The Fan-Oriented Work: Anime Fan Culture as Narrative in North American Media

Japanese animation, popularly referred to as ‘anime’, has recently experienced a shift in North American consumer contexts from its initial scarcity in overseas markets to its overwhelming presence online and in physical spaces. With streaming services such as Crunchyroll (an anime-specific streaming service) and Netflix’s selection of anime increasing its availability outside of Japan over the past decade, North American viewers are now able to interact with anime through heavily connected digital landscapes (Annett 6). As a result of this globalized viewership, an emergent subgenre of anime has formed, which I term “anime fan-oriented works.” In such works, North American anime fans become the target audience of North American-created material catering to anime fan cultures and experiences. Removed from the distribution cycle of anime content that originates from Japan, anime fan-oriented works divert the media flow (Leonard 299) by specifically addressing the North American anime fan through their own contexts. Using two web series as case studies: Anime Crimes Division (RocketJump, Crunchyroll, 2017-) and Neo Yokio (Netflix, Production I.G., Studio Deen, 2017-2018), I investigate the variety of approaches that the anime fan-oriented work can utilize in order to appeal to the dual media literacies of both the anime fan and North American, paying attention to the geographic, cultural, and narrative implications that help separate the anime fan-oriented work as a unique development in global media cultures

Analysis of Interaction Between Atmosphere and Sea Using The Delft3D Hydrodynamics Model for Mapping Coastal Flood Zone at Belawan Port and Coastal

Belawan port and coastal areas were also not spared from the impact of the tidal flood. This study aims to determine the performance of the Delft3D hydrodynamic model in simulating sea level and waves in tidal floods at Belawan port and coastal area. Final operational global analysis data, MSLP data from NOAA/NCEP, and tidal data from ECMWF were used to run the Delft3D model. The model output was verified by using tide gauge observation data from BIG (Geospatial Information Agency). This research resulted in a mapping of areas affected by tidal flooding in the Belawan port and coastal area by analyzing the interaction between atmosphere, consisting of wind speed and direction parameters and sea parameters in the form of significant wave height. Based on the results of the Delft3D verification with observation data, the average error value is 23.5 cm and the coefficient of correlation is 0.93. This shows that the Delft3D model is quite good at simulating tidal flood heights in the Belawan port and coastal area. Based on atmospheric analysis, it does not really affect the increasing wave height. The influence is given by significant sea wave height, which can increase the height of tidal floods

Quais as potencialidades da criação de um videoclip em Realidade Virtual?

The focus of this dissertation is in the potentiality of the creation of a music video in Virtual Reality (VR). As such, it was analyzed in the theoretical framework what are music videos, what is VR and, more specifically, what are music videos in VR, which is a unresearched topic in the academic field, to which this dissertation provides some basis for feature research in this area. A music video for VR was made for this dissertation as to better understand the potentialities of the medium. The music video was made under the conventional phases of audiovisual production. Then user tests were made for this music video in order to evaluate its characteristics. The tests were made with 3 independent samples because the music video was shown in desktop 360-2D, mobile-360-2D, and VR on a Head Mounted Display (HMD). This was done as to better understand the potentialities of VR by comparing it to other mediums. Each participant had to answer to a pre-test questionnaire, and to a post-test questionnaire. The analysis of the results showed that although VR offers the added benefit of immersion it also poses its own challenges and a completely new approach to music video making.O foco desta dissertação é na potencialidade de criação de videoclips em Realidade Virtual. Como tal, foi analisado no enquadramento teórico o que são videoclips, o que é a Realidade Virtual e, mais especificamente, o que são videoclips em Realidade Virtual, tópico sobre o qual não existe muita investigação no meio académico, de maneira a que esta dissertação serve como base para investigações futuras. Um videoclip foi feito para Realidade Virtual para a investigação da qual esta dissertação faz parte, a fim de perceber as potencialidades do meio. O videoclip foi criado com base nas fases convencionais de produção audiovisual. Feito isto foram feitos testes de utilizador para avaliar as características do videoclip. Estes testes foram feitos em 3 amostras independentes cada uma para um formato diferente de visualização de videoclips em Realidade Virtual, desktop-360-2D, mobile-360-2D e em Realidade Virtual com um Head Mounted Display. Isto foi feito de modo a perceber melhor as potencialidades da Realidade Virtual comparativamente com os outros meios. Cada participante teve de responder a um questionário pré-teste e a um questionário pós-teste. A análise dos resultados mostrou que apesar da Realidade Virtual oferecer o benefício da imersão, ela tem os seus desafios, e requere uma abordagem completamente nova para a realização de videoclips.Mestrado em Comunicação Multimédi

