When thirteen-year-old Kiki decides that it is time to learn how to become a real witch, she hops on her broomstick with her black cat Jiji and flies to an oceanside city where she vows to properly study.
Kiki, a young witch-in-training, has reached the age of 13. According to tradition, all witches of that age must leave home for one year, so that they can learn how to live on their own. Kiki, along with her talking cat Jiji, fly away to live in the seaside town of Korico. After starting her own delivery service (using her broom as the delivery vehicle), Kiki must learn how to deal with her new life, especially after she loses the power to fly.
Sophie thinks of herself as plain and boring, especially compared to her vivacious younger sister Lettie. Sophie expects to spend the rest of her life quietly making hats in the back room of her family's shop, but as her country prepares for war, she is forced to set out on an extraordinary adventure! Sophie has made her place in to the Moving Castle, and discovered that Howl isn’t as terrible as his reputation paints him. In fact, he’s a bit of a coward, and needs Sophie to answer a Royal summons for him! But the visit to the Palace ends in shambles, and now Howl’s mentor Madam Suliman is out to get them…and the Witch of the Waste has moved into the castle!
The thought-provoking, aesthetically pleasing animated films of Hayao Miyazaki attract audiences well beyond the director’s native Japan. Princess Mononoke and Spirited Away were critically acclaimed upon U.S. release, and the earlier My Neighbor Totoro and Kiki’s Delivery Service have found popularity with Americans on DVD. This critical study of Miyazaki’s work begins with an analysis of the visual conventions of manga, Japanese comic books, and animé; an overview of Japanese animated films; and a consideration of the techniques deployed by both traditional cel and computer animation. This section also details Miyazaki’s early forays into comic books and animation, and his output prior to his founding of Studio Ghibli. Part Two concentrates on the Studio Ghibli era, outlining the company’s development and analyzing the director’s productions between 1984 and 2004, including Castle in the Sky, My Neighbor Totoro and his newest film, Howl’s Moving Castle. The second section also discusses other productions involving Studio Ghibli, including Grave of the Fireflies and The Cat Returns. Appendices supply additional information about Studio Ghibli’s merchandise production, Miyazaki’s global fan base, and the output of other Ghibli directors.
It is hard to discuss the current film industry without acknowledging the impact of comic book adaptations, especially considering the blockbuster success of recent superhero movies. Yet transmedial adaptations are part of an evolution that can be traced to the turn of the last century, when comic strips such as “Little Nemo in Slumberland” and “Felix the Cat” were animated for the silver screen. Representing diverse academic fields, including technoculture, film studies, theater, feminist studies, popular culture, and queer studies, Comics and Pop Culture presents more than a dozen perspectives on this rich history and the effects of such adaptations. Examining current debates and the questions raised by comics adaptations, including those around authorship, style, and textual fidelity, the contributors consider the topic from an array of approaches that take into account representations of sexuality, gender, and race as well as concepts of world-building and cultural appropriation in comics from Modesty Blaise to Black Panther. The result is a fascinating re-imagination of the texts that continue to push the boundaries of panel, frame, and popular culture.
Shigo kekkon--marrying the dead! It's a quaint old country custom in Japan that's becoming the next big fad in Tokyo . . . and that makes it the business of the Corpse Delivery Service! And meanwhile back on campus, since they're technically a college club, the kids from Kurosagi host a membership drive during the school festival! But you've got to like corpses, you know.
Haku takes Sen to visit her parents, who have turned into pigs. Sen promises to rescue them and get them all out of this strange world one day. Back at work, Sen is forced to do the grossest jobs, like cleaning out the giant tub. And then the dreaded Stink God pays a visit to the bathhouse, and Sen is sent to serve his odorous presence! Through pluck and determination, though, Sen makes it through, and finds a valuable prize in the process. Meanwhile, the masked man, the mysterious No-Face monster is lurking about. Who is he...and what does he want?