film which introduce the theme of speciesism.
The interaction of science and superstition is most apparent in the Wizard, who resists the knowledge that Terr brings, fearing it will erode the power he maintains. Knowledge trumps ignorance, but in this case only after surviving an attempted assassination.
Terr's drive to share knowledge overpowers the fear of an unknown people. Only his courage to save others not of his adopted tribe allows that tribe to overcome the loss of their leader.
The Draags and Oms finally learn to live in peace and mutual benefit; presumably any groups can if they and their leaders really want to. This may have been a theme favoured by the filmmakers as it was made and released during the Cold War (the source novel was first published in 1957).
Soundtrack.
The music was composed by Alain Goraguer.[5]
Track listing
Deshominisation (II)
Deshominisation (I)
Generique
Le Bracelet
Ten et Tiwa
Maquillage de Tiwa
Course de Ten
Ten et Medor
Ten et Tiwa Dormet
Ten est Assome
Abite
Conseil des Draags
Les Hommes ? La Grande Co-existence
La Femme
Mira et Ten
Morte de Draag
L'Oiseau
La Cite des Hommes Libres
Attaque des Robots
La Longue Marche ? Valse Des Statues
Les Fusees
Generique
Strip Tease
Meditation des Enfants
La Vielle Meurt
Video releases
Burnt-in English subtitles on Anchor Bay's USA DVD release spell the name of the blue-skinned species as "Draag"; the original novel the film is based on spells it as "Traag".
In 2006, Eureka Entertainment released the film on DVD in the UK as #34 in their Masters of Cinema range. Unlike the Anchor Bay release, this uses an anamorphic widescreen transfer and newly translated subtitles which retain the "Draag" spelling. This version was released in Region 1 on October 23, 2007. In August 2010, Eureka released a restored high-definition transfer of the film on Blu-ray Disc, with special features including a collection of Laloux's short films, and a 27-minute documentary called Laloux sauvage. Eureka, a London-based company, has only produced the edition as a region B release.
On October 23, 2007 Facets Video and Accent Cinema released a newly restored version of the film on DVD, including many bonus features never available before. It is different from the version released by Eureka.
Televised airings
RTV (Retro Television Network) ran "Fantastic Planet" on January 2, 2011, as part of its Off Beat Cinema presentation originally aired in Buffalo, NY by WKBW-TV, channel 7. "Fantastic Planet" appeared at least once in the 1980s on USA Network's Night Flight weekend program. In the United Kingdom and Ireland it has been shown on the Sky Arts channel and has been available on demand via the Sky Anytime service.
References in other works.
Madlib cites the film as an influence, using visuals from the film on his album covers and samples of the soundtrack on his songs. The song "Come On Feet", on his album The Unseen, contains many samples from the movie, including the recurring melody of the main theme.
The band Failure named its third full-length album after the film.
In the movie The Cell, Jennifer Lopez's character Catherine Deane watches the movie on her bedroom television.
Music from Fantastic Planet is sampled in "Insomniak" by Mac Miller, "Chrysalis" by The Underachievers and "Don't do drugs kids" by Flatbush Zombies.
Flying Lotus explains that he drew inspiration from the film when producing the track ?Your Potential/The Beyond? from the album You're Dead!, .
References.
^ "La Planète Sauvage (Fantasic Planet) @ BCDB". BCDB. 2012-11-16.
^ "Festival de Cannes: Fantastic Planet". festival-cannes.com. Retrieved 2009-04-19.
^ Stephenson, Ralph (1967). "15. Filmographies". In Peter Cowie. Animation in the Cinema. International Film Guide. London: A. Zwemmer. p. 173.
^ La Planète sauvage
^ La Planete Sauvage Soundtrack ]
^ Stones Throw Records
^ Flying Lotus Provides A Track-By-Track Breakdown Of You're Dead!
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166.Auteur Theory.
In film criticism, auteur theory holds that a film reflects the director's personal creative vision, as if they were the primary "auteur" (the French word for "author"). In spite of?and sometimes even because of?the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory.
Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. This method of film analysis was originally associated with the French New Wave and the film critics who wrote for the French film review periodical Cahiers du Cinéma. Auteur theory was developed a few years later in the United States through the writings of The Village Voice critic Andrew Sarris. Sarris used auteur theory as a way to further the analysis of what he defines as serious work through the study of respected directors and their films.
Origin.
