Winny
有罪・・・ですか
日本はハードも、ソフトも開発してはいけないと・・・
ゲームだけ作っとけってか！？
それはそれで幸せかも
エヴァンゲリオン
リメイクして映画化されるとか。
http://www.evangelion.co.jp/theater.html
そういえば実写版の話はどうなったのか・・・
あんまり進行してないっぽいね＿|￣|○
宇宙
ライブドアの榎本さん、2000万ドルを支払って、結局訓練のみ？
どう考えても、カモにされています。乙
宇宙を夢見るなら、こんな方法もあったのに・・・
ISBN:4767802512
そのお金があれば、固定式のすばらしいプラネタリウムを作ってくれそう。
しかし、すごいエネルギーと行動力。周りの「幸運な」サポートはこの人自身の力から生み出されているんやろなあ、と思った。
メガスターの映像、見て見たい！
Gedo Senki
A First Response to "Gedo Senki," the Earthsea film made by Goro Miyazaki for Studio Ghibli.
Written for my fans in Japan who are writing me about the movie, and for fans elsewhere who may be curious about it.
Preliminary Note:
Very few authors have any control over the use made of their books by a film studio. The general rule is that once the contract is signed, the author of the books is nonexistent. Such labels as "creative consultant" are meaningless. Please do not hold any writer except the script-writer responsible for anything in a film. Don't ask the book's author "Why did they . . . ?" She is wondering too.
Brief history:
Twenty or so years ago, Mr Hayao Miyazaki wrote me expressing interest in making an animated film based on the (then only three) books of Earthsea. I did not know his work. I knew only Disney-type animation, and disliked it. I said no.
Six or seven years ago, my friend Vonda N. McIntyre told me about My Neighbor Totoro and we watched it together. I became a Miyazaki fan at once and forever. I consider him a genius of the same caliber as Kurosawa or Fellini.
Some years later, when I found that the delightful Japanese translator of the later Earthsea books, Ms Masako Shimizu, knew Mr Hayao Miyazaki, I asked her to tell him that, if he was still interested in Earthsea, I would welcome talking with him about a film.
I had a pleasant correspondence with Mr Toshio Suzuki of Studio Ghibli. In our correspondence, I urged the unwisdom of radical changes to the story or the characters, since the books are so well known to so many readers, in Japan as elsewhere. In order to have the freedom of imagination he ought to have in making his film, I suggested that Mr Miyazaki might use the period of ten or fifteen years between the first two books: we don't know what Ged was doing in those years, aside from becoming Archmage, and Mr Miyazaki could have him doing anything he liked. (There is no other film maker to whom I would make such a proposition.)
In August 2005, Mr Toshio Suzuki of Studio Ghibli came with Mr Hayao Miyazaki to talk with me and my son (who controls the trust which owns the Earthsea copyrights). We had a pleasant visit in my house.
It was explained to us that Mr Hayao wished to retire from film making, and that the family and the studio wanted Mr Hayao's son Goro, who had never made a film at all, to make this one. We were very disappointed, and also anxious, but we were given the impression, indeed assured, that the project would be always subject to Mr Hayao's approval. With this understanding, we made the agreement.
At that time, work had already started on the film: a copy of the poster of the child and the dragon was given us as a gift, and also a sketch of Hort Town by Mr Hayao and the finished version of it from the studio artists.
Work on the film went on extremely rapidly after that. We realised soon that Mr Hayao was taking no part in making the film at all.
I had a very moving letter from him, and later one from Mr Goro. I answered them as well as I could.
I am sorry that anger and disappointment attended the making of this film on both sides of the Pacific Ocean.
I am told that Mr Hayao has not retired after all, but is now making another movie. This has increased my disappointment. I hope to put it behind me.
The Film.
As my son and I could not go to Tokyo for the premiere of the film, Studio Ghibli very kindly brought us a copy, and gave us a private screening at a downtown theater on Sunday August 6, 2006. It was a joyful occasion. Many friends with children came. It was entertaining to get the kids' response. Some younger ones were rather frightened or confused, but the older kids were cool with it.
After the screening we went to have dinner at my son's house. Elinor the corgi behaved with great propriety, while Mr Toshio Suzuki did headstands on the lawn.
Mr Goro Miyazaki asked me just as I was leaving, "Did you like the movie?" It was not an easy question to answer, under the circumstances. I said: "Yes. It is not my book. It is your movie. It is a good movie."
