Anime

El presente artículo analizará la película "Liz and the Blue Bird" (2018), la cual presenta la tensión en la relación de Nozomi y Mizore, mejores amigas que deberán practicar una pieza musical que tocarán en conjunto para el concurso escolar de bandas, a la vez que deberán elegir el camino que tomarán terminado el colegio. Para ello se abordará la obra a partir de la perspectiva del shojo bunka, el continuum lésbico y la esperanza utópica.

Fecha de publicación: 26/04/2020
Link web: https://www.sugoi.com.pe/camino-a-la-adultez-shojo-bunka-esperanza-utopica-liz-and-the-blue-bird/

Na segunda parte deste post dedicado a Yurikuma Arashi, a mais recente série de animação do criador japonês Kunihiko Ikuhara, veremos como Yurikuma reflecte dois temas que são transversais e centrais na obra de Ikuhara: a natureza das figuras de autoridade  e, claro, o amor.

Mazinga, Goldrake, Jeeg… sono questi i robot più noti al pubblico italiano che ha iniziato a scoprire i protagonisti di queste serie animate a partire dalla fine degli anni Settanta. Ma chi c’era in precedenza? Quali personaggi sono stati partoriti dalla fervida fantasia dei giapponesi prima di quel periodo? Qual’è l’origine di questa passione tutta nipponica? Quali sono gli antenati di questi eroi che hanno saputo conquistare intere generazioni? Il libro fornisce una risposta a tutte queste domande ricostruendo un pezzo di storia della cultura pop giapponese troppo spesso dimenticato e erroneamente poco considerato.

Animation is the technique to create the illusion of life3, from static images that seemingly
gained motion through the rapid projection of images. Analyzing production of motion in animation is to explore trails that can help to reveal this strange interest in animated forms. We refer to the strange force (animate) that creates the illusion of life (animation) and the attraction that the outcome (movement) might mean. We intend to work this underlines the importance that movement has to animation (1), what consequences the "no movement" may have for the art of animation (2) and to relate the movement that
produces the animation trend with the post-human attractiveness, or fears, by another "movement" (3).
Through the consultation of important works in the state of the art of animation and anime, we aim to compare results of initial three starting points research described above, to obtain a solid arguments for a future research that will aspire a new classification of animation.

Anime and its aficionadi have a terrible reputation. For some reason, they're stereotyped by non-anime practitioners as being foolish.


But the truth is that Anime can be a serious business. If you ever find yourself being harassed for watching "kid's shows," here are some points you can use to set the naysayers straight.

We also have to talk about animes merchandise; this business is in constant growth. Anime fans are acquiring tons of merchandise related to their favorite shows, especially for the most watched saga Like Dragon Ball Z.
We can see every day's new themed merchandise released, which could be clothing, accessories, figures, etc.

"Animes" are not written merely for kids
In Japan, the term "anime" is a truncated form of "animeshon" (animation), which embraces all types of hand-drawn or computer animation. Nevertheless, worldwide, "anime" is used to describe a stylized form of animation popularised from Japan - typically with colorful graphics, vibrant characters, and fantastic themes.


Anime can be sorted into several categories. The most popular animes aren't written for kids in mind. "Seinen" animes, for instance, are targeted at males aged 18-40, while the "Josei" types are written for females of that same age.

If you want Anime specifically for young children, you may consider the "Komodo" genre, which is aimed at all young children. "Shonen" (typically action-packed or comedic) on the other hand are aimed at young/teen boys around the ages of 10-18, while "Shoujo" are Anime for teenage girls.

Imagine a post-apocalyptic world where humanity must cower behind a series of three massive walls to protect themselves from monsters that have eaten the majority of the world's population.

That's the tale of "Attack on Titan," or "Shingeki No Kyojin." When one of the walls is breached, everything goes to complete hell.  It doesn't sound very much like a kid's show.

Many of the more popular anime deal with adult themes and social issues. "Attack on Titan" for instance also touches on topics such as class separation, whereby the rich tend to be more protected than the less well-off.