Auteur theory draws on the work of a group of cinema enthusiasts who wrote for Cahiers du Cinéma and argued that films should reflect a director's personal vision. The championed filmmakers such as Akira Kurosawa, Satyajit Ray, Alfred Hitchcock, Howard Hawks, and Jean Renoir are known as absolute "auteurs" of their films. Although André Bazin, co-founder of the Cahiers, provided a forum for auteurism to flourish, he explained his concern about its excesses in his article "On the Auteur Theory" (Cahiers du Cinéma #70, 1957). Another element of auteur theory comes from Alexandre Astruc's notion of the caméra-stylo or "camera-pen", which encourages directors to wield cameras as writers use pens and to guard against the hindrances of traditional storytelling.
Truffaut and the members of the Cahiers recognized that movie-making was an industrial process. However, they proposed an ideal to strive for, encouraging the director to use the commercial apparatus as a writer uses a pen, and, through the mise en scène, imprint his or her vision on the work (minimizing the role of the screenwriter). Recognizing the difficulty of reaching this ideal, they valued the work of directors who came close.
The definition of an auteur has been debated since the 1940s. André Bazin and Roger Leenhardt presented the theory that it is the director that brings the film to life and uses the film to express their thoughts and feelings about the subject matter as well as a worldview as an auteur. An auteur can use lighting, camerawork, staging and editing to add to their vision.
Truffaut's development.
In his 1954 essay "Une certaine tendance du cinéma français" ("A certain tendency in French cinema"), François Truffaut coined the phrase "la politique des Auteurs", asserting that the worst of Jean Renoir's movies would always be more interesting than the best of the movies of Jean Delannoy. "Politique" might very well be translated as "policy" or "program"; it involves a conscious decision to value and look at films in a certain way. One might see it as the policy of treating any director that uses a personal style or a unique worldview as an Auteur. Truffaut criticized the Cinema of Quality as "Scenarists' films", which are works that lack originality and rely on literary classics. According to Truffaut, this means that the director is only a metteur en scene, a "stager". This tradition suggests that the screenwriter hands the script to the director and the director simply adds the performers and pictures. Truffaut provocatively said: "(t)here are no good and bad movies, only good and bad directors".
Truffaut's article, by his own admission, dealt primarily with scenarists or screenwriters, precisely the screenwriting duo Jean Aurenche and Pierre Bost, who, Truffaut believed, simplified and compromised many of the great works of French literature in order to support the political agenda of their day. In Truffaut's article, he references the director Claude Autant-Lara's characterization of his adaptation of Raymond Radiguet's Devil in the Flesh as an "anti-war" book, citing the problem that the book pre-dated the Second World War. Truffaut applied the term "auteur" to directors like Jean Renoir, Max Ophüls, Jacques Becker, Jacques Tati, and Robert Bresson, who, aside from exerting their distinct style, wrote the screenplays or worked on the writing of screenplays of their films.
In its embryonic form, the auteur theory dealt with the nature of literary adaptations and Truffaut's discomfort with the screenwriters Aurenche's and Bost's maxim that any film adaptation of a novel should capture the spirit of the novel and deal only with its "filmable" aspects. Truffaut believed that film directors like Robert Bresson were able to use the film narrative to approach even the so-called "unfilmable" scenes. To support this assertion, he used the film version of Georges Bernanos's Diary of a Country Priest.
Much of the writing of Truffaut and his colleagues at the film criticism magazine Cahiers du cinéma was designed to lambaste not only the post-war French cinema but especially the big production films of the cinéma de qualité ("quality films"). Although it has become widely believed that Truffaut's circle referred to these films with disdain as sterile, old-fashioned cinéma de papa (or "Dad's cinema"), in fact Truffaut never used the term "cinéma de papa". During the Nazi occupation, the Vichy government did not allow the exhibition of U.S. films such as The Maltese Falcon and Citizen Kane. In 1946, when French film critics were finally able to see the 1940s U.S. movies, they were enamoured with these films.
Truffaut's theory maintains that a good director (like many bad ones) exerts such a distinctive style or promotes such a consistent theme that his or her influence is unmistakable in the body of his or her work. Truffaut himself was appreciative of directors whose work showed a marked visual style (such as Alfred Hitchcock) as well as those whose visual style was less pronounced but whose movies reflected a consistent theme (such as Jean Renoir's humanism). Truffaut et al. made the distinction between auteurs and 'metteurs en scene', the latter not being described as inferior directors making inherently poor films, just lacking the authorial signature.
