University of California Press
University of California Press, otherwise known as UC Press, is a publishing house associated with the University of California that engages in academic publishing. It was founded in 1893 to publish books and papers for the faculty of the University of California, established 25 years earlier in 1868, its headquarters are located in California. The University of California Press publishes in the following general subject areas: anthropology, ancient world/classical studies and the West, cinema & media studies, environmental studies and wine, music, psychology, public health and medicine and sociology, it is a non-profit publishing arm of the University of California. Of its authors 25% are affiliated with the University of California, it publishes on average 175 new books and 30 multi-issue journals in the humanities, social sciences, natural sciences. It maintains 4,000 book titles in print, it is the publisher of Collabra and Luminos open access initiatives. The Press commissioned as its corporate typeface University of California Old Style from type designer Frederic Goudy from 1936-1938, although it no longer always uses the design.
Language As Symbolic Action, Kenneth Burke The Teachings of Don Juan: A Yaqui Way of Knowledge, Carlos Castaneda Technicians of the Sacred: A Range of Poetries from Africa, Asia and Oceania, Jerome Rothenberg The Mysterious Stranger, Mark Twain Basic Color Terms: Their Universality and Evolution The Making of a Counter Culture, Theodore Roszak Self-Consuming Artifacts: The Experience of Seventeenth-Century Literature, Stanley Fish The Ancient Economy, Moses I. Finley Joan of Arc: The Image of Female Heroism, Marina Warner Strong Democracy: Participatory Politics for a New Age, Benjamin R. Barber Art in the San Francisco Bay Area, Thomas Albright Religious Experience, Wayne Proudfoot The War Within: America's Battle over Vietnam, Tom Wells George Grosz: An Autobiography, George Grosz Disposable People: New Slavery in the Global Economy, Kevin Bales Mama Lola: A Vodou Priestess in Brooklyn, Karen McCarthy Brown A Culture of Conspiracy: Apocalyptic Visions in Contemporary America, Michael Barkun Beyond Chutzpah: On the Misuse of Anti-Semitism and the Abuse of History, Norman G. Finkelstein Autobiography of Mark Twain: Volume One, Mark Twain Collabra Collabra is University of California Press's open access journal program.
The Collabra program publishes two open access journals, Collabra: Psychology and Elementa: Science of the Anthropocene, with plans for continued expansion and journal acquisition. Luminos Luminos is University of California Press’s open access response to the challenged monograph landscape. With the same high standards for selection, peer review and marketing as its traditional book publishing program, Luminos is a transformative model, built as a partnership where costs and benefits are shared; the University of California Press re-printed a number of novels under the California Fiction series from 1996–2001. These titles were selected for their literary merit and for their illumination of California history and culture; the Ford by Mary Austin Thieves' Market by A. I. Bezzerides Disobedience by Michael Drinkard Words of My Roaring by Ernest J. Finney Skin Deep by Guy Garcia Fat City by Leonard Gardiner Chez Chance by Jay Gummerman Continental Drift by James D. Houston The Vineyard by Idwal Jones In the Heart of the Valley of Love by Cynthia Kadohata Always Coming Home by Ursula K.
Le Guin The Valley of the Moon by Jack London Home and Away by Joanne Meschery Bright Web in the Darkness by Alexander Saxton Golden Days by Carolyn See Oil! by Upton Sinclair Understand This by Jervey Tervalon Ghost Woman by Lawrence Thornton Who Is Angelina? by Al Young Books portal California portal Official website Frugé, August. A Skeptic Among Scholars: August Frugé on University Publishing. Berkeley: University of California Press, c1993 1993. California Digital Library – University of California Libraries Free Online - UC Press E-Books Collection Mark Twain Project Online "Mark Twain's Biography Flying Off the Shelves", The New York Times, Nov. 19, 2010
Stop motion is an animated-film making technique in which objects are physically manipulated in small increments between individually photographed frames so that they will appear to exhibit independent motion when the series of frames is played back as a fast sequence. Dolls with movable joints or clay figures are used in stop motion for their ease of repositioning. Stop-motion animation using plasticine figures is called clay animation or "clay-mation". Not all stop motion, requires figures or models: stop-motion films can be made using humans, household appliances, other objects for comedic effect. Stop motion using humans is sometimes referred to as pixilate animation; the term "stop motion," relating to the animation technique, is spelled with a hyphen as "stop-motion." Both orthographical variants and without the hyphen, are correct, but the hyphenated one has a second meaning, unrelated to animation or cinema: "a device for automatically stopping a machine or engine when something has gone wrong".