Some series such as "Psycho-Pass" also bear strong semblance to Hollywood movies. "Psycho-Pass" is set in the near future, where authorities use a computer algorithm to measure a person's propensity to commit a crime - similar to the Tom Cruise movie Minority Report.

It is no wonder that many Anime (20th Century Boy, Death Note, Edge of Tomorrow) have been turned into live-action movies by both Japanese producers and Hollywood.

Anime is a legitimate art-form

Japanese Anime has been around since 1917. Today, some of the most exalted anime writers have won global acclaim not just for their storytelling, but for their art.

In the beautiful art world, Anime is also making waves. They have been displayed in museums and art exhibitions around the world.

The anime industry is so thriving internationally that the market was worth approximately $3.7 billion in the U.S. alone in 2015

References: (Wikis/Merchandise Industry)
https://en.wikipedia.org/wiki/Anime
https://en.wikipedia.org/wiki/Manga
https://en.wikipedia.org/wiki/Japan_Animator_Expo
https://SuperSaiyan-Shop.com
https://en.wikipedia.org/wiki/Dragon_Ball_Z
https://dragonball.fandom.com/

Introducción El pasado mes de marzo la Asociación de Productoras de Animación Japonesas presentó el informe anual sobre el estado de la industria. De acuerdo a los datos revelados en dicho documento, en el año 2012 se exhibieron en las pantallas de televisión 222 programas de anime. Sin embargo, como sólo es posible exhibir en televisión aquellos contenidos de los que se haya adquirido licencia, solo un puñado de ellos llegan a emitirse alguna vez en Argentina. A modo de ejemplo, si analizamos la grilla de programación de los canales de la tv abierta, surge el dato de que la oferta se limita a 1 hora semanal de Doraemon i y las series de animación que se emiten al interior del programa ZTV en Telefé ii. Frente a esta limitación de acceso, los fans se han organizado para tornar accesibles todos estos contenidos que de otro modo se perderían. El presente trabajo se plantea analizar la práctica de la

Originally conceived as an adaptation of the works of Jules Verne by Hayao Miyazaki and eventually developed by Hideaki Anno and the studio Gainax, Nadia: The Secret of Blue Water (1990 - 1991) acts as one of the clearest examples of the fascinating interdependencies that are evident between the Japanese entertainment industries and the movement that has become known as steampunk. Variously defined as ‘neo-victorientalism’ and ‘steampanku’ by those with an interest in its representations of industrial nostalgia, Japanese steampunk has served as a rich resource for representations of Japan’s past, present and future to be filtered through the iconography of fantastical steam-powered and piston-driven machinery. This article offers a close analysis of the series and considers the ways that its reworking of archetypal representations of nineteenth-century science fiction offers opportunities to evaluate the enormously complex and contradictory facets of nostalgic reminiscence. By considering the ways that the series fetishizes referents to this past age of technological development, I evaluate the means through which a legacy of bygone scientific romance and imperial adventure continues to reflect the fin-de-siècle concerns of a latter century and Japan’s own orientation in a globalised and post-colonial world.

This paper will be talking about the life and works of Hayao Miyazaki. It will provide an in-depth review of some of his most popular films. The review will include some important cultural values in Japan and how they are reflected in the films. It will show how Miyazaki has included some of his personal criticism about the problems of Japan during the time of the production of his movies like environmental disasters, civil wars and etc. The paper mainly focuses on environmental disasters. Some of the limitations may include not being able to review all of the aspects of every single film because of the lack of resources.

