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teensdemo · 2 years

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Is there any new stuff planned for the cowboy bebop series

Original anime series director Shinichirō Watanabe is a consultant on the series, and original composer Yoko Kanno returns to score the live-action adaptation.Ĭowboy Bebop is executive produced by André Nemec, Jeff Pinkner, Josh Appelbaum and Scott Rosenberg of Midnight Radio, Marty Adelstein and Becky Clements of Tomorrow Studios, Makoto Asanuma, Shin Sasaki and Masayuki Ozaki of Sunrise Inc., Tim Coddington, Tetsu Fujimura, Michael Katleman, Matthew Weinberg, and Christopher Yost. Production on Cowboy Bebop wrapped in March. So far, we’ve seen Kendall (Jeremy Strong) and Logan (Brian Cox) take their side and pick their players. The highly-anticipated live action adaptation has experienced delays over the course of production due to Cho’s on-set injury, which put the show out for seven to nine months. We have a lot of stuff planned for it that I cant even talk about right now, but its the most excited Ive been by podcasting. We’re entering Week 6 of Succession, and the drama is still coming. It’s been confirmed that Netflix’s Cowboy Bebop Season 2 TV show is already in the works and the first season of the live-action Cowboy Bebop remake has not even finished filming. Cowboy Bebop also features Geoff Stults, Tamara Tunie, Mason Alexander Park, Rachel House, Ann Truong and Hoa Xuande. a stellar job bringing this Blu-ray set to North America, and while it is THE. Netflix’s images also reveal the Bebop in its mechanical glory, Ein the experiment-turned-pet Corgi and a key scene between Spike and nemesis Vicious, who will be played by Alex Hassell. : Cowboy Bebop - The Complete Series : David Lucas, Wendee Lee. The only member of the original Bebop gang missing from the series so far is hacker protégé Edward, a.k.a.

It may be a kickass song, but you need a LOT of good songs to make it a good soundtrack).Dave Chappelle Met With Mixed Reactions From Students At Alma Mater On April 3, 1998, Cowboy Bebop premiered for the first time on Japanese TV and instantly changed the anime game forever. I dont like ecchi in general, not because I watch stuff with my brother haha.

All in the, sort of, bow related but some new gadgets he has in addition to the bow.' He went on to assure that Hawkeye is 'totally there' and 'a part of the world' That still doesnt tell us if hes actually going to appear in Infinity War or not. Were developing a lot of interesting stuff for him. My question is- could it be the best Soundtrack ever, beyond any game, movie, or special piece you've heard? And if not, what do you think is?(remember- one song can't make a good soundtrack. I can guarantee in the 2nd season of Soma, theres only one super mild 'ecchi' stuff in it since the judges of the competitions are now old men. 'Hawkeye is getting a lot of cool new stuff. Some of the greatest are the opening theme- "Tank!", the Final Theme, "See You Space Cowboy(a dramatic rendition of The Real Folk Blues, with different lyrics but same melody and feel), "Blue", the final episode's ending theme, and countless more songs I've enjoyed, from tons of different styles.Īnd now, as I rediscovered the soundtrack to the movie to Cowboy Bebop, I am once again reminded of the elegance, and power, by the song "Gotta Knock a Little Harder"(right through the door). LOL I feel like shit is about to go off the rails, but I’m enjoying the ride into the unknown. This series is, as the kids say, wildin’. Many of the songs from it are on my perma-playlist, and I have on tons of my CDs- and have only burned 2 that don't contain it. Episode 8’s got this show feeling like a straight comedy with the trio running over Jet’s plan. But, Bast holds power and cunning of unknown strength and ability. My favorite song holder place has long been held by "The Real Folk Blues", the standard ending theme to Cowboy Bebop. Wielding Dragnipur, the night-bladed sword, millenia of fighting experience, and the ability to turn into a dragon Anomander presents a daunting challange to Bast (cause he can turn into a freaking dragon).

#Is there any new stuff planned for the cowboy bebop series

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thousandhandbrightskycannon · 2 years

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I think it's time to blow this scene.

Get everybody and their stuff together.

Okay,

Let's jam

#toonami #DuDuDuDuDuDu #DmDmDmDmDm #Cowboy Bebop #1998 Sunrise Inc.

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psychothrillcologne · 3 years

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CLAUS BACHOR spinnin' NACHTAKTIV @ 674.fm Cologne 09-05-2020 Still no new "Post-Corona" club life in Germany! And so there is only one more recourse to one of the many 674.fm radio broadcasts hosted by Psycho Thrill Cologne. It doesn't always have to be the obvious peak-time tracks that make the sweat drip from the ceiling in the club. In his mix for the NACHTAKTIV collective in Cologne, Claus Bachor deliberately uses the category of tracks that DJs and vinyl nerds often only discovered for themselves at the second attempt and then made a club hit. Tracks that are no less hypnotic and just as natural at the end of the day, mesmerizing and hypnotizing every dancer and continue to do so. The following 27 vinyl club classics from 1994-2003 all turn out to be timeless in their own way, like "4evr young", simply efficient on today's floor. TRACK LISTING 01 CHRISTOPER JUST: Dobuito [ B2-track from “House 2” Cheap 12CHEAP 045 A 12” | 2004 ] 02 MEGALON [LAGGY PANTELLI & ZENO MESSIS]: Incantation [ B-side from “Semblance / Incantation” Plink Plonk Plk-003 UK Promo/WL-12” | 1993 ] 03 DEEPCHORD [ROD MODELL]: Electromagnetic Dowsing (The Final Step) _ Mike Huckaby remix 3 [ C-side from “E.D. (The Final Step)” SYNTH 001-C US ss Promo/BL-12” / Record Time | 2005 ] 04 DEEPCHORD: Electromagnetic Dowsing _ Mike Huckaby remix 2 [ B-side from “Electromagnetic Dowsing” SYNTH 001 US Promo/WL-12” / Record Time | 2005 ] 05 SHAKE [ANTHONY SHAKIR]: Breathe Deeper [ B-side from “Iconoclastic Diaries” Frictional Recordings FRCT-002 / Record Time Promo-WL-12” | 1995 ] 06 SUNRISE SOCIETY [ANDY SMITH & SIMON DONOHUE]: Astral Travel _ Sterac Remix [ B-side from “Matter” Pacific Records fic-010 UK Promo/WL-12” | 1997 ] 07 ACID SCOUT [RICHARD BARTZ]: Balance [ A-side from “Balance EP” Disko B DB-022 Promo/GRE-12” / EFA | 1994 ] 08 BILLY DALLESANDRO: Ocean Theme [ B-side from “Liquid Stimulationz” Force Inc. Music Works FIM-225 Promo/WL12” | 2002 ] 09 SYQUEST [DAMON WILD]: Centecon [ B1-track from “Freeforms EP” Synewave SW-008 Promo/WL-12” | 1995 ] 10 AUSGANG II [STEVE STOLL]: Untitled A [ A-side from “The Journey Continues ...” Synewave SW-006 UD Promo/WL-12” | 1994 ] 11 DAMON WILD & STEVE STOLL: Feed The Machine [ A-side from V.A. “New York To Midwest” Analog Records USA Analog-7 US Promo/WL-12” | 1994 ] 12 PLANET GONG [DYLAN HERMELIJN]: Phase Shiftin' [ B2-track from “The Love I Lost” Djax-Up-Beats DJAX-UP-311 Promo-12” | 1999 ] 13 DJ BOOM [Charles Webster & Matthew Herbert]: Kinda Kickin' [ Phonography GRAPH-05 UK ss Promo-12” | 1999 ] 14 PLANET GONG: Hurt Me, Hurt Me! [ A1-track from “The Love I Lost” Djax-Up-Beats DJAX-UP-311 Promo-12” | 1999 ] 15 EQUINOX [DAN WILD & PETER DEMARCO]: Into The Battle _ Joey Beltram Remix [ “Into The Battle J.B.Remix” Synewave SW-038 US ss Promo/WL-12” | 1998 ] 16 JOEL MULL: Untitled B2 [ B2-track from “Code Red 05” CODE RED 05 SWE 12” | 1998 ] 17 TITONTON DUVANTE: Inuendo _ Rue East (Mark Broom & Dave Hill) Remix [ B1-track from “Voyeurism Remix” STARBABY 002 US Promo/WL-12” | 1999 ] 18 AUBREY [ALLEN SAEI]: Stressed Squares [ A1-track from “Stressed Squares” Solid Groove SG-021 UK 12” | 2000 ] 19 JEFF MILLS: B2F-7 [ B2-track from “From The 21st Pt. 2” Axis AX-019 FV Promo/BL-12” | 2004 ] 20 ROBERT HOOD: Who Taught You Math? [ C1-track from “Point Blank” Peacefrog Records PFG-027LP UK 2x12” | 2002 ] 21 JEFF MILLS: Clark [ A1-track from “From The 21st Pt. 2” Axis AX-019 FV Promo/BL-12” | 2004 ] 22 MARK AMBROSE: Looney Rotator [ A2-track from “Stressed Squares” Solid Groove SG-021 UK 12” | 2000 ] 23 UNDERGROUND RESISTANCE: Sweat Electric _ Vocal [ A-side from “Sweat Electric” Somewhere In Detroit S.I.D.-001 / Submerge US 12” | 1994 ] 24 UNDERGROUND RESISTANCE: Lunar Rhythms [ A-side from “Soundpictures EP” Somewhere In Detroit S.I.D.-003 / Submerge US 12” | 1995 ] 25 M.I.A. feat. TEK BROTHERS [Ray7/ Raphael Merriweathers Jr. & André Womack]: All I See [ A-side from “All I See / Experiment 7” Local 3000 L-3000-5 / Submerge US 12” | 2003 ] 26 BRANDON CALLOWAY: Jit Beat #1 [ A-side from

