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Average Ratings - 8,7 / 10 Stars / Score - 30785 Votes / Kaguyahime no monogatari is a movie starring Chloë Grace Moretz, James Caan, and Mary Steenburgen. Found inside a shining stalk of bamboo by an old bamboo cutter and his wife, a tiny girl grows rapidly into an exquisite young lady / Isao Takahata / / release date - 2013.
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Watch stream kaguyahime no monogatari episode 1. Watch stream kaguyahime no monogatari pc. Watch stream kaguyahime no monogatari 10. Watch stream kaguyahime no monogatari 6. "Tale of the Princess Kaguya", "かぐや姫の物語", and "Kaguya-hime no Monogatari" redirect here. For the Studio Ghibli film, see The Tale of the Princess Kaguya. "Taketori Monogatari" and "竹取物語" redirect here. For the 1987 film, see Princess from the Moon. Discovery of Princess Kaguya (depiction from the Edo period, late 17th century) The Tale of the Bamboo Cutter ( 竹取物語, Taketori Monogatari) is a 10th-century Japanese monogatari (fictional prose narrative) containing Japanese folklore. It is considered the oldest extant Japanese prose narrative   although the oldest manuscript dates to 1592.  The tale is also known as The Tale of Princess Kaguya ( かぐや姫の物語, Kaguya-hime no Monogatari), after its protagonist.  It primarily details the life of a mysterious girl called Kaguya, who was discovered as a baby inside the stalk of a glowing bamboo plant. Narrative [ edit] Taketori no Okina takes Kaguya-hime to his home, Drawn by Tosa Hiromichi, c. 1600 One day, while walking in the bamboo forest, an old, childless bamboo cutter called Taketori no Okina ( 竹取翁, "the Old Man who Harvests Bamboo") came across a mysterious, shining stalk of bamboo. After cutting it open, he found inside it an infant the size of his thumb. He rejoiced to find such a beautiful girl and took her home. He and his wife raised her as their own child and named her Kaguya-hime (かぐや姫 accurately, Nayotake no Kaguya-hime, "Shining princess of the supple bamboo"). Thereafter, Taketori no Okina found that whenever he cut down a stalk of bamboo, inside would be a small nugget of gold. Soon he became rich. Kaguya-hime grew from a small baby into a woman of ordinary size and extraordinary beauty. At first, Taketori no Okina tried to keep her away from outsiders, but over time the news of her beauty spread. Eventually, five princes came to Taketori no Okina's residence to ask for the beautiful Kaguya-hime's hand in marriage. The princes eventually persuaded Taketori no Okina to tell a reluctant Kaguya-hime to choose from among them. Kaguya-hime concocted impossible tasks for the princes, agreeing to marry the one who managed to bring her his specified item. That night, Taketori no Okina told the five princes what each must bring. The first was told to bring her the stone begging bowl of the Buddha Shakyamuni from India, the second a jeweled branch from the mythical island of Hōrai,  the third the legendary robe of the fire-rat of China, the fourth a colored jewel from a dragon 's neck, and the final prince a cowry shell born of swallows. Realizing that it was an impossible task, the first prince returned with an expensive stone bowl, hoping that Kaguya-hime would believe it to be real, but after noticing that the bowl did not glow with holy light, Kaguya-hime saw through his deception. Likewise, two other princes attempted to deceive her with fakes, but also failed. The fourth gave up after encountering a storm, while the final prince lost his life (severely injured in some versions) in his attempt. After this, the Emperor of Japan, Mikado, came to see the strangely beautiful Kaguya-hime and, upon falling in love, asked her to marry him. Although he was not subjected to the impossible trials that had thwarted the princes, Kaguya-hime rejected his request for marriage as well, telling him that she was not of his country and thus could not go to the palace with him. She stayed in contact with the Emperor, but continued to rebuff his requests and marriage proposals. That summer, whenever Kaguya-hime saw the full moon, her eyes filled with tears. Though her adoptive parents worried greatly and questioned her, she was unable to tell them what was wrong. Her behaviour became increasingly erratic until she revealed that she was not of this world and must return to her people on the Moon. In some versions of this tale, it is said that she was sent to the Earth, where she would inevitably form material attachment, as a temporary punishment for some crime, while in others, she was sent to Earth for her own safety during a celestial war. The gold that Taketori no Okina had been finding had in fact been a stipend from the people of the Moon, sent down to pay for Kaguya-hime's upkeep. Kaguya-hime goes back to the Moon As the day of her return approached, the Emperor sent many guards around her house to protect her from the Moon people, but when an embassy of "Heavenly Beings" arrived at the door of Taketori no Okina's house, the guards were blinded by a strange light. Kaguya-hime announced that, though she loved her many friends on Earth, she must return with the Moon people to her true home. She wrote sad notes of apology to her parents and to the Emperor, then gave her parents her own robe as a memento. She then took a little of the elixir of life, attached it to her letter to the Emperor, and gave it to a guard officer. As she handed it to him, her feather robe was placed on her shoulders, and all of her sadness and compassion for the people of the Earth were apparently forgotten. The heavenly entourage took Kaguya-hime back to Tsuki no Miyako (月の都; lit. "the Capital of the Moon"), leaving her earthly foster parents in tears. The parents became very sad and were soon put to bed sick. The officer returned to the Emperor with the items Kaguya-hime had given him as her last mortal act, and reported what had happened. The Emperor read her letter and was overcome with sadness. He asked his servants, "Which mountain is the closest place to Heaven? ", to which one replied the Great Mountain of Suruga Province. The Emperor ordered his men to take the letter to the summit of the mountain and burn it, in the hope that his message would reach the distant princess. The men were also commanded to burn the elixir of immortality since the Emperor did not wish to live forever without being able to see her. The legend has it that the word immortality, 不死 ( fushi), became the name of the mountain, Mount Fuji. It is also said that the kanji for the mountain, 富士山 (literally "Mountain Abounding with Warriors"), are derived from the Emperor's army ascending the slopes of the mountain to carry out his order. It is said that the smoke from the burning still rises to this day. (In the past, Mount Fuji was much more volcanically active and therefore produced more smoke. ) Literary connections [ edit] Elements of the tale were drawn from earlier stories. The protagonist Taketori no Okina, given by name, appears in the earlier poetry collection Man'yōshū (c. 759; poem# 3791). In it, he meets a group of women to whom he recites a poem. This indicates that there previously existed an image or tale revolving around a bamboo cutter and celestial or mystical women.   A similar retelling of the tale appears in the c. 12th century Konjaku Monogatarishū (volume 31, chapter 33), although their relation is under debate.  Banzhu Guniang [ edit] In 1957, Jinyu Fenghuang (金玉鳳凰), a Chinese book of Tibetan tales, was published.  