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The advent of Japanese anime stylizations appearing in Western animation questioned the established meaning of "anime". [182] Defining anime as style has been contentious amongst critics and fans, with John Oppliger stating, "The insistence on referring to original American art as "anime" or "manga" robs the work of its cultural identity." [2 ...
A. Absolute Duo; Accel World; The Adventures of the Little Prince (TV series) Aesop World; Aesthetica of a Rogue Hero; Afterschool Charisma; Agents of the Four Seasons
The kawaii aesthetic is characterized by soft or pastel colors, rounded shapes, and features which evoke vulnerability, such as big eyes and small mouths, and has become a prominent aspect of Japanese popular culture, influencing entertainment (including toys and idols), fashion (such as Lolita fashion), advertising, and product design.
Train to the End of the World (終末トレインどこへいく？, Shūmatsu Torein Doko e Iku?, lit."Where Does the Doomsday Train Go?") is an original Japanese anime television series produced by Kadokawa, animated by EMT Squared, and directed by Tsutomu Mizushima, with Michiko Yokote handling series composition, Asako Nishida handling character designs based on namo's original designs ...
The anime film was announced in Japan on December 24, 2012, with the release scheduled for the first half of 2013 [56] [57] and news updates available on its Facebook page. [58] On February 20, 2013, the film's production company, CoMix Wave Films , released a trailer with subtitles in multiple languages on YouTube [ 19 ] [ 59 ] [ 60 ] and ...
Aesthetica of a Rogue Hero (Japanese: はぐれ勇者の 鬼畜美学 （ エステティカ ）, Hepburn: Hagure Yūsha no Esutetika) is a Japanese light novel series written by Tetsuto Uesu and illustrated by Tamago no Kimi.
[19] This is the book that first introduced the term "wabi-sabi" into Western aesthetic discourse. Wabi-sabi concepts historically had extreme importance in the development of Western studio pottery; Bernard Leach (1887–1979) was deeply influenced by Japanese aesthetics and techniques, which is evident in his foundational book A Potter's Book.
Kurosawa emphasized time and again that the screenplay was the absolute foundation of a successful film and that, though a mediocre director can sometimes make a passable film out of a good script, even an excellent director can never make a good film out of a bad script. [5]