List of movies inspired by Helen Keller's autobiography.
Naoki Urasawa (Japanese: 浦沢 直樹, Hepburn: Urasawa Naoki, born January 2, 1960) is a Japanese manga artist and musician. He has been drawing manga since he was four years old, and for most of his professional career has created two series simultaneously. The stories to many of these were co-written in collaboration with his former editor, Takashi Nagasaki. Urasawa has been called one of the artists that changed the history of manga and has won numerous awards, including the Shogakukan Manga Award three times, the Tezuka Osamu Cultural Prize twice, and the Kodansha Manga Award once. By December 2021, his various works had over 140 million copies in circulation worldwide. Urasawa's first major work was illustrating the action series Pineapple Army (1985–1988), which was written by Kazuya Kudo. The first serial that he wrote and illustrated himself, and his first major success, was the sports manga Yawara! (1986–1993). He then illustrated the adventure series Master Keaton (1988–1994), which was written by Hokusei Katsushika and Nagasaki, and created the sports manga Happy! (1993–1999). The thriller Monster (1994–2001) was his first to receive international acclaim and success, which continued with the science fiction mystery 20th Century Boys (1999–2006). Following the acclaimed Pluto (2003–2009), which is a re-imagining of Astro Boy by Osamu Tezuka, one of Urasawa's biggest influences, he and Nagasaki created the mystery series Billy Bat (2008–2016). After two short series, a sequel to Master Keaton with Nagasaki and Mujirushi: The Sign of Dreams, Urasawa began his currently ongoing Asadora! in 2018.
Disney movies that have an alternate Disney Classics DVD/physical release with the words Disney Classics on the front of the box including the number.
Follow the funny adventures of a man raised in the jungle by apes.
Love Hina (Japanese: ラブ ひな, Hepburn: Rabu Hina) is a Japanese manga series written and illustrated by Ken Akamatsu. It was serialized in Kodansha's Weekly Shōnen Magazine from October 1998 to October 2001, with the chapters collected into 14 tankōbon volumes by Kodansha. The series tells the story of Keitarō Urashima and his attempts to find the girl with whom he made a childhood promise to enter the University of Tokyo. The manga was licensed for an English-language release in North America and the United Kingdom by Tokyopop, in Australia by Madman Entertainment, and in Singapore by Chuang Yi. Two novelizations of Love Hina, written by two anime series screenwriters, were also released in Japan by Kodansha. Both novels were later released in North America and the United Kingdom by Tokyopop.
Considered by some to be a late extension the Golden Age, the Silver Age is nonetheless separated from the earlier films of the era by the events of WWII. Artistic expression was put on hold during the war. However, with the success of Cinderella, Disney was finally able to revive the innovative works which categorized its early years. This era marks the most prosperous time for the company during Walt’s lifetime, with many films in this era proving to be massive successes that went down in history as Disney Classics. But sadly this era of innovation was not to last. During this time, Disney’s increasingly high standards of innovation started making films incredibly expensive to produce. The cost of production was reaching a critical mass that no Box Office success could overcome. This finally happened in 1959 when Walt Disney reached what he considered the pinnacle of his art form: Sleeping Beauty. It was a Box Office hit, but was still dwarfed by its extravagant production costs. The constant improvement of animation could not be sustained. Although the films after Sleeping Beauty still met with success, they were far less innovative than earlier endeavors. Animation as an art form began to fade. Eventually the quality of animation came to its lowest point when Walt Disney passed away during production of The Jungle Book. His passing left the company confused and directionless, ushering in a figurative “Dark Age” for animation.
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