Impact.
The auteur theory was used by the directors of the nouvelle vague (New Wave) movement of French cinema in the 1960s (many of whom were also critics at the Cahiers du Cinéma) as justification for their intensely personal and idiosyncratic films. One of the ironies of the Auteur theory is that, at the very moment Truffaut was writing, the break-up of the Hollywood studio system during the 1950s was ushering in a period of uncertainty and conservatism in American cinema, with the result that fewer of the sort of films Truffaut admired were actually being made.
The "auteur" approach was adopted in English-language film criticism in the 1960s. In the UK, Movie adopted Auteurism, while in the U.S., Andrew Sarris introduced it in the essay, "Notes on the Auteur Theory in 1962". This essay is where the term, "Auteur theory", originated. To be classified as an "auteur", according to Sarris, a director must accomplish technical competence in his technique, personal style in terms of how the movie looks and feels, and interior meaning (although many of Sarris's auterist criteria were left vague). Later in the decade, Sarris published The American Cinema: Directors and Directions, 1929?1968, which quickly became the unofficial bible of auteurism.
The auteurist critics?Truffaut, Jean-Luc Godard, Claude Chabrol, Éric Rohmer?wrote mostly about directors, although they also produced some shrewd appreciations of actors. However later Truffaut wrote: the auteur theory "was started by Cahiers du Cinema and is forgotten in France, but still discussed in American periodicals."
Today, auteur theory largely impacts the way films are categorized and spoken of by film critics and audiences alike. For example, it is the trademark, visionary aesthetics of Alfred Hitchcock's directing style that deem it appropriate to refer to his films as "Hitchcock films", even though he didn't write the screenplays for any of the films he directed.
Criticism.
Starting in the 1960s, some film critics began criticising auteur theory's focus on the authorial role of the director. Pauline Kael and Sarris feuded in the pages of The New Yorker and various film magazines. One reason for the backlash is the collaborative aspect of shooting a film, and in the theory's privileging of the role of the director (whose name, at times, has become more important than the movie itself). In Kael's review of Citizen Kane, a classic film for the auteur model, she points out how the film made extensive use of the distinctive talents of co-writer Herman J. Mankiewicz and cinematographer Gregg Toland.
Notable screenwriters such as Ernest Lehman, Nicholas Kazan, Robert Riskin and William Goldman have publicly balked at the idea that directors are more authorial than screenwriters, while film historian Aljean Harmetz, referring to the creative input of producers and studio executives in classical Hollywood, argues that the auteur theory "collapses against the reality of the studio system".
The auteur theory was also challenged by the influence of New Criticism, a school of literary criticism. The New Critics argued that critics made an "intentional fallacy" when they tried to interpret works of art by speculating about what the author meant, based on the author's personality or life experiences. New Critics argued that information or speculation about an author's intention was secondary to the words on the page as the basis of the experience of reading literature.
In 2006, David Kipen coined the term Schreiber theory to refer to the theory of the screenwriter as the principal author of a film.
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164.Anime.
Anime (Japanese: ??? Hepburn: [an?ime]?) is a term used to refer to Japanese animated productions featuring hand-drawn or computer animation. The word is the abbreviated pronunciation of "animation" in Japanese, where this term references all animation. In other languages, the term is defined as animation from Japan or as a Japanese-disseminated animation style often characterized by colorful graphics, vibrant characters and fantastic themes. Arguably, the stylization approach to the meaning may open up the possibility of anime produced in countries other than Japan. For simplicity, many Westerners strictly view anime as an animation product from Japan.
The earliest commercial Japanese animation dates to 1917, and production of anime works in Japan has since continued to increase steadily. The characteristic anime art style emerged in the 1960s with the works of Osamu Tezuka and spread internationally in the late twentieth century, developing a large domestic and international audience. Anime is distributed theatrically, by television broadcasts, directly to home media, and over the internet and is classified into numerous genres targeting diverse broad and niche audiences.
Anime is a diverse art form with distinctive production methods and techniques that have been adapted over time in response to emergent technologies. The production of anime focuses less on the animation of movement and more on the realism of settings as well as the use of camera effects, including panning, zooming and angle shots. Diverse art styles are used and character proportions and features can be quite varied, including characteristically large emotive or realistically sized eyes.