I did not realise that I was speaking to anyone but him and the few people around us. I would have preferred that a private reply to a private question not be made public. I mention it here only because Mr Goro has mentioned it in his blog.
So, in the spirit of everything being public all the time for fifteen minutes, I will give a fuller report of my first response to the film:
Much of it was beautiful. Many corners were cut, however, in the animation of this quickly made film. It does not have the delicate accuracy of "Totoro" or the powerful and splendid richness of detail of "Spirited Away." The imagery is effective but often conventional.
Much of it was exciting. The excitement was maintained by violence, to a degree that I find deeply untrue to the spirit of the books.
Much of it was, I thought, incoherent. This may be because I kept trying to find and follow the story of my books while watching an entirely different story, confusingly enacted by people with the same names as in my story, but with entirely different temperaments, histories, and destinies.
Of course a movie shouldn't try to follow a novel exactly ― they're different arts, very different forms of narrative. There may have to be massive changes. But it is reasonable to expect some fidelity to the characters and general story in a film named for and said to be based on books that have been in print for 40 years.
Both the American and the Japanese film-makers treated these books as mines for names and a few concepts, taking bits and pieces out of context, and replacing the story/ies with an entirely different plot, lacking in coherence and consistency. I wonder at the disrespect shown not only to the books but to their readers.
I think the film's "messages" seem a bit heavyhanded because, although often quoted quite closely from the books, the statements about life and death, the balance, etc., don't follow from character and action as they do in the books. However well meant, they aren't implicit in the story and the characters. They have not been "earned." So they come out as preachy. There are some sententious bits in the first three Earthsea books, but I don't think they stand out quite this baldly.
The moral sense of the books becomes confused in the film. For example: Arren's murder of his father in the film is unmotivated, arbitrary: the explanation of it as committed by a dark shadow or alter-ego comes late, and is not convincing. Why is the boy split in two? We have no clue. The idea is taken from A Wizard of Earthsea, but in that book we know how Ged came to have a shadow following him, and we know why, and in the end, we know who that shadow is. The darkness within us can't be done away with by swinging a magic sword.
But in the film, evil has been comfortably externalized in a villain, the wizard Kumo/Cob, who can simply be killed, thus solving all problems.
In modern fantasy (literary or governmental), killing people is the usual solution to the so-called war between good and evil. My books are not conceived in terms of such a war, and offer no simple answers to simplistic questions.
Though I think the dragons of my Earthsea are more beautiful, I admire the noble way Goro's dragons fold their wings. The animals of his imagination are seen with much tenderness ― I liked the horse-llama's expressive ears. I very much liked the scenes of plowing, drawing water, stabling the animals, and so on, which give the film an earthy and practical calmness ― a wise change of pace from constant conflict and "action". In them, at least, I recognised my Earthsea.
The issue of color:
My purpose in making most of the people of Earthsea colored, and the whites a marginal and rather backward people, was of course a moral one, aimed at young American and European readers. Fantasy heroes of the European tradition were conventionally white ― just about universally so in 1968 ― and darkness of skin was often associated with evil. By simply subverting an expectation, a novelist can undermine a prejudice.
The makers of the American TV version, while boasting that they were "color blind," reduced the colored population of Earthsea to one and a half. I have blasted them for whitewashing Earthsea, and do not forgive them for it.
The issue is different in Japan. I cannot address the issue of race in Japan because I know too little about it. But I know that an anime film runs smack into the almost immutable conventions of its genre. Most of the people in anime films look ― to the American/European eye ― white. I am told that the Japanese audience perceives them differently. I am told that they may perceive this Ged as darker than my eye does. I hope so. Most of the characters look white to me, but there is at least a nice variation of tans and beiges. And Tenar's fair hair and blue eyes are right, since she's a minority type from the Kargish islands.
When can we see "Gedo Senki" or "Tales of Earthsea" in America?
When the contract with the TV people for their film and rights runs out: not before 2009. Alas! There are dogs in the manger.
Webthing brings you to navigation links
Note: The version shown us was subtitled, not dubbed. Studio Ghibli does excellent dubbing, but I was delighted to hear the Japanese voices for once. Ged's warm, dark tone was particularly fine. And I hope the lovely song Therru sings is kept in its original form when the film is dubbed.
Webthing brings you to navigation links
Copyright © 2006 by Ursula K. Le Guin
#22324
Updated Monday August 14 2006
「親日派財産の還収」が18日に本格スタート。親日派400人の子孫から財産を没収へ ★４ [08/13]
1 ：犇＠犇φ ★ ：2006/08/15(火) 00:35:23 ID:???