“Jit Beats” Local 3000 L-3000-4 / Submerge US 12” | 2003 ] 27 THE FREAKAZOIDS [KEVIN LANCASTER, LEE COOMBS, NICK SLATER]: What Is A Dub? [ B-side from “What Is A DJ?” Zoid Recordings ZOID-006 UK Promo/WL-12” | 2000 ] All about Claus Bachor/ Psycho Thrill Cologne

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officialyourdailyinspiration · 3 years

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14 Your wives, your little ones, and your cattle shall remain in the land which Moses gave you on this side of the Jordan. But ye shall pass before your brethren armed, all the mighty men of valor, and help them 15 until the LORD shall have given your brethren rest, as He hath given you, and they also have possessed the land which the LORD your God giveth them. Then ye shall return unto the land of your possession and enjoy it, which Moses the LORD'S servant gave you on this side of the Jordan toward the sunrising." — Joshua 1:14-15 | Third Millennium Bible (TMB) Third Millennium Bible, New Authorized Version, Copyright 1998 by Deuel Enterprises, Inc. All rights reserved. Cross References: Exodus 13:18; Numbers 32:26; Deuteronomy 3:19-20; Joshua 1:1; Joshua 1:16; Joshua 22:4

#God #rest #Lord #giving #help #servant #kingdom #brotherhood #Book of Joshua #Joshua 1:14-15 #Old Testament #TMB #Third Millennium Bible #Deuel Enterprises Inc

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recentanimenews · 4 years

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Happy Birthday, Space Cowboy: A Shinichiro Watanabe Retrospective

Today we wish a very happy birthday to the Cowboy Bebop director, the one and only Shinichiro Watanabe! Watanabe-san has been a powerhouse in the world of anime for well over two decades, working with acclaimed studios such as Sunrise Inc., Studio Nue, and BONES. His mastery at blending Western and Eastern elements has earned Watanabe a devoted fanbase in many different countries. One of the most consistent aspects of Watanabe's catalog is his skill at successfully amalgamating a variety of genres from sci-fi to Westerns to comedy and more.

In honor of Watanabe's birthday, I'll be exploring the artistic depth of three anime from his impressive oeuvre and celebrating the very special spark that can be found in all his works. Read on for more!

Terror in Resonance (2014)

Terror in Resonance seems critically underappreciated when compared to some of Watanabe's other directorial efforts. Though it lacks the robust character development and sense of immersion found in his other titles, the series still retains many of the qualities that make Watanabe such a globally respected anime auteur.

Terror in Resonance follows two high-school-aged terrorists named Twelve and Nine as they plot a series of bombings in order to reveal the injustices enacted against them — and many other children — during a secret government operation called the Athena Plan. Along the way, a lonely girl named Lisa finds herself enwrapped in the boys' mission, and experiences camaraderie for the first time due to their presence.

The show's basic premise alone reflects Watanabe's willingness to explore uncommon thematic spaces by featuring literal terrorists as two of the main characters. Common in his other works as well, Watanabe invites viewers to feel compassion for characters who inhabit the outermost margins of societal acceptability. The show doesn't endorse Twelve and Nine's actions, but it does position them as isolated characters with real human attributes, acting coherently in retaliation to the incorrigible exploitation they faced as children. Twelve and Nine also make extreme efforts to make sure no one is killed due to their bombings, which serves as an empathetic deviation from standard depictions of terrorists as one-sided, monstrous caricatures.

Ultimately, Terror in Resonance features many trademarks of Watanabe's unique touch: compassionate explorations of loneliness, a tragic narrative interspersed with brief moments of beauty, and yet another gorgeous soundtrack by Yoko Kanno (a frequent collaborator with Watanabe).

Macross Plus (1995)

Watanabe made his directorial debut as co-director for Macross Plus working alongside Shoji Kawamori (the creator of the original Macross). This four-part OVA is the best flying mech, artifcial-intelligence-pop-music-gone-horribly-wrong redo of Top Gun I've ever seen. I remember I first saw it on the Starz Channel back in 2002 or 2003. It was fun to revisit the US dub recently with the fresh realization that Bryan Cranston — aka Walter White, our favorite fictional suburban meth dealer — did the voice acting for the main character Isamu. Isamu is like a more womanizing Spike from Cowboy Bebop, mixed with the arrogance of Mugen from Samurai Champloo, and is an early example of a recurrent protagonist-archetype in Watanabe's titles. The playful comedic qualities Watanabe would become known for were already apparent in much of Macross Plus, such as the scene when Isamu and his rival Bowman bring up old adolescent/high-school gripes while they're both engaged in an airborne mech-duel to the death.