In early 1970s, Japanese literary researchers became aware that "Banzhu Guniang" (班竹姑娘), one of the tales in the book, had certain similarities with The Tale of the Bamboo Cutter.   Initially, many researchers thought that "Banzhu Guniang" must be related to Tale of Bamboo Cutter, although some were skeptical. In 1980s, studies showed that the relationship is not as simple as initially thought. Okutsu provides extensive review of the research, and notes that the book Jinyu Fenghuang was intended to be for children, and as such, the editor took some liberties in adapting the tales. No other compilation of Tibetan tales contains the story.  A Tibet-born person wrote that he did not know the story.  A researcher went to Sichuan and found that, apart from those who had already read "Jinyu Fenghuang", local researchers in Chengdu did not know the story.  Tibetan informants in Ngawa Tibetan and Qiang Autonomous Prefecture did not know the story either.  Legacy [ edit] The Tale of the Bamboo Cutter has been identified as proto- science fiction. Some of its science fiction plot elements include Kaguya-hime being a princess from the Moon who is sent to Earth for safety during a celestial war, an extraterrestrial being raised by a human on Earth, and her being taken back to the Moon by her real extraterrestrial family. A manuscript illustration also depicts a round flying machine that resembles a flying saucer.  See also [ edit] Big Bird in Japan The Tale of the Princess Kaguya Notes [ edit] ^ "Japan: Literature", Windows on Asia, MSU, ^ "17. A Picture Contest". The Tale of Genji. the ancestor of all romances) ^ Katagiri et al. 1994: 95. ^ Katagiri et al. 1994: 81. ^ McCullough, Helen Craig (1990). Classical Japanese Prose. Stanford University Press. pp. 30, 570. ISBN 978-0-8047-1960-5. ^ Horiuchi (1997:345-346) ^ Satake (2003:14-18) ^ Yamada (1963:301-303) ^ 田海燕, ed. (1957). 金玉鳳凰 (in Chinese). Shanghai: 少年兒童出版社. 百田弥栄子 (1971). 竹取物語の成立に関する一考察. アジア・アフリカ語学院紀要 (in Japanese). 3. 伊藤清司 (1973). かぐや姫の誕生―古代説話の起源 (in Japanese). 講談社. ^ 奥津 春雄 (2000). 竹取物語の研究: 達成と変容 竹取物語の研究 (in Japanese). 翰林書房. ISBN 978-4-87737-097-8. ^ テンジン・タシ, ed. (2001). 東チベットの民話 (in Japanese). Translated by 梶濱 亮俊. SKK. ^ a b 繁原 央 (2004). 日中説話の比較研究 (in Japanese). 汲古書院. ISBN 978-4-7629-3521-3. ^ Richardson, Matthew (2001). The Halstead Treasury of Ancient Science Fiction. Rushcutters Bay, New South Wales: Halstead Press. ISBN 978-1-875684-64-9. ( cf. "Once Upon a Time". Emerald City (85). September 2002. Retrieved 2008-09-17. ) References [ edit] Katagiri Yōichi, Fukui Teisuke, Takahashi Seiji and Shimizu Yoshiko. 1994. Taketori Monogatari, Yamato Monogatari, Ise Monogatari, Heichū Monogatari in Shinpen Nihon Koten Bungaku Zenshū series. Tokyo: Shogakukan. Donald Keene (translator), The Tale of the Bamboo Cutter, ISBN 4-7700-2329-4 Japan at a Glance Updated, ISBN 4-7700-2841-5, pages 164—165 (brief abstract) Fumiko Enchi, "Kaguya-hime", ISBN 4-265-03282-6 (in Japanese hiragana) Horiuchi, Hideaki; Akiyama Ken (1997). Shin Nihon Koten Bungaku Taikei 17: Taketori Monogatari, Ise Monogatari (in Japanese). Tōkyō: Iwanami Shoten. ISBN 978-4-00-240017-4. Satake, Akihiro; Yamada Hideo; Kudō Rikio; Ōtani Masao; Yamazaki Yoshiyuki (2003). Shin Nihon Koten Bungaku Taikei 4: Man'yōshū (in Japanese). ISBN 978-4-00-240004-4. Taketori monogatari, Japanese Text Initiative, Electronic Text Center, University of Virginia Library Yamada, Yoshio; Yamda Tadao; Yamda Hideo; Yamada Toshio (1963). Nihon Koten Bungaku Taikei 26: Konjaku Monogatari 5 (in Japanese). ISBN 978-4-00-060026-2. External links [ edit] Ryukoku University exhibition Tetsuo Kawamoto: The Moon Princess (translated by Clarence Calkins).
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Watch stream kaguyahime no monogatari full. Kaguya has been mentioned in naruto and naruto. I have often wondered what her background story was. Thank you for the breakdown. Starting to see a correlation with inuyasha movie. Makes sense now. Watch stream kaguyahime no monogatari movie. Watch stream kaguyahime no monogatari 5. That's a badass DBZ/Megaman 2 shirt Chris.
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The Tale of the Princess Kaguya Aria the Animation Nodame Cantabile Planetes Question: What character in any anime/manga do you think deserves more recognition/is overrated? Baccano! Episode 3 Discussion Brief Summary In 1932, Eve Genoard anxiously watches men dredge the Hudson River. In 1930, Dallas is beating a Runorata member, and Luck stops him. Aboard the Pussyfoot in 1931, Ladd tells Lua he will kill everyone in the world and then slowly kill her as a sign of his love. He leaves to check the dining car and bumps into Jacuzzi. He remembers that Jacuzzi is wanted by the Russo and follows him. In 1930, two Martillo accidentally set a warehouse on fire. Beneath the warehouse, an old man named Barnes has created an immortality elixir, but is only able to escape with two bottles. In 1931, Eve visits the Daily Days, which is also an information broker, for information on Dallas. In 1930, Maiza and Firo briefly run into Isaac and Miria. 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Many anime hold real life events that fans can attend to meet the staff and/or cast of the series, or to engage with other fans who also love the show. These events take many forms, from simple meet-and-greets, to staged games and interactions among the seiyuu, to full blown concerts. The nature of the event is often at least as important as the show it’s for. Popular musicians and seiyuu create a bigger draw, as expected. This also means that the sales will usually drop for the following volume depending on the nature of the event ticket. Why are some titles bolded? That indicates that it's the title's first volume released. What does X mean in DVD or BD sales? It most likely means that the series didn't meet the weekly threshold (Threshold can be found at the top of the thread). Any sort of question, feedback or correction is welcome. Kaguyahime no monogatari full movie vodlocker. Sagan om prinsessan kaguya free watch streaming. 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Next week V1 releases: Log Horizon 2 Nanatsu no Taizai Shingeki no Bahamut: Genesis Sora no Method Any sort of question, feedback or correction is welcome. Comment in this thread about anime or manga you may have watched or read recently! Or just talk about a series you really enjoy. In addition to what I've just mentioned, feel free to share any cosplays, figures, and other merchandise you may have picked up. Also, if you're looking for more anime/manga recommendations, all you have to do is ask. Remember to use spoiler tags; we don't want to ruin the fun for others. Spoilers tags are done like so: type this and you will see this. Question of the day: From /u/pinpac12: What series do you wish had a sequel, but it never hapenned?? S. P. A. movie list from /u/pinpac12: Summer wars Brave Story Mahou Shoujo Madoka? Magica Movie 3: Hangyaku no Monogatari Kaguya Hime no Monogatari Hells Howl no Ugoku Shiro Toaru Hikuushi e no Tsuioku If people don't want this idea to go through, we will still wait for the 27 to start the second season. I already posted the list of the new movies for this new season some days ago, so if you don't feel like waiting, just go take a look. Maybe something will spark your interest. previous thread To be honest the movie wasn't that bad. Just the trailer, really. Sagan om prinsessan Kaguya Free watches. Sagan