■親日派400人余りの「財産還収」、18日スタート
日帝の韓半島支配に協力した親日派400人余りの財産を国庫に還収するための汎政府
レベルでの調査作業が、今月18日から本格稼動する。
親日派財産を取り戻すための汎政府機構である「親日反民族行為者財産調査委員会」
(金チャングク委員長)は今月18日に、ソウル忠武路極東ビル６階に用意された調査委の
事務室で機関名掲示式を開き公式発足する、と13日発表した。
調査委は、委員長と常任委員２人を含む９人構成の委員会に、法務部・警察庁・財政経
済部・山林庁・国税庁などから派遣された公務員などを加えた総勢104人で構成され、
中核メンバーは先月13日に辞令を交付され予備活動をしてきた。
調査委は、乙巳五賊や丁未七賊など親日反民族行為者であることが明白で、親日活動
の対価として土地などを獲得したと推定される400人余りの子孫らが保有している財産を
国庫還収の優先対象に定め、職権調査に入る計画だ。
かくして、1949年の反民特委の解散後、まともな清算手続のないまま子孫にそのまま
相続された親日派財産に対する国家レベルでの還収作業が、57年ぶりに再稼動する
こととなった。
職権調査は、地方自治体など公共機関に依頼した事件とは別に調査委が直接土地の
所有関係などを調査し、土地台帳や登記関係などを精密分析して親日派財産である可
能性が濃厚ならば「調査開始」決定が下る。
調査委は最近、公式発足に先立ち予備調査を行い、「乙巳五賊」である李完用(ｲ･ﾜﾆｮﾝ)
の子孫が国家を相手どった訴訟で勝訴して所有権を認められた財産２件と、親日派であ
る李載克(ｲ･ｼﾞｪｸﾞｸ)・閔泳徽(ﾐﾝ･ﾖﾝﾌｨ)の子孫が同じ方法で獲得した財産２件に対して、
調査開始決定を出した。
これら土地は、裁判所が検察の処分禁止仮処分申請を受理したおかげで親日派子孫
が勝手に処分することができない状態だ。調査委では現在、これらの土地の取得経緯
などを調査している。
調査委はまた、「親日売国奴１号」に分類される宋秉蔲(ｿﾝ･ﾋﾞｮﾝｼﾞｭﾝ)（訳注：「一進会」
の創立者）の子孫の土地など検察が訴訟中止申請をした土地や、地方自治体から親日
派子孫の所有地と疑われると調査を依頼された土地３〜４件についても、事前調査作業
を行なっている。
調査委は、親日行為者400人余りについて先に職権調査をして調査範囲を拡大する一方、
公共機関から依頼された事件の調査も並行する方針だ。
国内に日本人名義のまま残っている土地に対する整理及び国庫還収作業も、調査委が
担当することになる。日本人名義の土地は現在、財政経済部で資産管理公社に調査を
委託して現況を把握している。
▽ソース：聯合ニュース（韓国語）（2006/08/13 09:00）
http://www.yonhapnews.co.kr/news/20060813/030000000020060813090114K3.html
http://kr.news.yahoo.com/service/news/shellview.htm?linkid=4&articleid=2006081309004239301
▽関連スレ：
【韓国】 「親日派」財産は没収 韓国で新法成立 [12/09]
http://news18.2ch.net/test/read.cgi/news4plus/1134123240/
▽前スレ： http://news18.2ch.net/test/read.cgi/news4plus/1155456402/
6 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 00:39:05 ID:5XAPx/TE
で、１０年後は伸北派の財産没収かもね。
歴史の継続性がないのは低脳民族の証。
7 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 00:39:09 id:izOxny2A
日本も在日が不法取得した土地を没収できないものだろうか？
38 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:01:34 id:L0PZkgxk
祖国の徴兵から逃れて日本で暮らしてる人たちはオメコボシですか？
今回ﾎﾞｯｼｭｰﾄされた奴等がゴネたら面白い事になりそうだ
39 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:02:51 id:dY5Q9QyE
個人的にはハンナラ党や朝鮮日報といった対抗勢力抹殺法に見えるが
41 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:03:57 id:COMkMoh7
http://www10.plala.or.jp/shosuzki/korea/timetable/timetable1.htm
1946.03.07 北朝鮮で，親日派・民族反逆者の規定が制定され，人民裁判で社会的地位剥奪，財産没収．ソ連型社会を嫌う民衆は，ソ連の警備をかいくぐり，毎日５千〜６千人が南に避難．