Once again, Yoko Kanno's absolutely incredible score must be mentioned. The soundtrack ranges from orchestral music perfect for dogfights to emotional ballads and '90s trance (there's also a really cool reference to the Aphex Twin album "Selected Ambient Works 85-92" on a bus sign in one scene). Watanabe's first directorial outing already grapples with a subject near and dear to his heart: music. The last episode features an intense sequence involving an AI popstar named Sharon Apple, who takes control of everyone viewing her concert via seductive musical mind control. This scene explores a what-if scenario: an imagined future where technology meshes with the power of music for nefarious — rather than healing — ends. Either way, since Watanabe is a self-proclaimed "music freak," it's fun to watch him implement a plot device about just how disruptively powerful music can be (his most recent anime Carole and Tuesday tackles AI and pop music with a more neutral lens, as an FYI). Macross Plus is not to be missed.

Cowboy Bebop (1998)

I'll never forget what it was like to experience Cowboy Bebop for the very first time when it initially aired on Adult Swim in 2001. I must have been 12 or 13 at the time, and few pieces of media have made such a lasting impression on me. I was already extremely impressed even after seeing the first episode "Asteroid Blues," but it's the fifth episode entitled "Ballad of Fallen Angels" — where viewers are introduced for the first time to the central antagonist Vicious — that completely sold me on the series.

"Ballad of Fallen Angels" culminates in a climactic battle that takes place in a church, with the main character Spike duking it out against Vicious and his goons. The most memorable moment for me is the scene when Spike is thrown out of the top of the church by Vicious. Spike falls in slow-motion as viewers are treated to a montage of his tragic crime syndicate past and his relationship with his lost love Julia. It's such a stunning moment that perfectly echoes the old creative writing adage "show don't tell," since it subtly expresses so much about Spike's life without explicitly battering it over your head. The scene speaks volumes in just a few wordless seconds, with no sounds to be heard at all other than Yoko Kanno's gorgeous choir and piano-based track "Green Bird." I've drifted toward arthouse movies as I've grown older, and I truly think the aforementioned scene was my first time experiencing the ineffable artfulness that I find in the experimental films that move me most. It feels a little silly and overblown to say, but the sequence feels like it contains a large spectrum of life — love, hate, sadness, memories, dreams, etc.

Cowboy Bebop is a show that abounds with moments like this. There are so many moving scenes rich in an atmospheric tenderness that aches with longing, loneliness, and beauty. Intimate scenes where characters in interstellar ships stare quietly at a sea of stars. A view of someone smoking a cigarette alone in a dimly lit alleyway. Or something like the ending of "Waltz for Venus," when a music box-esque song plays while Spike gazes into the sky as spores that can blind drift downward like snow.

I could go on and on about the series — the masterful quality of Keiko Nobumoto's screenplay, the riveting action sequences and lovable characters, the expert blend of genres coupled with breathtaking animation and music, and how Spike's somewhat Buddhist philosophy (whatever happens, happens) influenced my own. Cowboy Bebop truly deserves all the praise and is undoubtedly one of the best animated works of all time.

So here's to you Shinichiro Watanabe. I hope you have a birthday as stunning and cool as the anime you've graced the world with.

What else do you love by Shinichiro Watanabe, and why? Sounds off in the comments below!

Do you love anime? Do you love writing? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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dweemeister · 5 years

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A list of all films featured in 2019′s 31 Days of Oscar

This is the exhaustive list of all 388 short- and feature-length films featured during this year’s 31 Days of Oscar marathon (up from 296 last year). Best Picture winners and the one (and only) winner for Unique and Artistic Production are in bold. Asterisked (*) films are films I haven’t seen in their entirety as of the publishing of this post.

Sunrise: A Song of Two Humans (1927)

Two Arabian Knights (1927)*

The Crowd (1928)

Sadie Thompson (1928)*

Speedy (1928)

Street Angel (1928)

A Woman of Affairs (1928)

White Shadows in the South Seas (1928)*

The Broadway Melody (1929)

The Divine Lady (1929)*

Weary River (1929)*

All Quiet on the Western Front (1930)

The Big House (1930)

The Doorway to Hell (1930)*

Flight Commander (1930)*

The Criminal Code (1931)*

Little Caesar (1931)

The Public Enemy (1931)

Flowers and Trees (1932 short)

Grand Hotel (1932)

What Price Hollywood? (1932)*

42nd Street (1933)

Gold Diggers of 1933 (1933)

Morning Glory (1933)*

The Private Life of Henry VIII (1933)*

Cleopatra (1934)*

Imitation of Life (1934)

It Happened One Night (1934)

Manhattan Melodrama (1934)*

The Thin Man (1934)

Alice Adams (1935)*

Captain Blood (1935)

A Midsummer Night’s Dream (1935)*

Top Hat (1935)

Dodsworth (1936)

Fury (1936)*

The Great Ziegfeld (1936)

Libeled Lady (1936)

Mr. Deeds Goes to Town (1936)

Captains Courageous (1937)

Night Must Fall (1937)*

The Prisoner of Zenda (1937)

A Star Is Born (1937)

Way Out West (1937)*

The Adventures of Robin Hood (1938)

Boys Town (1938)

Merrily We Live (1938)*

Pygmalion (1938)

You Can’t Take It with You (1938)

Beau Geste (1939)

Dark Victory (1939)

Gone with the Wind (1939)

Goodbye, Mr. Chips (1939)

Gulliver’s Travels (1939)

Lady of the Tropics (1939)*

Mr. Smith Goes to Washington (1939)

Ninotchka (1939)

Only Angels Have Wings (1939)*

Stagecoach (1939)

The Wizard of Oz (1939)

Wuthering Heights (1939)*

Young Mr. Lincoln (1939)

The Great McGinty (1940)

The Mark of Zorro (1940)

Night Train to Munich (1940)*

Our Town (1940)

The Philadelphia Story (1940)

Rebecca (1940)

Strike Up the Band (1940)

The Thief of Bagdad (1940)

Waterloo Bridge (1940)

Dumbo (1941)

Here Comes Mr. Jordan (1941)

Suspicion (1941)

Bambi (1942)

Casablanca (1942)

Johnny Eager (1942)*

Kings Row (1942)*

The Magnificent Ambersons (1942)

Mrs. Miniver (1942)

Now, Voyager (1942)

Random Harvest (1942)

To Be or Not to Be (1942)

Yankee Doodle Dandy (1942)

The Desert Song (1943)*

The Human Comedy (1943)*

Lassie Come Home (1943)

The Ox-Bow Incident (1943)

The Song of Bernadette (1943)

Henry V (1944)*

Lifeboat (1944)

National Velvet (1944)

Anchors Aweigh (1945)

Blithe Spirit (1945)*

Brief Encounter (1945)

The Lost Weekend (1945)

They Were Expendable (1945)*

The Best Years of Our Lives (1946)

The Harvey Girls (1946)

It’s a Wonderful Life (1946)

The Stranger (1946)*

First Steps (1947)*

Forever Amber (1947)*

Life with Father (1947)*

The Perils of Pauline (1947)*

Bicycle Thieves (1948, Italy)

Hamlet (1948)

The Naked City (1948)

The Red Shoes (1948)

I Remember Mama (1948)

Romance on the High Seas (1948)*

Adam’s Rib (1949)*

Battleground (1949)

The Heiress (1949)

A Letter to Three Wives (1949)*

Mighty Joe Young (1949)*

On the Town (1949)

She Wore a Yellow Ribbon (1949)

The Stratton Story (1949)*

The Third Man (1949)

White Heat (1949)

All About Eve (1950)

Broken Arrow (1950)*

Destination Moon (1950)*

Mystery Street (1950)*

Rashômon (1950, Japan)

An American in Paris (1951)

Royal Wedding (1951)

Show Boat (1951)*

Strangers on a Train (1951)