Anime and manga have become major entertainment exports of Japan since the last decades. As of 2006, Japanese anime comprise almost sixty percent of all animation broadcast worldwide. It generates four billion dollars a year in the United States alone, and foreign revenue account for almost twenty-five per cent of the income of leading Japanese animation companies such as Toei. Particularly in the Philippines, a substantial segment of young people are exposed to Japanese popular culture through these avenues. During the 90s, several anime series were shown in the two major television channels of the country usually dubbed in Tagalog. A few examples are Sailor Moon, Voltes V, Daimos, Doraemon, Mojacko, Thunder Jet and Ghost Fighter. A specific genre in this huge industry is science fiction. A most interesting and specific sub-genre within science fiction in general and Japanese animation and manga in particular, is cyberpunk.

The worldwide distribution of Neon Genesis Evangelion (1995-96) had a significant impact on the audiences for anime markets. However, unlike previous TV anime megahits, such as Dragon Ball (1985), EVA distribution in Western countries started in domestic and young adult markets. The series gained its reputation in a period of transition between VHS and DVD formats and even managed to be successful on a new route for anime: from niche video markets to thematic TV channels through small broadcasters and cable stations. That was the case of EVA distribution across the United States, at that time already one of the main markets for anime overseas. The series began to be distributed in June 1998 for the VHS market (A.D. Video), although it wouldn't be broadcasted on TV until 2002 (KQEH), being later offered by other theme-specialized channels such as Cartoon Network (through the special event 'Toonami's Giant's Robot week' broadcasted in February 2003) and Adult Swim (October 2005). EVA distribution in France (1996), Italy (1997) and Spain (1997) followed a similar strategy, as it was distributed first as a video product rather than being broadcast to general audiences. Most of the time, the series was dubbed to the domestic language, except for France, where it was distributed in Japanese with subtitles. This was due, perhaps, to its early release (1996). The distribution in Australia (1998) and Southeast Asian markets such as the Philippines was different as ADVision didn't manage the copyrights for these markets. The main agent of distribution was the main national broadcasters instead. The franchise would arrive How to cite this book chapter: Hernández-Pérez, M. 2021. Discussing 'Genre' in Anime through Neon Genesis Evangelion.

Gravity Falls: Un Verano De Misterios. Gravity Falls; es una serie de televisión animada de Disney XD. Fue creada por el director, escritor, guionista, gráfico y doblador estadounidense Alex Hirsch. Su primer capítulo fue emitido el quince de junio de dos mil doce (2012) y la serie finalizó el quince de febrero del dos mil dieciséis (2016), tras dos temporadas de emisión. La serie cuenta la historia de Mason Dipper Pines y Mabel Pines, dos hermanos mellizos de doce años. Los niños son enviados por sus padres a pasar el verano con su tío abuelo Stan (Stanley Pines o Stan Pines) a la Cabaña del Misterio, una trampa para turistas ubicada en Gravity Falls, Oregón. La trama está inspirada en la infancia del mismo Hirsch. El astuto tío abuelo Stan, dueño de la Cabaña del Misterio vende artículos falsos, sobre puestas criaturas sobrenaturales que viven en el pueblo. Los visitantes se creen las historias y compran los caros productos. El curioso, astuto e ingenioso Dipper junto a la optimista Mabel, descubrirán los secretos que se esconden en Gravity Falls a través de un misterioso diario que encuentran en el bosque. Los chicos no están solos, en la serie estarán acompañados por Soos (Jesus Alzamirano Ramírez o Soos Ramírez), que trabaja en la Cabaña del Misterio y al igual que los niños, ve las cosas extrañas que pasan en Gravity Falls. También esta Wendy Corduroy, que es el amor imposible de Dipper y el rencoroso Gideon Alegría; un niño vidente que asegura que puede leer mentes y predecir el futuro. Gravity Falls; presenta elementos y personajes oscuros, con un humor que intenta enternecer a toda la familia, tanto a los más pequeños, como a los adultos. Una de las características más memorables de la serie, es lo serio que se toma la mentalidad de los niños. Esto se nota en la consistencia de los guiones entendibles para un público infantil, pero sin chistes fáciles y que presenta misterios para captar su atención a lo largo de la serie. Esta cuenta con códigos ocultos de cifrado por sustitución, que aparecen durante el transcurso de los episodios y en los créditos de los mismos. Códigos como: A1Z26, ATBASH, VIGENÉRE. La serie está llena de guiños al público más adulto. Los escritores creyeron que sería divertido poner algunas referencias en los escenarios con la serie Twin Peaks, que también tiene un contenido sobrenatural y se ubica en la costa del Pacífico oeste. manuelverdugo.com