om prinsessan Kaguya Free watching. I just noticed her laugh on the nausuca on Mars thinking that she was a filipina coz nausuca also like nasuka which means vomitted so I'm kinda guessing that she thought it as vomitted on Mars kinda. Sagan om prinsessan Kaguya Free watchers. Oshii and adaptations Ghost in the Shell (GitS) stands as one of the most influential anime films of all time, and has been consistently praised for its visual direction, stellar animation, and densely layered philosophical elements and themes. The franchise itself has proven to be critically and commercially successful, having spawned another three films, a remastered version, two TV series, and a Hollywood live-action adaptation starring Scarlett Johansson while also having been cited to be the inspiration of Western filmmakers such as the Wachowski Brothers ( The Matrix) and James Cameron ( Avatar). Much of the praise for the film is largely attributed to Mamoru Oshii—arguably one of the most popular anime directors around and one that has received worldwide recognition not only for GitS, but also for other film projects that were under his supervision. Frequent examples brought up from his 36-year career are Mobile Police Patlabor 2: The Movie, a political drama commenting on the state of Japan, Urusei Yatsura Movie 2: Beautiful Dreamer, a much more dramatic take on Rumiko Takahashi’s original work, and, back to GitS, its stand-alone sequel film Innocence, which has the achievement of being the first and only Japanese-animated film to be nominated for the Palme d’Or, the international Cannes Film Festival’s most prestigious award. Aside from anime, Oshii also does not shy away from other forms of media and has also made his presence known in manga, live-action, and even video games. His involvement in other franchises is so prominent that people tend to forget that Oshii, for the most part, is not the original creator of said franchises. Take The Sky Crawlers, for instance: a film strongly attached to his name, overshadowing the fact that it was an adaptation of the novel series of the same name by Hiroshi Mori. Urusei Yatsura too; though Takahashi is considerably popular in her own right. However, the most interesting attribution to Oshii is him directing GitS, to the point that people know more of Oshii’s involvement than its original creator and artist, Masamune Shirow (also of Appleseed fame). Of course, this scenario is nowhere near special. Within anime alone, there are also other directors that have been acclaimed for their direction on works adapting source material: the late Isao Takahata’s most celebrated works are adaptations projected through his creative guidance, namely Anne of Green Gables, [ Only Yesterday](, The Tale of Princess Kaguya, and Grave of the Fireflies, among many others; Naoko Yamada’s distinctive style brought K-On! from its 4-koma format to something more meaningful; and the legendary Osamu Dezaki’s takes on Ashita no Joe and Rose of Versailles are such examples of culturally iconic adaptations. With this, there should be something that these directors apply in their work that have gained them their recognizable status. This essay serves as an overview of Oshii’s unique approach that enables him to leave his personal imprint throughout his entire filmography, taking three of his films ( Patlabor 2, Beautiful Dreamer, GitS) and breaking down his methods of visual and thematic direction. What makes Oshii’s adaptations Oshii? The director’s “tools” When encountering the work of a director, you would usually notice elements that seem to match, appearing as distinct commonalities between his or her other works. Naoko Yamada’s fixation on legs to depict the emotions and personality of the character, Makoto Shinkai’s interchangeable use of trains and love at long distances, and Hayao Miyazaki’s penchant of planes and aerial shots, show how much these directors rely on “tools” to project their vision onto animation, continuously honing them throughout their career. Like these people, Oshii also employs tools in approaching his work and he continues to imbue these in his adaptations, firmly embedding his identity within it. …this is a case for a lot of…auteur directors…who kind of have a very consistent theme, or set of themes, or visual style that kind of go throughout a lot of their films…that could certainly be leveled at Oshii. — Brian Ruh, Pause and Select interview (2016) Animals If you’re watching an Oshii film, chances are there’s going to be a dog—or a basset hound, to be more specific. Undoubtedly, the additions of dogs in his work have been the most recognized motif by the director, thanks in part to his self-professed love for them. Oshii uses the basset hound as a representation of himself within the work. However, while Oshii’s strong affinity and reflection about dogs have been extensively documented, he also uses other animals in his visual presentations, especially of birds and fish. Brian Ruh, author of Stray Dog of Anime: The Films of Mamoru Oshii considers the use of these creatures as symbols for the “sense of freedom from the mundane”, or “an escape from containment” (pp. 8, 97). Urbanscapes The settings for Mamoru Oshii’s films usually take place within large cities, often highly urbanized and filled with towering structures, glass-laden exteriors, and at times, deserted or ruined. His use for the setting varies in purpose (spoilers, click at your own risk), but clearly displays his interest in seeing how this kind of backdrop would turn out through several speculative scenarios. Affiliated with the urbanization of cities is technology and authority, which are themes that Oshii has also explored throughout his later film career. Patlabor 2 and GitS are defining examples where the use of technology and conflicts with authority and surveillance are heavily integrated into the plot. Religion and Mythology I'm not a Christian, but I've been reading the Bible since my student days. I use it as a prototype for my stories; not for religious reasons, but for ideology and literary inspiration. — Mamoru Oshii, Carl Gustav Horn interview for Animerica (1996) Religious elements are not uncommon in anime, often serving as stylistic motifs (with Neon Genesis Evangelion infamously having Christian imagery because they “look cool”) or used in allusion with a show’s plot, similar to how Miyazaki’s Nausicaa allegorizes Christianity and Buddhism. Anime and religion are nearly inseparable, and Oshii is no exception from this idea, as his works encompass the blend of religion, mythology and philosophy, and he has infused them in his oeuvre more than anyone else—and arguably more meaningful than anyone else. Originally wanting to be a seminarian, a private and pivotal moment in Oshii’s life has led him to renounce religion, and his dissatisfaction with it came out in the form of Angel’s Egg, a cryptic and experimental film with almost no dialogue to speak of. It alludes to Christian mythos and imagery, and the atmospheric presentation of these elements make up the entirety of its 71-minute run. Since then, religion has been integral to his works, through visuals and character discourse. Perspective Personally, out of Oshii’s alterations, my favorite has to be the way he places all the elements of the source material, twisting it by depicting the story with another character. It adds a tinge of uniqueness to his style and shows that there are diverse and infinite ways you can tell the same