The anime industry consists of over 430 production studios including major names like Studio Ghibli, Gainax and Toei Animation. Despite having a fraction of the domestic film market, anime achieves a majority of DVD sales and has been an international success after the rise of televised English dubs. This rise in international popularly has resulted in non-Japanese productions using the anime art style, but these works have been defined as anime-influenced animation by both fans and the industry.
Definition and usage.
Anime is an art form, specifically animation, that includes all genres found in cinema, but it can be mistakenly classified as a genre. :7 In Japan, the term anime refers to all forms of animation from around the world. English-language dictionaries define anime as a "Japanese-style animated film or television entertainment" or as "a style of animation created in Japan".
The etymology of the word anime is disputed. The English term "animation" is written in Japanese katakana as ??????? (anim?shon, pronounced [anime??o?]), and is ??? (anime) in its shortened form. Some sources claim that anime derives from the French term for animation, dessin animé, but others believe this to be a myth derived from the French popularity of the medium in the late 1970s and 1980s. In English, anime, when used as a common noun, normally functions as a mass noun (for example: "Do you watch anime?", "How much anime have you collected?"). Prior to the widespread use of anime, the term Japanimation was prevalent throughout the 1970s and 1980s. In the mid-1980s, the term anime began to supplant Japanimation. In general, the term now only appears in period works where it is used to distinguish and identify Japanese animation.
In 1987, Hayao Miyazaki stated that he despised the truncated word "Anime" because to him it represented the desolation of the Japanese animation industry. He equated the desolation with animators lacking motivation and mass-produced, overly expressive products which rely on fixed iconography for facial expressions and protracted and exaggerated action scenes but lack depth and sophistication because they do not attempt to convey emotion or thought.
Format.
The first format of anime was theatrical viewing which originally began with commercial productions in 1917. Originally the animated flips were crude and required played musical components before adding sound and vocal components to the production. On July 14, 1958, Nippon Television aired Mole's Adventure, both the first televised and first color anime to debut. It wasn't until the 1960s when the first televised series were broadcast and it has remained a popular medium since. :13 Works released in a direct to video format are called "original video animation" (OVA) or "original animation video" (OAV); and are typically not released theatrically or televised prior to home media release. :14 The emergence of the internet has led some animators to distribute works online in a format called "original net anime" (ONA).
The home distribution of anime releases were popularized in the 1980s with the VHS and Laser Disc formats. :14 The VHS NTSC video format used in both Japan and the United States is credited as aiding the rising popularity of anime in the 1990s. :14 The Laser Disc and VHS formats were transcended by the DVD format which offered the unique advantages; including multiple subtitling and dubbing tracks on the same disc. :15 The DVD format also has its drawbacks in the its usage of region coding; adopted by the industry to solve licensing, piracy and export problems and restricted region indicated on the DVD player. :15 The Video CD (VCD) format was popular in Hong Kong and Taiwan, but became only a minor format in the United States that was closely associated with bootleg copies. :15
History.
Main article: History of anime.
A cel from the earliest surviving Japanese animated short, produced in 1917.
Anime arose in the early 20th century, when Japanese filmmakers experimented with the animation techniques also pioneered in France, Germany, the United States and Russia. A claim for the earliest Japanese animation is Katsud? Shashin, an undated and private work by an unknown creator. In 1917, the first professional and publicly displayed works began to appear. Animators such as ?ten Shimokawa and Seitarou Kitayama produced numerous works, with the oldest surviving film being Kouchi's Namakura Gatana, a two-minute clip of a samurai trying to test a new sword on his target only to suffer defeat. The 1923 Great Kant? earthquake resulted in widespread destruction to Japan's infrastructure and the destruction of Shimokawa's warehouse, destroying most of these early works.
By the 1930s animation was well established in Japan as an alternative format to the live-action industry. It suffered competition from foreign producers and many animators, such as Nobur? ?fuji and Yasuji Murata, who still worked in cheaper cutout animation rather than cel animation. Other creators, such as Kenz? Masaoka and Mitsuyo Seo, nonetheless made great strides in animation technique; they benefited from the patronage of the government, which employed animators to produce educational shorts and propaganda. The first talkie anime was Chikara to Onna no Yo no Naka, produced by Masaoka in 1933. By 1940, numerous anime artists' organizations had risen, including the Shin Mangaha Shudan and Shin Nippon Mangaka. The first feature-length animated film was Momotaro's Divine Sea Warriors directed by Seo in 1944 with sponsorship by the Imperial Japanese Navy.
A frame from Momotaro's Divine Sea Warriors (1944), the first feature-length anime film.