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Publicado en la Revista Question/Cuestión de la Universidad Nacional de La Plata, Vol. 2 Núm. 67 (2020): Diciembre

https://perio.unlp.edu.ar/ojs/index.php/question/article/view/6414
https://doi.org/10.24215/16696581e438

Resumen
    La globalización como fenómeno propio de la modernidad ha permitido una ruptura entre los límites que antes creíamos infranqueables. Culturas, personas, dinero, mensajes y políticas viajan por el mundo y se entrelazan en complejas relaciones transnacionales. Lo mismo sucede con los discursos, fuente de los significados que circulan entre los sujetos y que dan sentido a sus prácticas.

    En la actualidad, el mundo del manga-anime se ha visto asaltado por un constante intento de adaptar los éxitos y temáticas de estos productos a la lógica de la industria cinematográfica occidental.
    Teniendo en mente lo dicho, nos proponemos aquí un análisis del fenómeno de las adaptaciones. En la primera parte reconstruiremos el entramado histórico-comercial que ha tenido la industria del anime y su relación con el mercado occidental; en la segunda, buscaremos analizar brevemente la cinta Ghost in the Shell de Mamoru Oshii (1995) y su adaptación Ghost in the Shell: La vigilante del futuro de Rupert Sanders (2017). Con el objetivo de interpretar cómo los cambios en ambos filmes repercuten en los sentidos que proponen ambos discursos.

Studio Ghibli’s animated feature, The Borrower Arrietty (2010), is an adaptation of Mary Norton’s classic British children’s novel, The Borrowers (1952). It belongs in a tradition of Ghibli films adapted from, or influenced by, British children’s books, including Howl’s Moving Castle (2004) and Memories of Marnie (2014). In relocating the story to Japan and transferring it to the screen, Ghibli made numerous changes, reflecting the change of medium and cultural context.

In most cases, English-language dubs for Ghibli films are produced by Disney-Pixar, using American voice actors. Uniquely, for The Borrower Arrietty two English-language dubs were created: one released by Disney as The Secret World of Arrietty (2012), and the other by Studio Canal in the UK, as Arrietty (2011), employing a largely British cast. The scripts, characterisation and cultural reference points differ markedly in these two dubs, both from each other and from Ghibli’s Japanese script.

This article explores the transmission of Norton’s story across cultures, using a comparative analysis of the Japanese-language film and the two English-language dubs—with appropriate reference to Norton’s novel. It argues that many of the changes are related to cultural differences between Japan, the USA and the UK, differences that extend beyond language and the material world to matters of narrative convention and (particularly in the case of Disney) attitudes to character and family relationships. Nevertheless, it cautions against glib conclusions about “national character”, noting the number and complexity of the factors involved.

There is an increasing number in dropouts from high school students from the educational institutions in Puerto Rico. Educational reports by (Swanson, 2008) and (Bridgeland et al., 2006) have revealed a certain correlation between dropouts and lack of engagement in the classroom. In addition, a report by (The department of education, 2012) has revealed that less than half of the students score within basic level performance in standardized testing. These findings contribute towards the possibility that if the issue of class engagement was resolved, it would help close the gap of high school dropout which in turn calls for a critical evaluation of the current pedagogy used in Puerto Rico along with the creation of a multi-modality classroom. Studies by (Kress, 2003) and (Frey & Fisher, 2008) agree that visual media is an essential tool in order to lead multi-modality classroom and which supports student’s engagement in class and benefits their internalization of information.
The purpose of this research is to perform a qualitative case study in a classroom setting where using a teaching unit which makes use of Anime as a visual form of text triggers students into reading and interpreting this “visual text” in order to gain insights about different thematics and issues which affect their person, community, and/or culture among other factors. The main problem which the researcher wishes to address is the lack of engagement in the classroom which results from older teaching strategies which rely on canonical texts and standardized testing which does not encompass for all the different kinds of mindsets which a teacher can encounter in the modern classroom. Using data collection methods of non-participant observation, interviews with the teacher and collecting artifacts from student’s work throughout the semester, the researcher can address if the use of visual media in the classroom does help with engagement in the classroom and students develop complexity in their interpretations of the thematics and issues discussed in class. This study may reveal important details about the use of visual media in the classroom setting. Lastly, it might reveal whether current pedagogy which does not make use of visual media gauges class engagement effectively.