setting, the same plot, the same everything, but tell a different story altogether through someone else’s perspective. Interestingly, Oshii takes a liking to having supporting characters take up the helm of main character, and while he doesn’t do this quite often, supporting characters are certainly more prominent in his direction compared to the original work. The utility of these characters allow him to also highlight the scale of change he applies to the world he’s exploring, which acts as the platform for his personal and self-reflective messages. Character Designs Quite possibly, the most evident change in Oshii adaptations would be how he scraps the “anime-style” character designs in favor of more realistic and anatomically correct designs. This is part of Oshii’s intention to make the animation as cinematic as possible, complemented by his sense of photorealism in pretty much everything— backgrounds, lighting, cinematography, and the subtle yet noticeable details in facial expressions. The mass of Japanese animation is still relying on codified symbols and flat images that are a direct inheritance from the ukiyo-e graphic style. — Mamoru Oshii, Jasper Sharp interview for Manga Entertainment UK (2014) In the above quote, Oshii comments on anime’s use of “codified” images from the ukiyo-e genre, or the traditional woodblock printing in Japan. Oshii, growing up experiencing and being influenced by European cinema, might have found himself more comfortable with a visual style more reminiscent of it. With every succeeding film, Oshii’s style evolved as he got more and more accustomed and free from restraint in his creative direction. Employing this visual and narrative style through his tools allowed him to maintain a consistent, recurring set of themes while opening him up to other intriguing subject matters explored through the diverse worlds of his adaptations. Evolution through filmography Oshii’s early work in the anime industry differs from what he is known for, originally doing storyboard work and minor directing stints at Tatsunoko Production in the 1970s to Studio Pierrot in the 1980s. At Pierrot, Oshii would land his first directorial role in the form of Urusei Yatsura, an adaptation of the breakthrough hit romantic comedy manga series by Rumiko Takahashi ( Ranma ½, InuYasha). Expressing dissatisfaction over the production of Urusei Yatsura, Oshii left Pierrot to pursue a freelance directorial career. Before his departure, he had directed over 106 episodes of Urusei plus two feature films, of which one marked his defiance against the fans of the show and possibly against Takahashi herself. It was a move that signified Oshii’s beginning as a director of exceptional artistic vision, and one that allowed him to lead this brand of movement with his subsequent works, including adaptations. Urusei Yatsura revolves around the episodic misadventures of the young and lecherous Ataru Moroboshi, who finds himself pestered by the alien Lum after accidentally proposing to her. Also included is a large supporting cast that consists of rivals, classmates, Lum’s alien friends, and Ataru’s romantic interests which frequently get involved in comedic and ridiculous situations. Much of the bulk of Urusei Yatsura ’s humor and aesthetic are modernizations or references to several elements of Japanese mythology. Even with Japanese cultural jabs and the linguistically contextual puns in the series, the show’s premise and slapstick elements made it a worldwide hit during its five-year run. Oshii took advantage of this aesthetic and integrated it into his own originally-written script. While Beautiful Dreamer is far from your average Urusei episode, Oshii had made sure to make the film as faithful as it can be to the original series, all the while testing his tools for the first significant time. The film begins with a cold opening, depicting the series’ setting of Tomobiki as a desolate and deluged landscape, with their high school being submerged by water. Despite this, some of the characters are still having fun: the main heroine Lum can be seen jet-skiing with other characters, while some others are indulging in the summer heat, complete with radio and television sets, food, and ventilation. Switching to a time where Tomobiki is still intact, Tomobiki High students are ardently preparing as it is the night before the school’s cultural festival. Everyone is doing their own thing, rushing and oblivious of the Groundhog Day -esque time loop that had already befallen them. Oshii specifically used this narrative technique to give the sense of time passing: The action doesn’t start after the movie begins, but rather, the action occurred long before, and as they go along, the characters start to realize it. That’s the kind of chronology, or composition, that I wanted for this film. Otherwise, the audience doesn’t feel time progressing, which I think is a critical part of the film. — Mamoru Oshii, Urusei Yatsura: Beautiful Dreamer director's commentary, Central Park Media release (2004) In contrast to its preceding film's, Only You 's (also directed by Oshii) ensemble and intergalactic cast, Oshii limits the scope of character cameos to settle on a focal point, the main school cast, in order to widen its character exploration. The series’ resident nurse and priestess Sakura and Ataru’s rival in romance Mendou try to uncover the mystery surrounding the time loop for a significant portion of the film, straying away from Ataru’s routine lusting to create his own harem. Meanwhile, the other characters around them begin to address the fear of getting lost in this neverending day. Oshii manipulates this world according to the rules of the series’ own world-building and effectively manages to present a story that is just as universal as the appeal of Urusei Yatsura itself, albeit in a different way. This scale of change did not only apply to Oshii’s internalistic focus on its cast, but also remade it from the outside. In the opening scene and midway through the film, Tomobiki turns into a post-apocalyptic and ruined urban world, complete with barren land, scattered puddles.. a tank. The reflections that are visible from the waters symbolize the ponderous nature of the film, not only for its cast but also for its viewers. Minor and subtle changes are also made to their original character designs, from more detailed facial and body features to a dynamic wardrobe, something Oshii made sure to indicate a more serious and continuous kind of storytelling. The imagery of fish, water, and aquarium tanks are elements in a film that mirrored Oshii’s intrigue at the time. In one of the scenes, one fish swims across the puddles that reflect the cast as they are walking by. This is a visual hint representing that there is something amiss in their world, one that involves a distorted yet reflective imitation of the “real” world. In a later sequence, the main villain reveals the backstory of his motives and the events that have led up to the point in the film, utilizing the imagery of fish swimming in aquariums to get his point through. Oshii further connotes the ambiguous line between reality and fantasy by likening memories and dreams with each other through using the same symbols. A man who dreamed he was a butterfly woke up and couldn’t tell which was real and which was the dream. Maybe the real “him” is in the butterfly’s dream. Being an Urusei Yatsura film, Japanese mythology and religion are bound to the series, as mentioned earlier. Oshii