High Noon (1952)

The Quiet Man (1952)

Umberto D. (1952, Italy)

The Band Wagon (1953)

The 5,000 Fingers of Dr. T (1953)*

From Here to Eternity (1953)

Julius Caesar (1953)*

Lili (1953)

Little Fugitive (1953)*

Little Johnny Jet (1953 short)*

Titanic (1953)*

Brigadoon (1954)

La Strada (1954, Italy)

On the Waterfront (1954)

Seven Brides for Seven Brothers (1954)

Seven Samurai (1954, Japan)

A Star Is Born (1954)

Blackboard Jungle (1955)

It’s Always Fair Weather (1955)

Marty (1955)

Speedy Gonzales (1955 short)

To Catch a Thief (1955)

Around the World in 80 Days (1956)

The Bespoke Overcoat (1956 short)*

Forbidden Planet (1956)

Lust for Life (1956)

Somebody Up There Likes Me (1956)*

The Bridge on the River Kwai (1957)

Funny Face (1957)

Gunfight at the O.K. Corral (1957)

12 Angry Men (1957)

The Defiant Ones (1958)

Gigi (1958)

Mon Oncle (1958, France)

The Young Lions (1958)*

Ben-Hur (1959)

South Pacific (1958)

The 400 Blows (1959, France)

North by Northwest (1959)

Inherit the Wind (1960)

Macario (1960, Mexico)*

The Time Machine (1960)

Breakfast at Tiffany’s (1961)

The Children’s Hour (1961)*

Judgment at Nuremberg (1961)

Through a Glass Darkly (1961, Sweden)*

West Side Story (1961)

Days of Wine and Roses (1962)

How the West Was Won (1962)

Lawrence of Arabia (1962)

The Longest Day (1962)

The Miracle Worker (1962)

To Kill a Mockingbird (1962)

What Ever Happened to Baby Jane? (1962)

Bye Bye Birdie (1963)

Charade (1963)

Cleopatra (1963)

The Leopard (1963, Italy)

Tom Jones (1963)*

Yesterday, Today and Tomorrow (1963, Italy)*

A Hard Day’s Night (1964)

Mary Poppins (1964)

My Fair Lady (1964)

The Pink Phink (1964 short)*

The Umbrellas of Cherbourg (1964, France)

Doctor Zhivago (1965)

A Patch of Blue (1965)*

The Sound of Music (1965)

The Battle of Algiers (1966, Algeria)

Fantastic Voyage (1966)

Grand Prix (1966)*

A Man for All Seasons (1966)

The Professionals (1966)

Bonnie and Clyde (1967)

The Dirty Dozen (1967)

Doctor Dolittle (1967)*

In the Heat of the Night (1967)

Two for the Road (1967)*

Bullitt (1968)*

Funny Girl (1968)

The Heart Is a Lonely Hunter (1968)*

The Lion in Winter (1968)*

Oliver! (1968)

It’s Tough to Be a Bird (1969 short)*

The Magic Machines (1969 short)*

Marooned (1969)*

Midnight Cowboy (1969)*

The Great White Hope (1970)*

I Girasoli (1970, Italy)*

Investigation of a Citizen Above Suspicion (1970, Italy)*

Patton (1970)

Tora! Tora! Tora! (1970)

Fiddler on the Roof (1971)

The French Connection (1971)

The Last Picture Show (1971)*

The Godfather (1972)

Sounder (1972)

Travels with My Aunt (1972)*

The Day of the Dolphin (1973)*

The Way We Were (1973)*

Blazing Saddles (1974)

Nashville (1975)

Harlan County U.S.A. (1976)

Network (1976)

The Slipper and the Rose (1976)

Taxi Driver (1976)

Close Encounters of the Third Kind (1977)

Smokey and the Bandit (1977)

California Suite (1978)*

Superman (1978)

The Black Hole (1979)

The Black Stallion (1979)

Kramer vs. Kramer (1979)

A Little Romance (1979)

Every Child (1979 short)

Star Trek: The Motion Picture (1979)

Atlantic City (1980)*

Kagemusha (1980, Japan)

Das Boot (1981, Germany)

Raiders of the Lost Ark (1981)

Annie (1982)

Tron (1982)

Victor/Victoria (1982)*

Blue Thunder (1983)*

Amadeus (1984)

Dune (1984)*

The Times of Harvey Milk (1984)

Agnes of God (1985)*

Back to the Future (1985)

Legend (1985)*

My Life as a Dog (1985, Sweden)

Silverado (1985)*

Hoosiers (1986)

Star Trek IV: The Voyage Home (1986)

Au revoir les enfants (1987, France)

The Last Emperor (1987)

The Princess Bride (1987)

The Untouchables (1987)*

Stand and Deliver (1988)

Willow (1988)*

Do the Right Thing (1989)

For All Mankind (1989)

Glory (1989)

Henry V (1989)

When Harry Met Sally… (1989)*

Dances with Wolves (1990)

Misery (1990)*

Beauty and the Beast (1991)

The Prince of Tides (1991)*

Star Trek VI: The Undiscovered Country (1991)

Terminator 2: Judgment Day (1991)

A River Runs Through It (1992)

Toys (1992)*

Unforgiven (1992)

The Age of Innocence (1993)*

Philadelphia (1993)*

The Remains of the Day (1993)

Schindler’s List (1993)

Legends of the Fall (1994)

Three Colors: Red (1994, France/Poland)

Mr. Holland’s Opus (1995)

Hamlet (1996)

Sleepers (1996)*

Star Trek: First Contact (1996)

Children of Heaven (1997, Iran)

Four Days in September (1997, Brazil)*

Titanic (1997)

Saving Private Ryan (1998)

The Sixth Sense (1999)*

South Park: Bigger, Longer & Uncut (1999)

Toy Story 2 (1999)

Erin Brokovich (2000)*

O Brother, Where Art Thou? (2000)*

Harry Potter and the Sorcerer’s Stone (2001)

The Lord of the Rings: The Fellowship of the Ring (2001)

Monsters Inc. (2001)

Y Tu Mamá También (2001, Mexico)*

Chicago (2002)

Big Fish (2003)*

I, Robot (2004)*

The Phantom of the Opera (2004)

Walk the Line (2005)*

The Danish Poet (2006)*

Little Miss Sunshine (2006)

Pan’s Labyrinth (2006, Mexico)

Persepolis (2007, France/Iran)

The Curious Case of Benjamin Button (2008)*

The Dark Knight (2008)

Frost/Nixon (2008)*

Man on Wire (2008)*

Milk (2008)*

The Reader (2008)*

Slumdog Millionaire (2008)

The Wrestler (2008)*

The Secret in Their Eyes (2009, Argentina)*

Biutiful (2010, Mexico)*

How to Train Your Dragon (2010)

The Artist (2011, France)

Hugo (2011)

A Separation (2011, Iran)

The Act of Killing (2012, Indonesia/Norway/Denmark)*

Frankenweenie (2012)*

Life of Pi (2012)

Lincoln (2012)

Skyfall (2012)

Ida (2013, Poland)

Inside Llewyn Davis (2013)

12 Years a Slave (2013)

American Sniper (2014)

Interstellar (2014)

Song of the Sea (2014)

Creed (2015)

Mad Max: Fury Road (2015)

The Revenant (2015)

Spotlight (2015)

We Can’t Live Without Cosmos (2015 short, Russia)

World of Tomorrow (2015 short)