Considerando os aspectos culturais e a necessidade de se pensar numa perspectiva de Ensino de Ciências que vise a compreensão de outras formas de “ler o mundo”, o presente trabalho possui como tema a apresentação das potencialidades quanto ao uso de animes no Ensino de Ciências enquanto possibilidade pedagógica, tendo como objetivo geral refletir sobre como esse tipo específico de animação tem sido (re)tratado no âmbito da pesquisa da área. Assim, a partir de uma breve revisão bibliográfica sobre o tema de interesse, e que se refere à última década, refletimos sobre as distintas potencialidades, apontadas por pesquisas empíricas e/ou teóricas, a respeito do uso de animações, mais especificamente de animes, na Educação em Ciências. Essa abordagem se deve ao fato de partirmos da premissa de que formas de materialização da linguagem em perspectivas audiovisuais podem auxiliar práticas docentes e destituir alunos de seu tradicional papel passivo em sala de aula. Dessa forma, a partir de um movimento descritivo-interpretativo e analítico-reflexivo, foi delineada a seguinte questão de pesquisa: em que medida o uso de animes pode corroborar positivamente à prática docente no âmbito do Ensino de Ciências na Educação Básica.

We examined the prevalence rates of mental and neurodevelopmental illness among members of three different fandoms: anime, My Little Pony (brony), and furry. In total, nearly 2,600 fans across these groups self-reported whether or not they had ever been diagnosed with a psychological and/or neurodevelopmental illness. Data revealed that anime fans, bronies, and furries all show higher rates of diagnoses on the autism spectrum than rates observed in studies of the general population. Rates of mood and anxiety disorders were lower than that of the general population. Rates of attention-deficit/hyperactivity disorder were lower in anime and brony fandoms, but were not different from the general population for furry fans. Taken together, the results provide an exploratory look at mental health issues in fan communities and suggest both commonalities across fan groups and idiosyncrasies within particular fandoms.

The multiplatform Ni no Kuni (Bandai Namco, 2010/2013) represents anime studio Studio Ghibli's first dedicated video game project. Although Japanese video game company Level-5 developed Ni no Kuni, Ghibli contributed to the story and was responsible for its visual design. The game demonstrates not only Ghibli's distinct visual style, but it also shares with the studio's films similar themes (loss of innocence, youth empowerment, the relationship between nature and technology) and storytelling characteristics (a young hero and a synthesis of Eastern and Western elements). Beyond its aesthetic and narrative contributions, Studio Ghibli also provided Level-5 a means of differentiating itself within the contemporary Japanese video game industry, as several companies attempt to expand into the West in response to shifts in the domestic market. Likewise, Ghibli has been adjusting to its own shifts, including co-founder Hayao Miyazaki's retirement from feature films and the studio's subsequent hiatus on film productions. As such, Ni no Kuni represents a particularly significant example of convergence between the anime and video industries, as it suggests paths for both Studio Ghibli and Level-5, as they each look to diversify into new markets and revenue streams.