南北は同質ですな。
44 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:05:06 ID:/GoA8lSk
めちゃくちゃな親日迫害
↓
小泉靖国参拝
↓
火病って、日本と国交断絶
↓
なすます、親日の迫害
↓
世界中から非難
↓
チョンの外資系企業撤退を考える（各国もﾁｮﾝを警戒）
↓
親米も迫害
↓
アメリカ企業撤退
↓
西欧諸国も撤退
↓
日本との海底ケーブル切断
↓
在日も親日だとみなし、強制送還を要求（ドーゾ）
↓
裏朝鮮から攻撃
↓
酒を飲みながらﾆﾔﾆﾔと行く末を観る
45 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:05:19 id:yOF0ISfM
ついでに、日本が作った道路とか、メイドインジャパン物は全て廃棄＆持ってた奴全員引っ張ってきたらいいんじゃないかな。
起源だからOKと言わせないぞ。
49 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:10:04 ID:/GoA8lSk
>>45
だよな。樹とかは伐採いると言うくせに
インフラは残すもんなｗｗｗｗｗ
50 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:10:24 id:pzpMuD8c
親日派がランク付けされて、鼠算式に増えるとｵﾓ
Ａ級親日派…最初の400人
Ｂ級親日派…思想家・政治活動家・評論家で日本寄りの発言をする者（含む政敵）
−−−−−ここまで名前公表−−−−−
Ｃ級親日派…金持ち、密告専用（非公表でﾎﾞｯｼｭｰﾄ）
52 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:11:06 id:KePQVQjB
＞国内に日本人名義のまま残っている土地に対する整理及び国庫還収作業も、調査委が
＞担当することになる。日本人名義の土地は現在、財政経済部で資産管理公社に調査を
＞委託して現況を把握している。
日本人が引き上げた後に居座ったものの、名義を書き換えられずにそのまま
残っている土地が相当残っているらしい。
つまり日本人の土地を横領した泥棒なのだが、これが明らかになれば
韓国は更に恥の上塗りになる。どこまで公表するのか注目したい。
55 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:13:27 id:Q50L/S5c
東アジアnews+住民あたりには知名度100のこの問題も、
Headlineから飛んできた人には何の事だかよくわからないかも知れない。俺もそうだった。
要するにこれは、
「親日反民族行為者財産の国家帰属に関する特別法」
についての事なんだ。
先ずはこれを見てほしい。
↓ ↓ ↓ ↓
http://japanese.yna.co.kr/service/article_view.asp?News_id=042006030808100
>親日派の子孫が所有する不動産を没収するため、関連不動産の処分禁止仮処分申請を裁判所に提出した
>日露戦争開始前から韓国独立前までの間、日帝に協力した対価として取得したか相続した財産、
>または背景を知りながら贈与を受けた財産を「親日財産」と規定し、これを国の所有として帰属するよう定めている。
・・つまり、今作った法律で、過去に起こった件を問題化し、裁こうということなのだ。
思いっきり 『遡 及 法』 である。以外の何ものでもない。
2000年も過ぎたというのに民主主義国家のリアル遡及法を見る事が出来ようとは、
南朝鮮恐るべし。
60 ：55：2006/08/15(火) 01:18:51 id:Q50L/S5c
さらに、である。この特別法にはもっとすごい問題がある。
前々スレあたりに書いたのだが、けっこう時間たったし、せっかくなのでもう一度書いてみる。
さて、この記事を見てほしい。
↓ ↓ ↓ ↓
http://japanese.chosun.com/site/data/html_dir/2006/02/07/20060207000008.html
>特別法は大統領所属調査委員会が親日派の財産を選定し、国家が帰属決定を下せるよう定めたもの。
>親日派の子孫が訴訟を起こし、国家が敗訴した場合でも、調査委員会は国家帰属の決定を下せる。
司 法 無 視 宣 言 ！！
いくらなんでもヤバ過ぎです。この法律。
これ立法したってことは韓国の国会通ったということだよね？
リアル遡及法の顕現だけでも異常なのにここまでやってくれるとは。
これが南朝鮮クオリティなのか・・・
関係ないけど人権擁護法案をめぐって大激論を交わした自民党の先生方を思い出して少し見直したよ。
63 ：<丶｀∀´>（´・ω・｀）（｀ハ´ ）さん ：2006/08/15(火) 01:23:49 id:EyWO8IoQ
朝鮮の土地が 財産？
↑笑ったｗ