Ennemis intérieurs (2016 short, France)

Fences (2016)

Moonlight (2016)

My Life as a Zucchini (2016, Switzerland)

Pearl (2016 short)

Baby Driver (2017)*

Dunkirk (2017)

Loving Vincent (2017)

The Shape of Water (2017)

At Eternity’s Gate (2018)*

The Ballad of Buster Scruggs (2018)

Cold War (2018, Poland)

Hale County This Morning, This Evening (2018)*

Mary Poppins Returns (2018)

Shoplifters (2018, Japan)

Spider-Man: Into the Spider-Verse (2018)

The eight nominees for Best Picture, including the winner, Green Book (2018)

The fifteen nominees for the short film categories (2018)

#31 Days of Oscar

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fatehbaz · 5 years

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Some of these sources might be useful for anyone interested in indigenous Polynesian and Micronesian ethnobotany, folklore, and astronomy:

Abbott, Isabella A. “Polynesian Uses of Seaweed.” In Islands, Plants, and Polynesians: An Introduction to Polynesian Ethnobotany. Edited by Paul Alan Cox and Sandra Anne Bannack. Portland, Oregon: Dioscorides Press, 1991.

Alencar, Victor Aves. “Sky Observation and Mythology: Paths to an Astronomical Culture.” Proceedings of the International Astronomical Union Volume 5 Issue S260, 207-212.

Allen, Melinda S. “Coastal Morphogenesis, Climatic Trends, and Cook Islands Prehistory.” In Cultural Ecology in the Pacific Islands. Edited by Patrick V. Kirch and Terry L. Hunt. New Haven: Yale University Press, 1997.

Alpers, Antony. Legends of the South Sea: The World of the Polynesians seen through their Myths and Legends, Poetry and Art. New York: Thomas Y. Crowell Company, 1970.

Anderson, Atholl. “Epilogue: Changing Archaeological Perspectives upon Historical Ecology in the Pacific Islands.” Pacific Science 63:4 (2009).

Aswani, Shankar and Michael W. Graves. “The Tongan Maritime Expansion: A Case in the Evolutionary Ecology of Social Complexity.” Asian Perspectives 37:2 (1998).

Aveni, Anthony. People and the Sky (Our Ancestors and the Cosmos). New York: Thames and Hudson Inc., 2008.

Bannack, Sandra Anne. “Plants and Polynesian Voyaging.” In Islands, Plants, and Polynesians: An Introduction to Polynesian Ethnobotany, edited by Paul Alan Cox and Sandra Anne Bannack. Portland, Oregon: Dioscordes Press, 1991.

Beckwith, Martha. Hawaiian Mythology. Honolulu: University of Hawaii Press, 1977.

Black, Sharon, Thomas Wright and Lynnette Erickson. “Polynesian Folklore: An Alternative to Plastic Toys.” Children’s Literature in Education 32:2 (2001).

Buck, Peter H. Vikings of the Sunrise. New York: Stokes, 1938.

Burley, David V. “Archaeological Demography and Population Growth in the Kingdom of Tonga: 950 BC to the Historical Era.” In The Growth and Collapse of Pacific Island Societies: Archaeological and Demographic Perspectives. Edited by Patrick V. Kirch and Jean-Louis Rallu. Honolulu: University of Hawaii Press, 2008.

Connell, John. “Island Dreaming: The Contemplation of Polynesian Paradise.” Journal of Historical Geography 29:4 (2003).

Coppett, Daniel and Andre Iteanu. Cosmos and Society in Oceania (Explorations in Antrhopology). Oxford: Berg Publishers, 1995.

Couper, Alastair. Sailors and Traders: A Maritime History of the Pacific Peoples. Honolulu: University of Hawaii Press, 2009.

Crawford, Peter. Nomads of the Wind: A Natural History of Polynesia. London: BBC Books, 1993.

Cunningham, Sean P. “A Story of Yams, Worms, and Change from Ancestral Polynesia.” The Journal of Island and Coastal Archaeology 7:2 (2012).

D’Arcy, Paul. The People of the Sea: Environment, Identity, and History in Oceania. Honolulu: University of Hawaii Press, 2006.

Despland, Michel. “Two Ways of Articulating Outsider’s Knowledge of Polynesian Culture and Religion: Melville’s Typee and Mardi.” Method and Theory in the Study of Religion 16:2 (2004).

Devall, Bill and George Sessions. Deep Ecology: Living as if Nature Mattered. Layton, Utah: Gibbs Smith, 1985.

Edwards, Edmundo. “Astronomically-aligned Religious Structures on Raiatea and Raivavae and the Matariki Festival of 1770 on Easter Island.” Proceedings of the International Astronomical Union Volume 7, Symposium S278 (2011).

Eliade, Mircea. “Nostalgia for Paradise.” In The Inner Journey: Myth, Psyche, and Spirit (PARABOLA Anthology Series). Edited by Martha Heyneman. Series Editor: Ravi Ravindra. Sandpoint, Idaho: Morning Light Press, 2008.

Filihia, Meredith. “Shamanism in Tonga: An Assessment.” The Journal of Polynesian Society 117:4 (2008).

Finney, Ben. “Myth, Experiment, and the Reinvention of Polynesian Voyaging.” American Anthropologist 93:2 (1991).

Gladwin, Thomas. East is a Big Bird: Navigation and Logic on Puluwat Atoll. Cambridge, Massachusetts: Harvard University Press, 1970.

Glavin, Terry. The Last Great Sea: A Voyage through the Human and Natural History of the North Pacific Ocean. Vancouver, British Columbia: Greystone Books, 2000.

Gooley, Tristan. The Natural Navigator: The Rediscovered Art of Letting Nature Be Your Guide. New York: The Experiment, 2012.

Goto, Akira. “Archaeoastronomy and ethnoastronomy in the Ryuku Islands: A preliminary report.” Proceedings of the International Astronomical Union Volume 7, Symposium S278 (2011).

Grimble, Arthur. “Gilbertese Astronomy and Astronomical Observations.” Journal of the Polynesian Society 40 (1931).

Grimble, Arthur. Migrations, Myth and Magic from the Gilbert Islands. London: Routledge, 1972.

Groube, L.M. “Tonga, Lapita Pottery, and Polynesian Origins.” Journal of Polynesian Society 80:3 (1971).

Gunson, Niel. “A Note on Oceanic Shamanism.” Journal of the Polynesian Society 119:2 (2010).

Gunson, Niel. “Understanding Polynesian Traditional History.” The Journal of Pacific History 28:2 (1993).

Hamacher, Duane W. and Ray P. Norris. “‘Bridging the Gap’ through Australian Cultural Astronomy.” Proceedings of the International Astronomical Union Volume 7, Symposium S278 (2011).

Hames, Raymond. “The Ecologically Noble Savage Debate.” Annual Review of Anthropology 36 (2007).

Heyerdahl, Thor. Early Man and the Ocean (A Search for the Beginnings of Navigation and Seaborne Civilizations). Garden City, NY: Doubleday & Company, 1979.

Irwin, Geoffrey. The Prehistoric Exploration and Colonisation of the Pacific. Cambridge: Cambridge University Press, 1996.

Kahn, Miriam. “Tahiti: The Ripples of Myth on the Shores of the Imagination.” In History and Anthropology 11:4 (2003).

Kalakaua, His Hawaiian Majesty King David. “Hina: The Helen of Hawaii.” In The Legends and Myths of Hawaii. Edited by R.M. Daggett. Honolulu: Mutual Publishing, 1997.