The proposed presentation focuses on Anglophone fandom dedicated to a Japanese transmedia franchise Weiß Kreuz. Over a span of ten years (1997-2007), manga series, anime series, OVA, a light novel and audio dramas were produced within the franchise, telling a story of four assassins working in a flower shop as a cover-up. Notable peculiarities of the series include a plentitude of internal inconsistencies and major continuity errors, including unaccounted gaps in the timeline and "plot holes so big you could drive a truck through". These flaws, however, do not seem to prevent the determined fans from appropriating the story and remaking it through fanfiction, often along the lines of BL (Boys' Love, or yaoi, featuring romantic/sexual relationship between male characters). On the contrary, the shortcomings of the canon in this case provide a sort of invitation for fan creativity. While dedicated fans enjoy engaging with the canon, they, nevertheless, are not blind to its flaws. They are willing to acknowledge and laugh at its inconsistencies and other failings, in both discussions and fanfiction, proving once again that fan appropriating and transforming of media productions is chiefly done for the fun of it.

La industria de animación japonesa ha ido evolucionando con el paso de los años a través de períodos significativos o artistas relevantes. En la actualidad, cuando se habla de animación japonesa, diferentes nombres pueden aparecer en la mente del espectador, pero, indudablemente, el Studio Ghibli gana cada vez más popularidad y, entre sus producciones, las de Hayao Miyazaki. El presente artículo realiza un análisis de la banda sonora original compuesta por Joe Hisaishi para la película titulada El viaje de Chihiro. Se busca pues, mediante una revisión de la industria musical para animación del país nipón, establecer los rasgos de estilo del compositor, además de exponer las características que cumple la música en dicho género. De esta forma se pretende indagar tanto en la obra de Miyazaki como en su relación con la banda sonora y el efecto que generan ambas en el espectador.

A paper presented to a class on the Greensburg campus sponsored by the National Consortium for Teaching about Asia and the Freeman Foundation in which I discussed and elaborated upon the historical and cultural origins and themes of manga and anime.

The purpose of this paper is to describe the so-called fansubs, a different type of subtitling carried out by amateur translators. The first part of this study covers both the people and phases involved in the fansubbing process from beginning to end. The second section focuses on the legality and ethics of fansubs. The third part pays attention to the actual translation of fansubs and their unique features, such as the use of translator’s notes or special karaoke effects. The paper concludes with a reflection on the work done by fansubbers and the possibilities opened by this mainly Internet phenomenon.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

http://sainsbury-institute.org/news-events/legislating-manga-workshop/

This talk will explore the implications of the Prohibited Images of Children section of the Coroners and Justice Act 2009 for Boys' Love and Yaoi in the UK. The British legislation will be set in context briefly with regard to the legal situation in North America, Australia, Japan and China. Anna is Chair of Qualitative Inquiry in the School of Psychology at the University of Leeds and is author of 'Boys’ Love manga for girls: Paedophilic, satirical, queer readings and English law' in Children, Sexuality and Sexualisation (2015). Her online BL fandom survey can be found at https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Su primera aparición fue en el comic Amazing Fantasy, en la edición de la revista número 15, el diez de agosto del sesenta y dos (1962). Peter vivía con sus tíos Ben y May después de que sus padres murieran cuando él era muy pequeño. En la escuela era un alumno excelente, pero era muy tímido y le costaba hacer amigos y no era nada popular. Durante una visita escolar a una exhibición científica, fue picado por una araña que había sido expuesta a los experimentos radiactivos que allí se llevaban a cabo. Esto provocó que paulatinamente adquiriera poderes sobrehumanos. La velocidad, fuerza y agilidad, proporcionales a las de una araña en su tamaño. Un sentido arácnido que le avisa de peligros y la habilidad de adherirse y desplazarse por cualquier muro o pared. Con sus conocimientos construye un mecanismo que le permite lanzar un viscoso producto químico a modo de telaraña. Disfrazado intentó probar sus poderes en una pelea de boxeo contra el famoso boxeador Hogan el Destructor (Joseph Hogan). Un productor de televisión ve como en el ring Peter vence a Hogan y lo contrata para su programa en el que realizaba peleas televisadas. De vuelta en su casa se diseña un traje colorido para que nadie sepa su identidad, llamándose Spider-Man. Un día, después de una exitosa actuación, Peter es testigo del robo de la recaudación del día, dejando pasar indiferentemente al ladrón, sin hacer nada para evitar su huida. El mismo día, su tío acaba siendo atracado y asesinado. Peter lleno de rabia busca al homicida. Cuando lo encuentra, descubre que es el mismo ladrón que dejó irse. Desde ese momento decidió luchar contra el crimen, bajo las últimas palabras que le dijo su tío. Un gran poder conlleva una gran responsabilidad. Después de que su tía enfermara, comienza a trabajar como fotógrafo en un periódico local llamado Daily Bugle (Diario el Clarín para Hispanoamérica) para ayudar en casa. Dicho periódico sacaba reportajes negativos sobre Spider-Man. Mientras conseguía un poco de dinero, Parker complementaba su afición por la fotografía con sus estudios de secundaria. manuelverdugo.com