takes this opportunity to integrate the myth of Urashima Tarou, a well-known ancient folk tale that is the Japanese counterpart to Rip Van Winkle. As the cast discovers the true nature of the world they are in, the connections to the tale are made more apparent. In the tale, the fisherman Urashima Tarou helps out a turtle and releases it into the ocean. Because of his good deed, the turtle offered him to ride under his back to arrive at the underwater Dragon Palace. The illusion of time passed by while Urashima Tarou was on the turtle’s back becomes a central narrative focus in the film as the cast finds themselves in the same predicament. Beautiful Dreamer also makes a parallel to the moral of Urashima Tarou: helping someone does not necessarily lead to good fortune, Beautiful Dreamer spoiler In relation with the film’s themes, it also references The Butterfly Dream, an anecdote by Chinese philosopher Zhuangzi, which can be considered as the thematic center of the plot. If we ultimately think of dreams the same way as we do reality, what would be the purpose of living in the real world? Is there even a solid distinction between what is real and what is a dream? The dreams that I make are the same as reality. Therefore, they ARE reality! This ambiguity between two dynamic elements are themes Oshii would continue to explore even further appearing in the form of the duality of a just war and an unjust peace in Mobile Police Patlabor 2: The Movie and the duality of a cybernetic human and a sentient A. I. in Ghost in the Shell. During the late 1980s, global warming has escalated to the point where the polar ice caps melted, leading to increasing sea levels. To prevent the sea from taking over the land, barriers were constructed all around the world. In the assembly of these barriers, Labors or large-scale industrial machines were created to aid in its completion. Because of the capabilities of Labors, they also began to get involved as part of terrorist tactics and environmentalist extremists against Tokyo's formation of the Babylon Project, a structure meant to reclaim the land and eventually fill all of Tokyo Bay. Patrol Labors or Patlabors were included in the police force as a means of stopping crime and maintaining peace. Mobile Police Patlabor focuses on the quirky and eccentric team within the unit. The Mobile Police Patlabor franchise is another notable example of Oshii being given more credit in comparison to other people involved in its creation. While he certainly brought the mecha franchise to attention because of his part in directing the first OVA Early Days and its films Patlabor 1 and Patlabor 2, the original concept, art, and story were mostly conceived by Masami Yuuki, a manga artist also known for creating Tetsuwan Birdy. In fact, Oshii was the last member to be included in the writer/artist collective Headgear, consisting of Oshii’s frequent collaborators character designer Akemi Takada ( Patlabor, Kimagure Orange Road) and scriptwriter Kazunori Ito ( Maison Ikkoku, GitS), as well as mechanical designer and director Yutaka Izubuchi ( RahXephon, Yamato 2199) and Masami Yuuki. Back in the day, Oshii’s line of work prior to Patlabor had been related to fantastical and surrealistic settings, also in line with his exploration of reality and dreams. With Patlabor, Oshii was given the chance to make use of a heavily contrasted setting while retaining the tools he had developed over his years as a consumer and creator of the medium. Even though this was one of Oshii’s first times dealing with science-fiction leaning more to reality, he had been shown to be interested in showcasing technological and militaristic worlds in the past: Angel’s Egg and Beautiful Dreamer both displayed intricately-detailed tanks in at least one of their scenes, and he had also co-directed the very first OVA Dallos, a sci-fi space opera along with his mentor Hisayuki Toriumi ( Gatchaman). Patlabor 2 highlights another turning point in Oshii’s career as he rid Patlabor of its comedic, bubbly, and self-parodying nature in order to deliver a serious and realistic work, blended with the adherence to the urban setting of Tokyo, allusions to Biblical passages, a different perspective within Patlabor ’s universe, and his personal political statement. Taking the helm of lead characters are Kiichi Gotou and Shinobu Nagumo, originally supporting characters that conveyed the more political nature of the franchise. Being the captains of Special Vehicles 2, Section 2 (the Patlabor division of the Japanese police force), they become entangled in a plot involving Nagumo’s past, the Japanese Self-Defense Force (JSDF), and a conspiracy which can threaten the peace and security of the entire country. This shift in perspective helps Oshii make a contrast between the franchise and his subject matter, while still making the film as Patlabor as it can get. Along with the stronger focus on Nagumo and Gotou are the changes in the cast’s character designs to align with Oshii’s vision of photorealism. The once-exaggerated facial features of the characters are minimalized to be more in line with this aesthetic, which also helps accentuate the mature themes explored throughout the film. Oshii’s use of animals as symbols come as a prominent aspect of the film. Firstly, Patlabor 2 is the first film to feature his trademark basset hound, in a small but significant scene. On a tiny fishing boat, the dog watches the departure of the defense force's helicopters about to stage an attack, emphasizing Oshii’s belief that dogs and other animals are more capable of noticing the truth, whereas our perceptions of it get muddled with the manipulation of the media and institutional forces. Other sequences in the film have blatantly shown flocks of birds hovering in the sky, either shown through television screens, above the masses oblivious of the underlying conflict, or flying over with aircrafts and helicopters. As far as Oshii is concerned, the birds are mere stylistic choices, but their appearances throughout important portions in the film may imply similar connections to how the dog is presented— free and unconstrained by the distortions of reality, overseeing the unfolding of events. Lastly, mirroring Beautiful Dreamer ’s integration of the motif, fish and aquariums play a role in recalling a past event that is key to the plot’s backstory. As the conversation between Gotou and Arakawa, another character, deepens, a picture summarizing Nagumo’s backstory takes on the framing of an aquarium tank, subtly lit with bluish tints and ripples overlapping its display. Later in the film, a shot displays Nagumo herself dealing with a phone call related to her past, suddenly cutting to a close-up of her house's own aquarium tank. Remember Oshii’s quote on Christianity? Patlabor as a franchise already contained several Biblical references, especially made prominent in Oshii’s Patlabor 1, with the involvement of Section 2, most particularly the main character Noa 1 Izumi, with the “Ark” tower of the Babylon the film’s main antagonist is Eiichi Hoba 2. Oshii once again utilizes Biblical elements by integrating it within the story, as a key hint to understanding the main antagonist’s motivations. 1 Take note that the American localized subtitles Romanize her name as “Noah”. 