Stop motion should not be confused with the time-lapse technique in which still photographs of a live scene are taken at regular intervals and combined to make a continuous film. Time lapse is a technique whereby the frequency at which film frames are captured is much lower than that used to view the sequence; when played at normal speed, time appears to be moving faster. Stop-motion animation has a long history in film, it was used to show objects moving as if by magic, but by animation. The first instance of the stop-motion technique can be credited to Albert E. Smith and J. Stuart Blackton for Vitagraph's The Humpty Dumpty Circus, in which a toy circus of acrobats and animals comes to life. In 1902, the film Fun in a Bakery Shop used the stop trick technique in the "lightning sculpting" sequence. French trick film maestro Georges Méliès used stop-motion animation once to produce moving title-card letters in one of his short films, a number of his special effects are based on stop-motion photography.
In 1907, The Haunted Hotel is a new stop-motion film by J. Stuart Blackton, was a resounding success when released. Segundo de Chomón, from Spain, released El Hotel Eléctrico that same year, used similar techniques as the Blackton film. In 1908, A Sculptor's Welsh Rarebit Nightmare was released, as was The Sculptor's Nightmare, a film by Billy Bitzer. Italian animator Roméo Bossetti impressed audiences with his object animation tour-de-force, The Automatic Moving Company in 1912; the great European pioneer of stop motion was Wladyslaw Starewicz, who animated The Beautiful Lukanida, The Battle of the Stag Beetles, The Ant and the Grasshopper. One of the earliest clay animation films was Modelling Extraordinary, which impressed audiences in 1912. December 1916 brought the first of Willie Hopkins' 54 episodes of "Miracles in Mud" to the big screen. In December 1916, the first woman animator, Helena Smith Dayton, began experimenting with clay stop motion, she would release her first film in an adaptation of William Shakespeare's Romeo and Juliet.
In the turn of the century, there was another well known animator known as Willis O' Brien. His work on The Lost World is well known, but he is most admired for his work on King Kong, a milestone of his films made possible by stop-motion animation. O'Brien's protege and eventual successor in Hollywood was Ray Harryhausen. After learning under O'Brien on the film Mighty Joe Young, Harryhausen would go on to create the effects for a string of successful and memorable films over the next three decades; these included The Beast from 20,000 Fathoms, It Came from Beneath the Sea and the Argonauts, The Golden Voyage of Sinbad and Clash of the Titans. In a 1940 promotional film, Autolite, an automotive parts supplier, featured stop-motion animation of its products marching past Autolite factories to the tune of Franz Schubert's Military March. An abbreviated version of this sequence was used in television ads for Autolite those on the 1950s CBS program Suspense, which Autolite sponsored. In the 1960s and 1970s, independent clay animator Eliot Noyes Jr. refined the technique of "free-form" clay animation with his Oscar-nominated 1965 film Clay.
Noyes used stop motion to animate sand lying on glass for his musical animated film Sandman. Stop motion was used by Rankin/Bass Productions on some of their television programs and feature films including The New Adventures of Pinocchio, Willy McBean and his Magic Machine and most notably seasonal/holiday favorites like Rudolph the Red-Nosed Reindeer, Mad Monster Party?, The Little Drummer Boy, Santa Claus is Comin' to Town and Here Comes Peter Cottontail. Under the name of "Animagic", the stop-motion works of Rankin/Bass were supervised by Tadahito Mochinaga at his MOM Production in Tokyo, Japan. In 1975, filmmaker and clay animation experimenter Will Vinton joined with sculptor Bob Gardiner to create an experimental film called Closed Mondays which became the world's first stop-motion film to win an Oscar. Will Vinton followed with several other successful short film experiments including The Great Cognito and Rip Van Winkle which were each nominated for Academy Awards. In 1977, Vinton made a documentary about this process and his style of animation which he dubbed "claymation".
Soon after this documentary, the term was trademarked by Vinton to differentiate his team's work from others who had been, or were beginning to do, "clay ani
Tarzoon: Shame of the Jungle
Tarzoon: Shame of the Jungle is a 1975 adult-oriented French/Belgian animated film directed by cartoonist Picha and Boris Szulzinger. The film was the first foreign-animated film to receive both an X rating and wide distribution in the United States. An English dub was released in 1979 where the English cast consists of Johnny Weissmuller, Jr. John Belushi, Bill Murray, Christopher Guest, Brian Doyle-Murray; this film is known as Jungle Burger in the United Kingdom. The film takes place in the deepest part of Africa - "Bush Country"; the evil and multi-breasted Queen Bazonga, who resides in a blimp, inside a cave shaped like a women's legs spread open revealing her vagina, plans to conquer Earth. Before she can do that, she wishes to have a full set of hair so people can take her seriously, her two-headed assistant, called the Charles Of The Pits, suggests a "scalp transplant", an experiment where someone else's hair is transplanted to another person's head. Bazonga demands that she wants the hair of the maid of Shame: Ruler of the jungle.
