While People Will Talk, starring Cary Grant and Jeanne Crain, was billed under the romantic comedy genre with tinges of domestic drama surrounding pregnancy out of wedlock, director Joseph L. Mankiewicz’s production was evidently driven by such dense additional narrative circumstances that at times it would seem decidedly unfitting. While the two central plot threads presented by People Will Talk – namely Grant’s character Noah Praetorius’ misconduct scandal and Crain’s Deborah Higgins’ attempted suicide upon discovery of her unwanted pregnancy – are certainly far less elegantly interwoven during the film’s runtime as one might like, the title People Will Talk alludes to the grander ideals preached by what was ultimately a parable of moral decency and the shackles of social expectation, which the two outlined narratives both explore in blatant and elusively satirical ways.
As September 2018 draws to a close, the TV anime Shojo Kageki Revue Starlight has, for the moment, come to an end. Now that everything has come to light, we are able to deliver the second half of the roundtable discussion between the music producers, Teppei Nojima (Pony Canyon) and Kohei Yamada (UPDREAM), and the lyricist, Kanata Nakamura. In it we look back on the revue songs that have accompanied the dramatic developments of the second half of the series, and ask about their overall thoughts as they strove to produce a ‘musical x anime mixed media’ project – something that has never been done before.
Shojo Kageki Revue Starlight: the franchise that has taken its ‘musical x anime mixed media’ concept and turned it into a myriad of different projects. The TV anime, which has been one of the franchise’s main pillars, will soon be coming to an end. What are the secrets behind the revue songs that have appeared in nearly every episode, leaving a strong impression on the viewers in their wake? LisAni will attempt to answer this question by diving into a roundtable with the show’s staff. In part 1 of this talk between three of the music production team – the music producers, Teppei Nojima (Pony Canyon) and Kohei Yamada (APDREAM), and the lyricist, Kanata Nakamura – we will be looking back on the songs that featured in the first half of the series.
As I look for ways to keep my writing brain well-oiled, I will be trying out a more ‘modular’ approach to blog posts: rather than dedicating each post to a singular theme that I hammer out mostly in one sitting, I’m taking a few pages from my old seasonal anime list posts, and compile short capsule reviews that I write throughout the week(s). In this instance, I have given myself a pretty decent schedule for the upcoming fortnight of movies that are screening at the annual Sydney Film Festival, and will be reflecting on each title I watch, before publishing it at its conclusion.
Social television and by extension, popular media, forms a central reflective lens through which one can observe and debate the general assumptions of cosmopolitanism in the contemporary Global Internet age. The frameworks of argument presented by Youna Kim in her exploration of the Korean Wave (with a particular focus on TV dramas) are grounded within understanding the discursive construction of an ‘East Asian Popular Culture’ (Chua, 2004), as well as exploring the shifting of the cultural export tides, as global awareness and appreciation for Asian media expands.
Princess Principal was an action-adventure highlight of Summer 2017, and a big part of this resonance with the fandom was undoubtedly the high-octane musical identities afforded to the production by its arranger/composer duo of rising star Ryo Takahashi (ACCA: 13-ku Kansatsu-ka, Classroom of the Elite), and prolific veteran Yuki Kajiura (Kara no Kyoukai, Fate/Zero, Sword Art Online, ERASED).
The following is a translation of the interview conducted with the two composers by Natalie Music.
Not sure where I heard it, but the perfect completed anime to favourite anime ratio is a clean-cut 10:1: meaning that now that I’ve completed over 200 anime in total (according to MAL at least), I get to update my favourite anime to a list of 20. And that’s good news and bad news.
Spielekonzerte (German for ‘game concerts’) certainly doesn’t sound like a new and flashy concept in the west, until you have the context to realise that it didn’t find its international attention until 2003 rolled over. Which was decades after the very first game concert ever held in 1987, led by the famed Dragon Quest composer Koichi Sugiyama at the Suntory Hall in Tokyo.
Opening remarks: I originally intended this piece to be a particularly academic-driven one…digging deep into the likes of Mark Lochrie & Paul Coulton’s article on shared viewing experiences or ‘Social TV’ and ‘Second Screen Devices’, and Alice E. Marwick’s paper on ‘Imagined Audiences and Context Collapse in Microblogging’. Elements of these studies are still retained in the final product, but I decided to keep discussion more centred on Dragon Maid and my own experiences in watching it…and ultimately deciding that it is an absolute new favourite.
Starting a new column-of-sorts on this blog, aimed to both provide some much-needed support for Kickstarter projects that I am interested in, and to give some insight for my readers on the sort of things I’m interested in, be it comics, photography books, awesome product designs or ambitious animation productions. Two birds with one stone, essentially: I get to talk about creative projects that I think are awesome, while you guys get to know more about me.
It is unlikely that this will be a regular column that gets new posts every month, since I AM still just a uni student with limited budget. But if I do pledge for some things that I think are interesting enough all within the same month, I will churn out one of these. Anyway, hope you guys enjoy!