2 When shortened, his name becomes E. Hoba, an play on Jehovah, one of the names of God in the Bible. Suppose ye that I am come to give peace on earth? I tell you, Nay; but rather division: For from henceforth there shall be five in one house divided, three against two, and two against three. The father shall be divided against the son, and the son against the father; the mother against the daughter, and the daughter against the mother; the mother in law against her daughter in law, and the daughter in law against her mother in law. —Luke 12:51-53 Within the passage’s Biblical context lies parallels to the antagonist’s intentions. Similar to how following Jesus can create divisions regarding religious belief, possibly even within families, Oshii anticipates that a stronger and more active Japan would mean that conflict can and will arise from within and against the nation. Oshii himself remarks how Patlabor changed his career: Patlabor for me was a major film in many ways, and I think it became my turning point. I know I am what I am today because of Patlabor. —Mamoru Oshii, WXIII Patlabor the Movie 3 supplemental disc, cited in Brian Ruh's Stray Dog of Anime: The Films of Mamoru Oshii 2nd ed. (2013), p. 77 The style Oshii has been known for particularly in the West came into actuality thanks to the franchise, and it opened up a chance for Oshii to work on a film that culminated in his breakthrough as a globally popular director. You can draw big parallels between the opening sequences of Patlabor 2 and Ghost in the Shell. In both sequences, Kenji Kawai’s ( Mob Psycho 100, Fate/stay night, Ranma ½) atmospheric music plays as the characters interact with high-end technology. Detail for interfaces, mechanical parts, and testing procedures are presented with clear-cut and precise animation. However, whereas the Patlabor franchise focuses on how scientific breakthroughs affect the external world, GitS explores how technology affects the very core of our individualities—the mind. It should be noted that GitS does not focus on a supporting character: the protagonist of the film is, like its source material, Motoko Kusanagi, a cybernetic human with the title of Major working for the intelligence department Section 9. Despite this, Oshii presents a shift in perspective by emphasizing the existential conflict that brings out her pondering and serious nature. Within the world of the film, technology has advanced to the point where the human consciousness can be digitally transmitted to other cybernetic bodies. Having been in several bodies (“shells”) in the past, this leads Motoko to contemplate on the humanity of her “ghost”. The other visual elements of GitS aid in expositing Motoko’s question of identity. Character designer Hiroyuki Okiura ( Jin-Roh, A Letter to Momo) gives Motoko an older and muscular body in contrast to her heavily fetishized young and feminine look in the manga: Motoko Kusanagi is a cyborg. Therefore her body is strong and youthful. However her human mentality is considerably older than she looks. I tried to depict this maturity in her character instead of the original girl created by Masamune Shirow. — Hiroyuki Okiura, Ghost in the Shell Production Report, Region 4 release (1996) Aside from critical changes in character design, Oshii depicts the manga’s futuristic and urbanized Newport City as a bustling, dirty and rundown locale modeled after Hong Kong. This change acts more than an aesthetic to Motoko’s dilemma, as it also parallels the thematic outline of the film— Hong Kong is a country that also experiences a loss of national identity, being a British colony in the past, and currently a region of China, yet has its own autonomous system of government. The film’s infamous city sequence not only presents a breather from the action sequences prior, but also brings you into Motoko’s state of reflection. Shots of the confusing urban sprawl display unfinished buildings filled with scaffoldings and a stoplight stuck at flashing yellow, allegorizing the incompleteness Motoko feels with regards to her humanity. While animals do not appear as often in GitS, Oshii included his beloved basset hound within three scenes. Firstly, as a criminal is being pursued by Batou, he runs by several posters of basset hounds. In a later scene, a TV ad of a woman and a basset hound plays, while one of the hackers brought for interrogation is shown a picture of himself, with a basset hound looking at him from the background. Finally, in the city sequence, a shot shows a basset hound staring at the camera (presumably Motoko’s perspective) from a bridge. How Oshii incorporates the basset hound in scenes can possibly take a more, personal and intimate meaning, as Oshii himself considers the dog as his self-insert, yet he also remarks how he makes use of them in relation to his film’s subject matter: O: Do you think these symbols take on more meaning as they're repeated from film to film? Isn't there a risk that repetition will dull their effect? MO: Eventually, I think, by using these elements repeatedly, I add meaning to my final product. I'm still exploring how to express my feelings through these elements. I've always felt that in order to portray humans, you should not be shooting humans; you should be shooting something else. And what I've used is animals, which are very important in my films. ” — Mamoru Oshii, interviewed by Tasha Robinson for The A. V. Club (2004) This idea from Oshii can also be realized from the beginning of the film, although in a different form of imagery through Motoko’s recollection of the creation of her mechanical body in a dream. Shots of a cybernetic head and torso being assembled establish the opening sequence of the film. While covered in metal casing, there is a human brain placed and connected to the body, as displayed in a green hologram scanning its activity. This body undergoes several phases of development before finally resembling like a human. After waking up from this dream, Motoko herself wonders if she is still one. This masterful sequence immediately portrays Motoko’s character and internal conflict, by showing what’s not human about her. The scope of religious and mythological allusions within GitS is considerably large, especially as it questions what it means to be human and if we can go further than that. The track used for the opening sequence, aptly named “Making of Cyborg”, contains lyrics sung in the ancient Yamato language, depicting the descent of a goddess: A ga maeba, kuwashime yoini keri (Because I had danced, the beautiful lady was enchanted. ) A ga maeba, teru tsuki toyomu nari (Because I had danced, the shining moon echoed. ) Yobai ni kami amakudarite, (Proposing marriage, the god shall descend) Yoha ake, nuedori naku, Tookamiemitame (The night clears away and the chimera bird will sing. ) In addition, the climax of the film contains a monumental scene wherein the antagonist shoots down a mural of the Tree of Life, a concept both used in scientific and mythological contexts, stopping right at the hominis (human) label as to challenge the established line of evolution, and to usher in a new type of being from the synthesis of the A. and the human mind. As a final touch and being faithful to his source of literary inspiration, Oshii infuses Biblical references that describe Motoko’s quest for self-identity. In the boat scene, the following verse from 1 Corinthians 13 was uttered: For now we see in a mirror dimly, but then face to face. Now I know in part; then I shall know fully, even as I have been fully known. —1 Corinthians 13:12 And in the film’s conclusion, Motoko utters another part from the passage: When I was a child, I spoke