Kelley, David H. and Eugene F. Milone. Exploring Ancient Skies: A Survey of Ancient and Cultural Astronomy. New York: Springer New York, 2011.

Kirch, Patrick V. “Changing Landscapes and Sociopolitcal Evolution in Mangaia, Central Polynesia.” In Historical Ecology in the Pacific Islands. Edited by Patrick V. Kirch and Terry L. Hunt. New Haven: Yale University Press, 1997.

Kirch, Patrick V. The Evolution of the Polynesian Chiefdoms. Cambridge: Cambridge University Press, 1984.

Kirch, Patrick V. “’Like Shoals of Fish’: Archaeology and Population in Pre-Contact Hawaii.” In The Growth and Collapse of Pacific Island Societies: Archaeological and Demographic Perspectives. Edited by Patrick V. Kirch and Jean-Louis Rallu. Honolulu: University of Hawaii Press, 2008.

Kirch, Patrick V. “Solstice observations in Mangareva, French Polynesia.” Archeoastronomy: the Journal of Astronomy in Culture 18 (2004).

Kirch, Patrick V. “Temple Sites in Kahi Kinui, Maui, Hawaiian Islands: Their Orientations Decoded.” Antiquity 78:299 (2004).

Kirch, Patrick V. and Jean-Louis Rallu. “Long-term Demographic Evolution in the Pacific Islands.” In The Growth and Collapse of Pacific Island Societies: Archaeological and Demographic Perspectives. Edited by Patrick V. Kirch and Jean-Louis Rallu. Honolulu: University of Hawaii Press, 2008.

Ladefoged, Thegn N. and Michael W. Graves. “Modelling Agricultural Development and Demography in Kohala, Hawaii.” In The Growth and Collapse of Pacific Island Societies: Archaeological and Demographic Perspectives. Edited by Patrick V. Kirch and Jean-Louis Rallu. Honolulu: University of Hawaii Press, 2008.

Lessa, William A. “Origins.” In More Tales from Ulithi Atoll: A Content Analysis. Edited by William A. Lessa. Berkely: University of California Press, 1980.

Lewis, David. “A Return Voyage between Puluwat and Saipan using Micronesia Navigational Techniques.” Journal of Polynesian Sociology 80:4 (1971).

Lewis, David. “Voyaging Stars: Aspects of Polynesian and Micronesian Astronomy.” Philosophical Transactions of the Royal Society of London: Series A, Mathematical and Physical Sciences 276:1257 (1974).

Lewis, David H. We, the Navigators: The Ancient Art of Landfinding in the Pacific. London: Angus and Robertson, 1972.

Luomala, Katharine. Ethnobotany of the Gilbert Islands. Honolulu: Bernice P. Bishop Museum, 1953.

Magli, Giulio. Mysteries and Discoveries of Archaeoastronomy (From Giza to Easter Island). New York: Copernicus Books, 2009.

Makemson, Maud Worcester. The Morning Star Rises: An Account of Polynesian Astronomy. New Haven: Yale University Press, 1941.

Malnic, Jutta with John Kasaipwalova. Kula: Myth and Magic in the Trobriand Islands. Wahroonga, NSW: Cowrie Books, 1998.

Mawyer, Alexander. “The Oceanic Drift in Polynesian Linguistics.” Language and Communication 28:4 (2008).

McLuhan, T.C. The Way of the Earth: Encounters with Nature in Ancient and Contemporary Thought. New York: Simon and Schuster, 1994.

Mercer, P.M. “Oral Tradition in the Pacific: Problems of Interpretation.” The Journal of Pacific History 14:3 (1979).

Neves-Graca, Katja. “Elementary Methodological Tools for a Recursive Approach to Human-Environmental Relations.” In Person, Space and Memory in the Contemporary Pacific: Volume 1: Experiencing New Worlds. Edited by Jurg Wassmann and Katharina Stockhaus. Oxford: Bergham Books, 2007.

Nunn, Patrick D. “Fished Up or Thrown Down: The Geography of Pacific Island Origin Myths.” Annals of the Association of American Geographers 93:2 (2003).

Nunn, Patrick D. “On the Convergence of Myth and Reality: Example from the Pacific Islands.” The Geographical Journal 167:2 (2001).

Oliver, Douglas L. Ancient Tahitian Society: Social Relations. Honolulu: University of Hawaii Press, 1974.

Oliver, Douglas L. Oceania (The Native Cultures of Australia and the Pacific Islands). Honolulu: University of Hawaii Press, 1989.

Penprase, Bryan E. The Power of Stars (How Celestial Observations Have Shaped Civilization). London: Springer, 2011.

Poignant, Roslyn. “Polynesia.” In Oceanic Mythology: The Myths of Polynesia, Melanesia, Australia. Edited by Roslyn Poignant. London: Paul Hamlyn, 1967.

Ragone, Diane. “Ethnobotany of Breadfruit in Polynesia.” In Islands, Plants, and Polynesians: An Introduction to Polynesian Ethnobotany. Edited by Paul Alan Cox and Sandra Anne Bannack. Portland, Oregon: Dioscorides Press, 1991.

Rallu, Jean-Louis. “Pre- and Post-Contact Population in Island Polynesia: Can Projections Meet Retrodictions?” In The Growth and Collapse of Pacific Island Societies: Archaeological and Demographic Perspectives. Edited by Patrick V. Kirch and Jean-Louis Rallu. Honolulu: University of Hawaii Press, 2008.

Ryan, Anna. Where Land Meets Sea: Coastal Explorations of Landscape, Representation and Spatial Experience. Farnham, England: Ashgate Publishing Limited, 2012.

Sahlins, Marshall D. Social Stratification in Polynesia. Seattle: University of Washington Press, 1958.

Smith, W. Ramsay. Myths and Legends of the Australian Aborigines. Mineola, New York: Dover Publications, Inc., 2003.

Stone, Benjamin C. “The Role of Pandanus in the Culture of the Marshall Islands.” In Plants and the Migrations of Pacific Peoples: A Symposium. Edited by Jacques Barrau. Honolulu: Bishop Museum Press, 1963.

Strathern, Andrew and Pamela J. Stewart. “Actors and Actions in ‘Exotic’ Places.” In Person, Space and Memory in the Contemporary Pacific: Volume 1: Experiencing New World. Edited by Jurg Wassmann and Katharina Stockhaus. Oxford: Bergham Books, 2007.

Suggs, Robert C. The Island Civilizations of Polynesia. New York: The New American Library, 1960.

Titcomb, Margarex (with the collaboration of Mary Kawena Pukui). Dog and Man in the Ancient Pacific with Special Attention to Hawaii. Honolulu: Bernice P. Bishop Museum, 1969.

Tuljapurkar, Shirpad, Charlotte Lee and Michelle Figgs. “Demography and Food in Early Polynesia.” In The Growth and Collapse of Pacific Island Societies: Archaeological and Demographic Perspectives. Edited by Patrick V. Kirch and Jean-Louis Rallu. Honolulu: University of Hawaii Press, 2008.

Williamson, Robert W. Religious and Cosmic Beliefs of Central Polynesia. London: Cambridge University Press, 1933.

Winduo, Steven Edmund. “Unwriting Oceania: The Repositioning of the Pacific Writer Scholars within a Folk Narrative Space.” New Literary History 31:3 (2000).