Bazonga sends out her penis soldiers to kidnap June. Meanwhile, that night, June kicks out Shame from their home after another night of unsuccessful sex, she ends up sleeping with Shame's monkey pal. The next morning, Bazonga's soldiers barge in and kidnap June, but only after they have an orgy with her. Shame hears June's screams and comes to her rescue. Shame decides to save his mate and sets out on his quest with Flicka; as he swings through the jungle, an airplane crashes in a giant mud pit, containing a crew of four explorers set out to find Shame. The crew include the eccentric Professor Cedric Addlepate, the ditzy Stella Starlet, the grumbling Brutish, his assistant Short, a nervous black man; as the crew wander through the jungle, they find Shame. Before they can get acquainted and Short step in to take Shame back to the plane, leaving the Professor to be eaten alive by savage monkeys known as "Molar Men" while Stella is tied up to a tree; the Molar Men eat them both. They free Shame from the cage.
Shame gets saved by a beer-guzzling frat boy named Craig Baker who flies on a carpet run by a flock of birds. After a lengthy conversation with Shame, Craig falls off the carpet. Shame falls off, but is saved by Flicka. Shame and Flicka make it to Bazonga's lair. Flicka is told to stay behind, he has caught Bazonga's soldiers while they were on a practice drill. Shame is taken to Bazonga, who tries to convince Shame to rule the world with her. Shame says. Shame runs off to find June, about to receive the scalp transplant from the bickering Charles Of The Pits. Bazonga's soldiers try to stop Shame, which results in the blimp moving and main generator exploding, which sends the place on fire. Bazonga cannot escape from the fire in her office. Shame sees this and saves her by igniting the Emergency Fire Alarm, which sends out more of Bazonga's soldiers to cover themselves in condoms and dive inside Bazonga's vagina until she explodes. One of the heads on the Charles Of The Pits kills the other while in a heated conversation.
Shocked by this, the other head sets June free. They try to escape. Shame finds June, who keeps bickering to Shame while they find a way to escape the blimp, as it drills its way out of the cave and flies all around the jungle; the two find an emergency two-seated parachute, spring out of the blimp, which crashes onto Bazonga's cave, destroying it forever. As June kisses Shame for his bravery, they both spot Stella Starlet, who becomes the leader of the Molar Men, plans to conquer Hollywood. Georges Aminel - Shame Arlette Thomas - June Paule Emanuele - Queen Bazonga Claude Bertrand - Chief M'Bulu Pierre Trabaud - Charles Of The Pits #1 Roger Carel - Charles Of The Pits #2 Guy Piérauld - Professor Cedric Addlepate Johnny Weissmuller, Jr. - Shame Pat Bright - Queen Bazonga Emily Prager - June John Belushi - Craig Baker Brian Doyle-Murray - Charles Of The Pits #1 Andrew Duncan - Charles Of The Pits #2 Christopher Guest - Chief M'Bulu, Nurse Judy Graubart - Stella Starlet Adolph Caesar - Brutish Guy Sorel - Cedric Addlepate Bill Murray - Reporter Bob Perry - Narrator Deya Ment - Additional voices John Baddeley - Additional voices A 15-minute pilot was shown at the 1974 Cannes Film Festival, the film was finished by September 1975.
The following year, the estate of Edgar Rice Burroughs sued the producer of Tarzoon and 20th Century Fox, the film's distributor in France, for alleged plagiarism. The estate lost the case. In 1978, the film was imported into the United States by International Harmony and Stuart S. Shapiro. Shapiro recalls telling customs that the film was a work in progress and it would be edited to be suitable for theatrical release in the U. S, he did not remember any problems bringing the film into the country. The distributor encountered problems finding theaters willing to show the X rated version of the film; the film ended up making a profit in San Francisco, but was unsuccessful in other towns. Much of its success was credited to International Harmony's ad campaign created by writer Edwin Heaven who used the film's disadvantage to its marketing advantage; the film was reedited and dubbed. After several changes, the
Outside of Japan, hentai is anime and manga pornography. In the Japanese language, however, "hentai" is not a genre of media but any type of perverse or bizarre sexual desire or act. For example, outside of Japan a work depicting lesbian sex might be described as "yuri hentai", but in Japan it would just be described as "yuri"; the word is short for a perverse sexual desire. The original meaning of hentai in the Japanese language is metamorphosis; the implication of perversion or paraphilia was derived from there. Both meanings can be distinguished in context easily. Hentai is a kanji compound of 変 and 態, it means "perversion" or "abnormality" when used as an adjective. It is the shortened form of the phrase hentai seiyoku which means "sexual perversion"; the character hen is catch-all for queerness as a peculiarity—it does not carry an explicit sexual reference. While the term has expanded in use to cover a range of publications including homosexual publications, it remains a heterosexual term, as terms indicating homosexuality entered Japan as foreign words.