The success of The Walt Disney Company's 1937 feature film Snow White and the Seven Dwarfs profoundly influenced many Japanese animators. In the 1960s, manga artist and animator Osamu Tezuka adapted and simplified many Disney animation techniques to reduce costs and to limit the number of frames in productions. He intended this as a temporary measure to allow him to produce material on a tight schedule with inexperienced animation staff. Three Tales, aired in 1960, was the first anime shown on television. The first anime television series was Otogi Manga Calendar, aired from 1961 to 1964.
The 1970s saw a surge of growth in the popularity of manga, Japanese comic books and graphic novels, many of which were later animated. The work of Osamu Tezuka drew particular attention: he has been called a "legend" and the "god of manga". His work ? and that of other pioneers in the field ? inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (known as "mecha" outside Japan), for instance, took shape under Tezuka, developed into the Super Robot genre under Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino who developed the Real Robot genre. Robot anime like the Gundam and The Super Dimension Fortress Macross series became instant classics in the 1980s, and the robot genre of anime is still one of the most common in Japan and worldwide today. In the 1980s, anime became more accepted in the mainstream in Japan (although less than manga), and experienced a boom in production. Following a few successful adaptations of anime in overseas markets in the 1980s, anime gained increased acceptance in those markets in the 1990s and even more at the turn of the 21st century. In 2002, Spirited Away, a Studio Ghibli production directed by Hayao Miyazaki won the Golden Bear at the Berlin International Film Festival and in 2003 at the 75th Academy Awards it won the Academy Award for Best Animated Feature.
Genres.
Anime are often classified by target demographic, including kodomo (children's), sh?jo (girls'), shounen (boys') and a diverse range of genres targeting an adult audience. Shoujo and shounen anime sometimes contain elements popular with children of both sexes in an attempt to gain crossover appeal. Adult anime may feature a slower pace or greater plot complexity that younger audiences typically find unappealing, as well as adult themes and situations.:44?48 A subset of adult anime works feature pornographic elements and are labeled "R18" in Japan, but internationally these works are grouped together under the term hentai (Japanese for "pervert"). By contrast, a variety of anime subgenres across demographic groups incorporate ecchi, sexual themes or undertones without depictions of sexual intercourse, as typified in the comedic or harem genres; due to its popularity among adolescent and adult anime enthusiasts, incorporation of ecchi elements in anime is considered a form of fan service. :89
Anime's genre classification is different from other types of animation and does not lend itself to simple identity. :34 Gilles Poitras compared the labeling Gundam 0080 and its complex depiction of war as a "giant robot" anime akin to simply labeling War and Peace a "war novel". :34 Science fiction is a major anime genre and includes important historical works like Tezuka's Astro Boy and Yokoyama's Tetsujin 28-go. A major subgenre of science fiction is mecha, with the Gundam metaseries being iconic. :35 The diverse fantasy genre includes works based on Asian and Western traditions and folklore; examples include the Japanese feudal fairytale InuYasha, and the depiction of Scandinavian goddesses who move to Japan to maintain a computer called Yggdrasil in Oh My Goddess. :37?40 Genre crossing in anime is also prevalent, such as the blend of fantasy and comedy in Dragon Half, and the incorporation of slapstick humor in the crime anime Castle of Cagliostro. :41?43 Other subgenres found in anime include magical girl, harem, sports, martial arts, literary adaptations, medievalism, and war. :45?49
Genres have emerged that explore homosexual romances. While originally pornographic in terminology, yaoi (male homosexuality) and yuri (female homosexuality) are broad terms used internationally to describe any focus on the themes or development of romantic homosexual relationships. Prior to 2000, homosexual characters were typically used for comedic effect, but some works portrayed these characters seriously or sympathetically. :50
Attributes.
Anime artists employ many distinct visual styles.
Anime differs greatly from other forms of animation by its diverse art styles, methods of animation, its production, and its process. Visually, anime is a diverse art form that contains a wide variety of art styles, differing from one creator, artist, and studio. While no one art style predominates anime as a whole, they do share some similar attributes in terms of animation technique and character design. Any other visual variation falls under the artists as they see fit.
Animation technique.