Whistler, Dr. W. Arthur. Polynesian Herbal Medicine. Lawai, Hawaii: National Tropical Botanical Garden, 1992.

My first thesis was about Oceanian environmental knowledge. These are some of the better references I have come across. Two of the most authoritative researchers of early Polynesian knowledge are David Lewis (expert on wayfinding) and Patrick V. Kirch (expert on ethnobotany and land-use); they dominate most bibliographies on the subject. I also like the work of Patrick Nunn, who focuses more on Polynesian folklore.

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drivebyanon · 5 years

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Cowboy Bebop is coming to Netflix as an all-new live-action TV series.

The streaming service has greenlit a show based on the original 1998 Japanese animated series.

A live-action version was previously reported last summer as in development, but without a distributor or series order.

Here’s the official description: “Based on the worldwide phenomenon from Sunrise Inc., Cowboy Bebop is the jazz-inspired, genre-bending story of Spike Spiegel, Jet Black, Faye Valentine, and Radical Ed: a ragtag crew of bounty hunters on the run from their pasts as they hunt down the solar system’s most dangerous criminals. They’ll even save the world… for the right price.”

#Cowboy Bebop #Oh this is exciting and scary #Don't fuck it up #Animation

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geekcavepodcast · 5 years

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Live-Action “Cowboy Bebop” Series Coming to Netflix

Netflix had green-lit a 10-episode live-action series based on Cowboy Bebop. Shinichiro Watanabe, the director of the original anime will serve as a consultant on the series. Christopher Yost (Thor: Ragnarok) will write the first episode and serve as an executive producer.

Cowboy Bebop follows Spike Spiegel, Jet Black, Faye Valentine, and Radical Ed, a “rag-tag crew of bounty hunters on the run from their pasts as they hunt down the solar system;s most dangerous criminals. They’ll even save the world...for the right price.” (via Netflix)

Midnight Radio’s Andre Nemec, Josh Appelbaum, Jeff Pinkner, and Scott Rosenberg will executive produce and serve as showrunners on the series, which is a co-production of Netflix and Tomorrow Studios. Tomorrow Studios’ Marty Adelstein and Becky Clements, Sunrise Inc’s Yasuo Miyakawa, Masayuki Ozaki, and Shin Sasaki, as well as Tetsu Fujimura and Matthew Weinberg are also executive producing.

(Image from 1998 Cowboy Bebop)

#TGCLiz #cowboy bebop #shinichiro watanabe #christopher yost #netflix #tomorrow studios #spike spiegel #jet black #faye valentine #radical ed #midnight radio #sunrise inc

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negara-my-id · 3 years

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Animax Japan (English Subs)

Negaraku Indonesia Animax Japan (English Subs)

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Tentang Animax

Animax Japan (アニマックス) adalah sebuah jaringan televisi satelit di Jepang yang didirikan dan dimiliki oleh Sony Corporation untuk produksi dan penyiaran anime. Animax berkantor pusat di Minato, Tokyo, Jepang. Saham perusahaan ini dimiliki oleh Sony Pictures Entertainment, Sunrise Inc., Toei Animation Inc., TMS Entertainment Inc., and Nihon Ad Systems Inc.

Siaran Operasi Animax

Animax beroperasi di Jepang, Taiwan, Hong Kong, Korea Selatan, Asia Tenggara (termasuk Indonesia), Asia Selatan, dan Amerika Latin. Animax adalah jaringan pertama dan terluas yang diperuntukkan anime selama 24 jam di seluruh dunia. Nama “Animax” diambil dari kata anime (アニメ) dan max (マックス).

Sejarah Animax Jepang

Negara Jepang

Didirikan pada 20 Mei 1998 oleh Sony, Animax Broadcast Japan Inc. (株式会社アニマックスブロードキャスト・ジャパン Kabushiki-gaisha Animakkusu Burōdokyasuto Japan) disiarkan pertama kali di Jepang pada 1 Juni 1998 pada televisi satelit SKY PerecTV. Salah satu pendirinya adalah Yoshirō Kataoka, seorang prduser dan desainer anime yang terkenal.

Animax juga melakukan kerja sama dengan salah satu pemrakarsa anime, Osamu Tezuka, Studio Pierrot, Nippon Animation, dan lainnya. Animax telah berjasa dalam produksi beberapa serial anime seperti Ghost in the Shell: Stand Alone Complex, Ultra Maniac, Astro Boy, Hungry Heart: Wild Striker, Aishiteruze Baby, Shakugan no SHANA, dan lainnya.

Selebriti Jepang tekenal juga pernah tampil di Animax termasuk aktris Natsuki Kato dan seiyū Yukari Tamura. Animax juga mengadakan beberapa acara bertemakan anime dan konser seperti sebuah konser tahunan yang selalu diadakan di ZEPP Tokyo dan Animax Taishō (アニマックス大賞), sebuah kompetisi penulisan naskah anime tahunan yang diadakan sejak 2002.

Acara Animax Taishō telah menghasilkan penulis yang terkenal seperti Lily to Kaeru to (Ototo) (リリとカエルと（弟） Riri to Kaeru to (Ototo)), yang diproduksi Toei Animation; Hotori ~ Tada Saiwai wo Koinegau (ほとり～たださいわいを希う。～), diproduksi oleh Sunrise; Azusa, Otetsudai Shimasu! (アズサ、お手伝いします！), diproduksi oleh TMS Entertainment; dan Super Kuma-san (スーパークマさん), diproduksi oleh Toei Animation.

Wilayah Asia

Animax ditayangkan berbeda di Asia, terutama pada bahasa. Pertama kali Animax diluncurkan di Taiwan pada 1 Januari 2004 dan Hong Kong pada 12 Januari 2004. Seminggu kemudian di Asia Tenggara 19 Januari 2004. Di Asia Tenggara, Animax disiarkan dalam bahasa Jepang dengan teks bahasa Inggris atau dalam bahasa lokal.

Pada 5 Juli 2004, Animax memulai pekerjaannya di Asia Selatan. 29 April 2006, Animax diluncurkan dari Korea dan 31 Agustus pada tahun yang sama di Malaysia. Di Indonesia, Animax dihadirkan melalui jaringan televisi berlangganan First Media, MNC Vision, Transvision, Big TV, Centrin TV dan UseeTV.

Wilayah Amerika Latin

Animax hadir di Amerika Latin pada 31 Juli 2005, dan disiarkan dalam bahasa Spanyol dan bahasa Portugis.

Amerika Utara

Animax telah mendukung beberapa acara bertemakan anime di Amerika Utara, termasuk sebuah festival anime dan kerja sama dengan perusahaan distribusi anime seperti Bandai Entertainment dan VIZ Media.

Program acara Animax

Animax telah menyiarkan banyak judul anime, yakni: Ghost in the Shell: Stand Alone Complex, Cowboy Bebop, InuYasha, Fullmetal Alchemist, Eureka 7, Honey and Clover, Kyou Kara Maou!, Rurouni Kenshin, Blood+, Dragon Ball, Cardcaptor Sakura, Tsubasa: Reservoir Chronicle, Vision of Escaflowne, YuYu Hakusho, Wolf’s Rain, Future Boy Conan, Haikara-san ga Tooru, Luck & Logic dan Tweeny Witches, dan beberapa seri OVA series dan film anime, seperti Steamboy, Ghost in the Shell, Nasu: Summer in Andalusia, Blood: The Last Vampire, Escaflowne, Jigoku Shōjo, dan lainnya.