In the present study we tested the hypothesis that cosplayers experience greater well-being than non-cosplayers within the anime fandom in part because they are more likely to disclose their fan identity to non-fans. Anime fans indicated whether they engaged in cosplaying or not, and rated the degree to which they disclose their anime fan identity to non-fans, satisfaction with life, self-esteem, and depression. Compared to non-cosplayers, cosplayers reported greater self-disclosure and better well-being across a number of indicators. Mediation analyses revealed that the relationship between cosplaying and well-being was consistently mediated by disclosure, a finding in-line with existing research. These are discussed within the context of existing research, providing both a conceptual replication of past findings from related fandoms (i.e., the furry fandom) while also suggesting a myriad of possible directions for future research on the subject.

The authors examined perceived discrimination directed toward one’s fan group and toward oneself in multiple groups of fans. Specifically, furries, bronies, anime fans, and a group of miscellaneous fans completed measures assessing the extent to which they perceived discrimination toward both their fan group and toward themselves. Across all samples, participants reported greater discrimination directed toward their fan group than toward themselves, suggesting denial of personal discrimination. The difference between personal discrimination and fandom discrimination is a reliable one, as suggested by its persistence despite considerable differences between the groups with regard to the level of societal stigma. The implications of these results and future directions for this line of research are discussed

It is the intent of this session to shed the spotlight on examples of Nordic-inspired medievalisms and to bring them into ongoing conversations and debates about the reception of the medieval in the post-medieval world. We are especially interested in the reach of Marvel’s versions beyond the United States and how other approaches to the material engage with, react to, or ignore Marvel’s work. In addition, we hope to include coverage of texts from non-Western media (like anime and manga) that have embraced the traditions of the Norse gods in innovative ways.

Interested individuals should submit, no later than 15 September 2018, (1) paper proposal or abstract of approximately 500 words, (2) a 250 to 500-word academic biographical narrative, and (3) a completed Participant Information Form (accessible at https://wmich.edu/medievalcongress/submissions) to the organizers at Comics.Get.Medieval@gmail.com using “More than Marvel” as their subject heading.

In planning your proposal, please be aware of the policies of the Congress (available at https://wmich.edu/medievalcongress/policies).

The films of Hayao Miyazaki drink from a series of fixed and constant influences. In this article we focus on knowing the specific influences that his film Spirited Away (2001) has received in order to understand to what extent the cultural production that Miyazaki is nourished from can intervene in his works. Thus, it is intended to establish relations between audiovisual story and folklore and Japanese tradition.

Los filmes de Hayao Miyazaki beben de una serie de influencias fijas y constantes. En este artículo nos centramos en conocer las influencias concretas que ha recibido su película El viaje de Chihiro (2001) para entender hasta qué punto la producción cultural de la que se nutre Miyazaki puede llegar a intervenir en sus obras. Así, se pretende establecer relaciones entre en relato audiovisual y el folclore y la tradición nipona.