Vidding

Vidding is a well-established remix practice where fans edit an existing film, music video, TV show, or other performance and set it to music of their choosing. Vids emerged forty years ago as a complicated technological feat involving capturing footage from TV with a VCR and syncing with music—and their makers and consumers were almost exclusively women, many of them queer women. The technological challenges of doing this kind of work in the 1970s and 1980s when vidding began gave rise to a rich culture of collective work, as well as conventions of creators who gathered to share new work and new techniques. While the rise of personal digital technology eventually democratized the tools vidders use, the collective aspect of the culture grew even stronger with the advent of YouTube, Vimeo, and other channels for sharing work. Vidding: A History emphasizes vidding as a critical, feminist form of fan practice. Working outward from interviews, VHS liner notes, convention programs, and mailing list archives, Coppa offers a rich history of vidding communities as they evolved from the 1970s through to the present. Built with the classroom in mind, the open-access electronic version of this book includes over one-hundred vids and an appendix that includes additional close readings of vids

Animators of Atlanta: Layering Authenticity in the Creative Industries

This dissertation explores post-authentic neoliberal animation production culture, tracing the ways authenticity is used as a resource to garner professional autonomy and security during precarious times. Animators engage in two modes of production, the first in creating animated content, and the other in constructing a professional identity. Analyzing animator discourse allows for a nuanced exploration of how these processes interact and congeal into common sense. The use of digital software impacts the animator’s capacity to legitimize themselves as creatives and experts, traditional tools become vital for signifying creative authenticity in a professional environment. The practice of decorating one’s desk functions as a tactic to layer creative authenticity, but the meaning of this ritual is changing now that studios shift to open spaces while many animators work from home. Layering authenticity on-screen often requires blending techniques from classical Hollywood cinema into animated performance, concomitant with a bid to legitimate the role of the authentic interlocutor for the character. Increasingly animators feel pressure to layer authenticity online, establishing an audience as a means to hedge against precarity. The recombined self must balance the many methods for layering creative and professional authenticity with the constraints and affordances of their tools, along with the demands of the studio, to yield cultural capital vital for an animator’s survival in an industry defined at once by its limitless expressive potential and economic uncertainty

Vidding

Vidding is a well-established remix practice where fans edit an existing film, music video, TV show, or other performance and set it to music of their choosing. Vids emerged forty years ago as a complicated technological feat involving capturing footage from TV with a VCR and syncing with music—and their makers and consumers were almost exclusively women, many of them queer women. The technological challenges of doing this kind of work in the 1970s and 1980s when vidding began gave rise to a rich culture of collective work, as well as conventions of creators who gathered to share new work and new techniques. While the rise of personal digital technology eventually democratized the tools vidders use, the collective aspect of the culture grew even stronger with the advent of YouTube, Vimeo, and other channels for sharing work. Vidding: A History emphasizes vidding as a critical, feminist form of fan practice. Working outward from interviews, VHS liner notes, convention programs, and mailing list archives, Coppa offers a rich history of vidding communities as they evolved from the 1970s through to the present. Built with the classroom in mind, the open-access electronic version of this book includes over one-hundred vids and an appendix that includes additional close readings of vids

Natural landscape scenic preference: techniques for evaluation and simulation.

The aesthetic beauty of a landscape is a very subjective issue: every person has their own opinions and their own idea of what beauty is. However, all people have a common evolutionary history, and, according to the Biophilia hypothesis, a genetic predisposition to liking certain types of landscapes. It is possible that this common inheritance allows us to attempt to model scenic preference for natural landscapes. The ideal type of model for such predictions is the psychophysical preference model, integrating psychological responses to landscapes with objective measurements of quantitative and qualitative landscape variables. Such models commonly predict two thirds of the variance in the predications of the general public for natural landscapes. In order to create such a model three sets of data were required: landscape photographs (surrogates of the actual landscape), landscape preference data and landscape component variable measurements. The Internet was used to run a questionnaire survey; a novel, yet flexible, environmentally friendly and simple method of data gathering, resulting in one hundred and eighty responses. A geographic information system was used to digitise ninety landscape photographs and measure their landforms (based on elevation) in terms of areas and perimeters, their colours and proxies for their complexity and coherence. Landscape preference models were created by running multiple linear regressions using normalised preference data and the landscape component variables, including mathematical transformations of these variables. The eight models created predicted over sixty percent of variance in the responses and had moderate to high correlations with a second set of landscape preference data. A common base to the models were the variables of complexity, water and mountain landform, in particular the presence or absence of water and mountains was noted as being significant in determining landscape scenic preference. In order to fully establish the utility of these models, they were further tested against: changes in weather and season; the addition of cultural structures; different photographers; alternate film types; different focal lengths; and composition. Results showed that weather and season were not significant in determining landscape preference; cultural structures increased preferences for landscapes; and photographs taken by different people did not produce consistent results from the predictive models. It was also found that film type was not significant and that changes in focal length altered preferences for landscapes