Tim penerjemah dan sulih suara

Animax telah menerjemahkan dan menyulih suarakan beberapa seri anime oleh tim khususnya di jaringan Asia Tenggara dan Asia Selatan. Anime yang diterjemahkan awalnya tidak memiliki terjemahan asli dan tidak memiliki lisnesi di Amerika Utara seperti: Detective School Q, Dokkiri Doctor, Twin Spica, Zettai Shonen, Clamp School, Emma – A Victorian Romance, Conan: The Boy in Future, Honey and Clover, Jigoku Shoujo, dan lainnya.

Animax juga menyiarkan anime yang telah disulihsuarakan oleh perusahaan lainnya seperti Cowboy Bebop, Witch Hunter Robin, Mobile Suit Gundam, Brain Powerd, Please Teacher!, Galaxy Angel, Arjuna, Jubei-chan, Tsukikage Ran, Angel Tales, Saber Marionette, Appleseed, Alien 9, InuYasha, Fullmetal Alchemist.

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Animax Japan (English Subs) Negaraku Indonesia

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qwertyblog-asdasda · 4 years

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Cowboy Bebop y The Big Lebowski

El limbo neoliberal a veces llamado “finales de los 90s” nos dio dos grandes obras sobre detectives inspiradas en el noir. The Big Lebowski de los hermanos Coen y Cowboy Bebop de Watanabe, Nobumoto y Kanno.

Ambas tienen una base común en The Long Goodbye un policial de 1973 dirigido Robert Altman que también es una versión retorcida de los noirs clásicos. En su momento el cine estadounidense de los 70s estaba creativamente movilizado por el Hollywood de los 40s y 50s. Para trazar un paralelismo las películas de Altman, Coppola, De Palma, Scorsese, etc tienen la misma relación con Hitchcock, Ford, Sirk que los Mecha de Anno, Oshii y Watanabe(90s) tienen con los de Tomino y Matsumoto(70s) No una “deconstrucción” como se lo conoce popularmente sino una continuación de su línea estética.

“cowboy bebop no es un mecha forro fracasado de mierda garrala pala” diría un crítico hipotético pero anterior a este el equipo Watanabe/Nobumoto/Kanno crearon la OVA Macross Plus en el género mecha que conceptualmente tiene mucho en común con Bebop. La misma Bebop empezó como Mecha y el principal motivo económico de la serie era la creación de naves espaciales para vender como juguetes (no por nada Sunrise Inc es el estudio de Gundam) que después Watanabe y compañía hayan hecho una cosa completamente diferente es otra historia.

The Long Goodbye es una obra sobre el vacío. Tradicionalmente lo que ocupa el corazón de un policial es el crimen y el procedimiento de investigación. La película de Altman es deliberadamente obtusa y complicada en su narrativa al punto que nunca sabemos muy bien qué crimen está investigando Marlowe y por qué. La resolución es confusa, poco satisfactoria y carente de drama. El ritmo es una lenta y plácida nota de resignación mantenida por 2 horas con el ocasional pico de violencia, generalmente con Marlowe como el objetivo de esta.

El que haya visto algunos de los Noirs clásicos puede notar el parecido superficial entre Humphrey Bogart y Elliot Gould: Ambos son el hombre protagonista con carisma fuerte que revuelve el mundo alrededor suyo, ambos tienen una coraza de hierro para evitar mostrar emociones y un sentimiento de tragedia subterráneo que saben hacer florecer en los momentos importantes. Pero, y esto es vital, los signos que en Bogart son los iconos del héroe clásico en Gould son tristes y patéticos. Más que un detective privado Gould hace el rol de un boxeador indefenso al que no le paran de pegar piñas en una pelea condenada. Bogart tiene una dignidad y una altura que en Gould vemos ausente ya desde mucho antes empezada la trama de la película. Altman sabe esto e inteligentemente ancla la estética melancólica de la película a Gould y el resultado es una meditación sobre una suerte de huida existencial de la idea platónica de un protagonista del Noir.

25 años más tarde en 1998 se estrena Cowboy Bebop. Tiene una metodología muy similar a Evangelion: Copiar absolutamente todo lo que les pareció interesante a sus creadores. Esta misma metodología las hace obras casi opuestas por la diferencia entre las fuentes de inspiración.

En Bebop cayeron Dirty Pair, Lupin the III, la Nouvelle Vague francesa junto con las obras de Jean-Píerre Melville (miembro de la resistencia francesa en la WW2) los Westerns de Leone y la música de Duke Ellington. Mucha ciencia ficción de los 90s incluida la injustamente bastardeada Johnny Mnemonic con Keanu Reeves. Entre otras cosas. El resultado es una obra de melancólicos parias espaciales sin un peso que suelen entrar en conflicto con organizaciones criminales y gobiernos. Nada más alejado del colectivismo militarista y el drama interpersonal de Evangelion. NGE ve el vacío existencial de los 90s con ansiedad y desesperación y elige despedazarse a sí misma en su resistencia. En Bebop este vacío existencial no es confrontado, es bordeado elegantemente y dado por hecho que está ahí y existe. Los protagonistas ya empiezan la serie derrotados por la vida y lo que vemos es un lento descenso hacia el olvido.

Acá entra a jugar ELLIOT GOULD. El tono, el vestuario y los gestos de Spike son prácticamente calcados de su personaje al punto que la historia de los gatos que cuenta en el último capítulo está directamente inspirada por el gato de Marlowe. La misma esencia de resignación al universo se puede oler tanto en Bebop como en The Long Goodbye. Si Altman ancla la atmósfera de la película a Gould Watanabe también ancla la atmósfera del anime a su estrella, que es Yoko Kanno. Hay muchos debates si en las obras audiovisuales la música debe funcionar como un soporte desapercibido o debe funcionar como intensificadora de las emociones en pantalla. Bueno en este caso es directamente el motor central de la estética y el resto gira a su alrededor. Kanno en este caso cumple un rol Riquelmeano, ordenando el resto de los elementos alrededor suyo y Watanabe sería bianchi y los nuevos animes de Watanabe son el boca de Grana que asco que estas haciendo shinichiro la concha de tu madre.

La tercera vértice de este Triángulo se estrena también en 1998. The Big Lebowski (nótese la similitud fonética con The Long Goodbye) Es un policial igual de confuso y resignado que los anteriores pero esta vez el protagonista pierde todo dejo de esa masculinidad protagónica. Jeff Bridges está un poco gordo, descuidado físicamente, es un desempleado que vive del estado y encima ni tiene un nombre cool como Philip Marlowe o Spike Spiegel, se llama simplemente the dude. Incluso la trama copia escenas y giros de la de Altman pero con un agregado de comicidad y fracaso. Pese al mayor tono cómico the dude es considerablemente menos patético que spike o marlowe. Estos dos son héroes caídos en desgracia, incapaces de satisfacer sus arquetipos genéricos. The dude esta desempleado así que no tiene trabajo que incumplir, no usa armas así que no tiene enfrentamientos violentos en los que morir y su único interés es drogarse y jugar al bowling con sus amigos así que no tiene un propósito existencial en el que angustiarse. Si las primeras dos evaden el vacío y lo miran de reojo, los Coen crean un héroe que vive cómodamente en el centro del vacío y ve el mundo retorcerse alrededor suyo con una mirada muy zen. Jeff Bridges es incapaz de ser derrotado porque se rehúsa a entrar a la batalla en primer lugar.

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