Anime follows the typical production of animation, including storyboarding, voice acting, character design, and cel production. Since the 1990s, animators have increasingly used computer animation to improve the efficiency of the production process. Artists like Nobur? ?fuji pioneered the earliest anime works, which were experimental and consisted of images drawn on blackboards, stop motion animation of paper cutouts, and silhouette animation. Cel animation grew in popularity until it came to dominate the medium. In the 21st century, the use of other animation techniques is mostly limited to independent short films, including the stop motion puppet animation work produced by Tadahito Mochinaga, Kihachir? Kawamoto and Tomoyasu Murata. Computers were integrated into the animation process in the 1990s, with works such as Ghost in the Shell and Princess Mononoke mixing cel animation with computer-generated images. :29 Fuji Film, a major cel production company, announced it would stop cel production, producing an industry panic to procure cel imports and hastening the switch to digital processes. :29
Prior to the digital era, anime was produced with traditional animation methods using a pose to pose approach. The majority of mainstream anime uses fewer expressive key frames and more in-between animation.
Japanese animation studios were pioneers of many limited animation techniques, and have given anime a distinct set of conventions. Unlike Disney animation, where the emphasis is on the movement, anime emphasizes the art quality and let limited animation techniques make up for the lack of time spent on movement. Such techniques are often used not only to meet deadlines but also as artistic devices. Anime scenes place emphasis on achieving three-dimensional views, and backgrounds are instrumental in creating the atmosphere of the work. The backgrounds are not always invented and are occasionally based on real locations, as exemplified in Howl's Moving Castle and The Melancholy of Haruhi Suzumiya. Oppliger stated that anime is one of the rare mediums where putting together an all-star cast usually comes out looking "tremendously impressive".
The cinematic effects of anime differentiates itself from the stage plays found in American animation. Anime is cinematically shot as if by camera, including panning, zooming, distance and angle shots to more complex dynamic shots that would be difficult to produce in reality. :58 In anime, the animation is produced before the voice acting, contrary to American animation which does the voice acting first; this can cause lip sync errors in the Japanese version.:59
Characters.
Body proportions of human anime characters tend to accurately reflect the proportions of the human body in reality. The height of the head is considered by the artist as the base unit of proportion. Head heights can vary, but most anime characters are about seven to eight heads tall. Anime artists occasionally make deliberate modifications to body proportions to produce super deformed characters that feature a disproportionately small body compared to the head; many super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, such that they resemble Western cartoons.
A common anime character design convention is exaggerated eye size. The animation of characters with large eyes in anime can be traced back to Osamu Tezuka, who was deeply influenced by such early animation characters as Betty Boop, who was drawn with disproportionately large eyes. Tezuka is a central figure in anime and manga history, whose iconic art style and character designs allowed for the entire range of human emotions to be depicted solely through the eyes. :60 The artist adds variable color shading to the eyes and particularly to the cornea to give them greater depth. Generally, a mixture of a light shade, the tone color, and a dark shade is used. Cultural anthropologist Matt Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign. However, not all anime have large eyes. For example, the works of Hayao Miyazaki are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.
Anime and manga artists often draw from a defined set of facial expressions to depict particular emotions
Hair in anime is often unnaturally lively and colorful or uniquely styled. The movement of hair in anime is exaggerated and "hair action" is used to emphasize the action and emotions of characters for added visual effect. :62 Poitras traces hairstyle color to cover illustrations on manga, where eye-catching artwork and colorful tones are attractive for children's manga. :61 Despite being produced for a domestic market, anime features characters whose race or nationality is not always defined, and this is often a deliberate decision, such as in the Pokémon animated series.
Anime and manga artists often draw from a common canon of iconic facial expression illustrations to denote particular moods and thoughts. These techniques are often different in form than their counterparts in Western animation, and they include a fixed iconography that is used as shorthand for certain emotions and moods. These expression are often exaggerated and are typically comedic in nature. For example, a male character may develop a nosebleed when aroused, stemming from a Japanese old wives' tale. A variety of visual symbols are employed, including sweat drops to depict nervousness, visible blushing for embarrassment, or glowing eyes for an intense glare. :52
Music.
The opening and credits sequences of most anime television episodes are accompanied by Japanese pop or rock songs, often by reputed bands. They may be written with the series in mind, but are also aimed at the general music market, and therefore often allude only vaguely or not at all to the themes or plot of the series. Pop and rock songs are also sometimes used as incidental music ("insert songs") in an episode, often to highlight particularly important scenes. More often than not, background music is employed as an added flavor to series either to drive story plot lines or to simply to decorate particular scenes and animated sequences. Furthermore, some series offer all applied music available in the form of OST, or original soundtracks.
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