like a child, I thought like a child, I reasoned like a child. When I became a man, I gave up my childish ways. —1 Corinthians 13:11 The way the verses are used are flipped in order, possibly to foreshadow Motoko’s character arc. GitS spoiler A post from r/GhostintheShell goes deeper in exploring the meaning behind the use of this passage. Conclusion: Auteurism and faithfulness Mamoru Oshii may be likened to an auteur: a creator whose works are strongly imbued and influenced by the elements of his artistic vision. During his career, he has shaped that artistic vision through constant use of his tools that enabled him to tackle on different subject matters while leaving his mark as its director. In reality, Oshii’s adaptations have received mixed receptions for not being faithful enough, especially with his direction on the second Urusei Yatsura film. Patlabor 2 and GitS did not have any comedic elements in favor of addressing thought-provoking themes. However, I would argue on the definition of “being faithful”. Beautiful Dreamer maintains a visual continuity with Only You in the form of the broken clock on the clock tower, while the characters still act like their normal selves, retaining their comedic and wacky personalities. Patlabor 2 ’s story can find itself at home in the original series as one of the more serious episodes (in fact, Patlabor 2 is based off of Episodes 5 and 6 of the Early Days OVA). GitS encompasses several elements of Shirow’s heavily expository world, effectively embedding them as parts of the world that complement important details about Motoko’s character development. Oshii may have taken liberties in order to give way for his tools and vision for his films, but he has always tried to maintain his adaptations in spirit and with continuity to the original. It may not be the same thing fans may be looking for, but every detail he puts in his work gives acknowledgement to the original creator’s work, world, and characters. Undeniably, Oshii is a remarkable director who puts in effort for carefully-detailed worlds, along with cinematic presentations of themes that reach out not just to its characters, but also to its viewers—just like how any well-written piece should be. With the culmination of his career through GitS, Oshii’s mastery of his tools shine through the heavy layers of its plot, setting, characters and themes. That’s what makes Oshii’s adaptations Oshii. Apply to be a writer! | Check out r/anime Writing Club's wiki page | Please PM u/ABoredCompSciStudent or u/kaverik for any concerns. WRONG VERSION. Sagan om prinsessan kaguya free watch list. Source Previous Update Threshold: 396 DVD - 358 BD How to read this: Series | Volume | # of week the volume has been out | This week's total sales | Total volume sales | Week's BD sales | Week's DVD sales Series Volume Weeks Week Sales Total Sales BD DVD Love Live! 2nd Season v7 6 1856 64849 1856 X Youkai Watch v1 14 621 51562 X 621 Haikyuu!! v7 2 2687 18823 1384 1303 Free! 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Kokkuri-san v2 1 2807 2807 1388 1419 Hanayamata v5 2 511 2616 511 X Log Horizon 2nd Season v1 1 2515 2515 1995 520 Futsuu no Joshikousei ga Locodol Yatte Mita. v5 1 2148 2148 2148 X Hybrid Child v4 1 2014 2014 1008 1016 Bokura wa Minna Kawaisou v7 1 1934 1934 1538 396 Ore, Twintail ni Narimasu v2 1 1801 1801 1801 X Sora no Method v1 1 1738 1738 1738 X Rokujouma no Shinryakusha!? v5 1 1498 1498 1498 X Terraformars v2 1 1460 1460 999 461 Sabagebu! v5 1 1404 1404 1404 X Inou-Battle wa Nichijou-kei no Naka de v2 1 1001 1001 1001 X Love Stage!! v5 1 919 919 413 506 Hitsugi no Chaika Avenging Battle v2 1 900 900 900 X Zankyou no Terror v5 1 857 857 857 X Space Dandy v10 1 816 816 816 X Daitoshokan no Hitsujikai v2 1 791 791 791 X Kaitou Tenshi: Paradise OVA 1 625 625 625 X Yume no Crayon Oukoku DVD Box 1 549 549 X 549 Gundam Build Fighters TRY v2 1 496 496 X 496 Denki-gai no Honya-san v2 1 404 404 404 X Re: Hamatora v4 1 360 360 360 X Movie Sales: Movie Volume Weeks Week Sales Total Sales BD DVD Kaguya-hime no Monogatari 9 601 32998 X 601 Tonari no Totoro (2014 re-release) 29 405 25467 X 405 Soukyuu no Fafner - Heaven and Earth 10 380 17650 380 X Urusei Yatsura 2 Beautiful Dreamer 3 417 8277 417 X What are event tickets? Many anime hold real life events that fans can attend to meet the staff and/or cast of the series, or to engage with other fans who also love the show. Any sort of question, feedback or correction is welcome. Comment in this thread about anime or manga you may have watched or read recently! Or just talk about a series you really enjoy. Question of the day: What are some anime/manga that you admit probably aren't as good as the score you gave them but you just personally enjoyed them that much? I. e., "this is anime is like an 8/10 tops but I love it so much I'd give it a 9 or a 9. 5" So, without further delay, the list: Summer wars Brave Story Mahou Shoujo Madoka? Magica Movie 3: Hangyaku no Monogatari Kaguya Hime no Monogatari Hells Howl no Ugoku Shiro Toaru Hikuushi e no Tsuioku If people don't want this idea to go through, we will still wait for the 27 to start the second season. previous thread. Impressive voice, nice. Que alguien me explique como con una canción tan alegre como es cuando llega la gente de la luna, me dan tantas ganas de llorar! Maldita gente de la luna xD. Sagan om prinsessan Kaguya Free watch online Is this the same folktale from the Ghibili film Princess Kaguya. Isao Takahata's The Tale of Princess Kaguya is a beautifully crafted epic. The animation, atypical of the style of Ghibli-style blockbuster we've come to expect and love in the UK, is delicate and beautiful. It is of no surprise that this melancholic triumph received an Oscar nomination for best animated film this year. Based on 10th Century Japanese folklore, it follows the life of a humble bamboo cutter who stumbles upon a glowing stalk, a tiny, hand-sized girl growing within. Returning home to his wife with excitement, the child rapidly transforms from baby, to toddler, to infant in a beautifully animated transition. Though the genuine film can be seen with subtitles, the dubbed version stars a formidable cast of Chloë Grace Moretz, Darren Criss, James Caan and Lucy Lui that compliments the animation impeccably. It's then down to personal preference as to which you'd rather experience. The tale beautifully and poignantly manifests itself as a parable-like journey, staying relatively true to its historical and mystical routes. The story follows the family as the bamboo cutter moves them to the city in order to fulfil Kaguya's destiny of becoming a princess. Though it is never clear as to how or why the father made the connection between his adoptive child and her future of royalty, the film rifles on and allows the little plot indiscretions to go largely unquestioned. The balance between humour and solemnity helps the narrative flow whilst making you feel real empathy for Kaguya and her situation. Whimsical moments deliver in captivating you entirely. The film also injects sorrow, particularly as the princess struggles with her new life away from the farm, friends and freedom she grew up with. And While her life moves on, the film develops upon these points before flowing lovingly into a situation in which the Princess sends five potential love interests on a mission to find for her an unobtainable gift. The new development, in which Kaguya finally embraces her power, is charming and brilliant! Animated entirely from the modern innovation of ink and watercolour, the definition in the penmanship drives the tone of the film. In moments of calm the pen marks curve delicately, whilst in times of trouble ink is sharp, aggressive and unfinished. The effect adds peace and rigour respectively, another layer to enhance the story. The Tale of Princess Kaguya is a welcome departure from this over-saturated CGI market that, whilst great in its own mediums, has detracted from the flare of ink based animation. Here Isao Takahata reminds us that it is still a daring art form that can craft glorious movies such as this. The entire film is held together exquisitely by another Joe Hisaishi masterclass. The stirring soundtrack adding beauty, elegance and hope to an already sublime film. The concluding piece of music is harrowing, yet delightful in the ultimate juxtaposition of image and sound. The score alone will have you scurrying home and downloading it just to hear it again. The Tale of Princess Kaguya is surprising and captivating, a true victory of imagination. With folklore at it's heart it airs on ridiculous, but remains grounded enough to thrill. The story is simple enough, but ends with a profound message. Originally written for: I'm With Geek. Sagan om prinsessan Kaguya Free watch now. Including this music in that particular scene was a stroke of genius i cant describe how it made me feel. 6:17 If only the Emperor knew that in a thousand of years space travel(atleast getting up to the moon) would have been a thing. Sagan om prinsessan kaguya free watch 2017. Sagan om prinsessan Kaguya Free watch. Sagan om prinsessan Kaguya Free watch dogs. It's my second favorite after the Castle in the sky... But still prefer the japan voice though. Sagan om prinsessan kaguya free watch live. Sagan om prinsessan kaguya free watch online. Sagan om prinsessan Kaguya Free watch tv. Sagan om prinsessan kaguya free watch movie. Sagan om prinsessan kaguya free watch 2. How Does It Feel To Get Oscar Robbed By Disney? M. Ughhh why is this so perfect. Sagan om prinsessan Kaguya Free watch blog. Sagan om prinsessan Kaguya Free watch the trailer Tristemente hermosa. Since the introducing of a new [WT! ] (Watch This) tag, these posts get a lot of well-deserved praise. We get to know some new interesting anime, remember some sweet moments about titles we've already finished some time ago, suggest shows ourselves. However, not everyone's browsing r/anime everyday, and since we all live in different time zones, some very well-written posts may fly under the radar. I decided to make a little compilation of the posts that were posted here throughout past month. I took anime topics from January. Num [WT! ] Thread Genres Author Upvotes 1. Akatsuki no Yona ( MAL) Action, Adventure, Comedy, Fantasy, Romance, Shoujo /u/irisfang 457 2. Bakuman. ( MAL) Comedy, Romance, Shounen /u/SonicSlayer 260 3. Eureka Seven ( MAL) Adventure, Drama, Mecha, Romance, Sci-Fi, Shounen /u/Iizbakaokay 252 4. Kill la Kill ( MAL) Action, Comedy, School, Super Power /u/Helghast-Killzone 223 5. Kekkai Sensen ( MAL) Action, Fantasy, Shounen, Super Power, Supernatural, Vampire /u/cloudflow 212 6. Sakigake!! Cromartie Koukou ( MAL) Comedy, School, Shounen /u/Narsay 185 7. Ginga Eiyuu Densetsu ( MAL) Drama, Military, Sci-Fi, Space /u/Zinegata 179 8. Paprika ( MAL) Fantasy, Horror, Mystery, Psychological, Sci-Fi, Thriller /u/7TeenWriters 169 9. Perfect Blue ( MAL) Dementia, Drama, Horror, Psychological /u/7TeenWriters 167 10. Senjou no Valkyria ( MAL) Action, Military, Romance /u/UnavailableUsername_ 146 11. Arakawa Under the Bridge ( MAL) Comedy, Romance, Seinen /u/kaverik 129 12. Rokujouma no Shinryakusha!? ( MAL Comedy, Harem, Romance, School, Supernatural /u/irisfang 124 13. Nazo no Kanojo X ( MAL) Ecchi, Romance, School, Seinen /u/Procrastinating3 121 14. Free! ( MAL) Comedy, School, Slice of Life, Sports /u/irisfang 111 15. Kaguya-hime no Monogatari ( MAL) Fantasy, Historical /u/Enigmaboob 96 16. Toaru Majutsu no Index/Toaru Kagaku no Railgun ( MAL / MAL) Action, Magic, Sci-Fi, Super Power /u/Sir_Factis 93 17. Mangaka-san to Assistant-san to The Animation ( MAL) Comedy, Ecchi, Harem, Seinen, Slice of Life /u/BetaCowSSP 91 18. Juuni Kokuki ( MAL) Action, Adventure, Fantasy, Magic, Supernatural /u/AnimeWasMadeForMe 76 19. Subete ga F ni Naru: The Perfect Insider ( MAL) Mystery, Psychological /u/KorStonesword 73 20. Noir ( MAL) Action, Drama, Mystery /u/MartintheDragon 51 21. Senkou no Night Raid ( MAL) Action, Historical, Military, Super Power /u/einherjar81 50 22. Various SoL/Comedies Comedy, Slice of Life /u/illtima 44 23. Vandread ( MAL) Action, Ecchi, Mecha, Sci-Fi, Shounen, Space /u/stella_snyper 43 24. Tentai Senshi Sunred ( MAL) Comedy, Parody, Super Power /u/BiGnoize 26 25. Nekojiru-sou ( MAL) Comedy, Dementia, Psychological /u/define_irony 25 26-27. Sarusuberi: Miss Hokusai ( MAL) Drama, Historical /u/squanchy_56 21 26-27. Chi's Sweet Home ( MAL) Comedy, Slice of Life /u/irisfang 21 28. Shouwa Genroku Rakugo Shinjuu ( MAL) Drama, Josei /u/G-0ff 7 >> MONTHLY UPDATED SPREADSHEET/ARCHIVE OF ALL [WT! ] THREADS << Remember, fellow redditors, to read the reviews and to expand your horizons - best shows don't belong to one or two genres, and the column of 'genres' is here for you to make the table easier to navigate, not to quickly dismiss genres you don't like. Remember, fellow authors, the best comment in your thread is not "What a good anime, I can also suggest this", but "Thanks for suggestion, I will watch this anime". As always, leave what you think about the post in comments, any feedback is appreciated. Thanks for reading! Previous Post. Cherished Treasure, story updated as Princess Leia in Star Wars. Small figure hologram, moon like Death Star, space invasion to save her from father. I've learnt more from ghibli movies than I ever did from school. Sagan om prinsessan kaguya free watching. Such a beautiful uplifting music. Sagan om prinsessan kaguya free watch episode 1. I really love the movie, but i didn't get why Cloe Grace Moretz is in the cast, i mean, the original language of this movie is Japanese, so, i don't get it, does she know Japanese or she translate the movie for a English version, the she shouldn't be in the cast, nothing against her, but the cast should be the original, no the translate, in the other way if she does know Japanese, then its amazing, and should be a great fact which should be in the general description of the page where everybody can see it, if someone know this please let me know, it will be great if she have actually really does the original voice of the princes. Sagan om prinsessan kaguya free watch download. Sagan om prinsessan kaguya free watch full. Sagan om prinsessan kaguya free watch video. Sagan om prinsessan kaguya free watch series Sagan om prinsessan Kaguya Free. alumni /.
Me watching the beginning ok. Me watching the end of the movie your going to heaven. Watch stream kaguyahime no monogatari season. Those are impossible tasks Ya. Watch stream kaguyahime no monogatari 7.
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This movie is the first movie to ever forcely bring a tear into my eyes. It just shows how woman and men don't love each other like they used to,nowadays all we do is look at each other's bodies and faces,basically today people only want sex. They only care how big your dick is or how big your boobs are. Damn,i'm never gonna find the woman of my life... She is the one she is the one called sailor moon.