Japanese pornographic works are simply tagged as 18-kin, meaning "prohibited to those not yet 18 years old", seijin manga. Less official terms in use include ero anime, ero manga, the English initialism AV. Usage of the term hentai does not define a genre in Japan. Hentai is defined differently in English; the Oxford Dictionary Online defines hentai as "a subgenre of the Japanese genres of manga and anime, characterized by overtly sexualized characters and sexually explicit images and plots." The origin of the word in English is unknown, but AnimeNation's John Oppliger points to the early 1990s, when a Dirty Pair erotic doujinshi titled H-Bomb was released, when many websites sold access to images culled from Japanese erotic visual novels and games. The earliest English use of the term traces back to the rec.arts.anime boards. A 1995 glossary on the rec.arts.anime boards contained reference to the Japanese usage and the evolving definition of hentai as "pervert" or "perverted sex". The Anime Movie Guide, published in 1997, defines "ecchi" as the initial sound of hentai.
A year it was defined as a genre in Good Vibrations Guide to Sex. At the beginning of 2000, "hentai" was listed as the 41st most popular search term of the internet, while "anime" ranked 99th; the attribution has been applied retroactively to works such as Urotsukidōji, La Blue Girl, Cool Devices. Urotsukidōji had been described with terms such as "Japornimation", "erotic grotesque", prior to being identified as hentai; the history of the word "hentai" has its origins in psychology. By the middle of the Meiji era, the term appeared in publications to describe unusual or abnormal traits, including paranormal abilities and psychological disorders. A translation of German sexologist Richard von Krafft-Ebing's text Psychopathia Sexualis originated the concept of "hentai seiyoku", as a "perverse or abnormal sexual desire". Though it was popularized outside psychology, as in the case of Mori Ōgai's 1909 novel Vita Sexualis. Continued interest in "hentai seiyoku", resulted in numerous journals and publications on sexual advice which circulated in the public, served to establish the sexual connotation of'hentai' as perverse.
Any perverse or abnormal act could be hentai, such as committing shinjū. It was Nakamura Kokyo's journal Abnormal Psychology which started the popular sexology boom in Japan which would see the rise of other popular journals like Sexuality and Human Nature, Sex Research and Sex. Tanaka Kogai wrote articles for Abnormal Psychology, but it would be Tanaka's own journal Modern Sexuality which would become one of the most popular sources of information about erotic and neurotic expression. Modern Sexuality was created to promote fetishism, S&M, necrophilia as a facet of modern life; the ero-guro movement and depiction of perverse and erotic undertones were a response to interest in hentai seiyoku. Following the end of World War II, Japan took a new interest in public sexuality. Mark McLelland puts forth the observation that the term "hentai" found itself shortened to "H" and that the English pronunciation was "etchi", referring to lewdness and which did not carry the stronger connotation of abnormality or perversion.
By the 1950s, the "hentai seiyoku" publications became their own genre and included fetish and homosexual topics. By the 1960s, the homosexual content was dropped in favor of subjects like sadomasochism and stories of lesbianism targeted to male readers; the late 1960s brought a sexual revolution which expanded and solidified the normalizing the terms identity in Japan that continues to exist today through publications such as Bessatsu Takarajima's Hentai-san ga iku series. With the usage of hentai as any erotic depiction, the history of these depictions is split into their media. Japanese artwork and comics serve as the first example of hentai material, coming to represent the iconic style after the publication of Azuma Hideo's Cybele in 1979. Japanese animation had its first hentai, in both definitions, with the 1984 release of Wonderkid's Lolita Anime, overlooking the erotic and sexual depictions in 1969's One Thousand and One Arabian Nights and the bare-breasted Cleopatra in 1970's Cleopatra film.
Biologically, an adult is a human or other organism that has reached sexual maturity. In human context, the term adult additionally has meanings associated with social and legal concepts. In contrast to a "minor", a legal adult is a person who has attained the age of majority and is therefore regarded as independent, self-sufficient, responsible; the typical age of attaining legal adulthood is 18, although definition may vary by legal rights and country. Human adulthood encompasses psychological adult development. Definitions of adulthood are inconsistent and contradictory. Conversely, one may be an adult but possess none of the maturity and responsibility that may define an adult character. In different cultures there are events that relate passing from being a child to becoming an adult or coming of age; this encompasses the passing a series of tests to demonstrate that a person is prepared for adulthood, or reaching a specified age, sometimes in conjunction with demonstrating preparation. Most modern societies determine legal adulthood based on reaching a specified age without requiring a demonstration of physical maturity or preparation for adulthood.
And cross-culturally, adulthood has been determined by the start of puberty. In the past, a person moved from the status of child directly to the status of adult with this shift being marked by some type of coming-of-age test or ceremony. After the social construct of adolescence was created, adulthood split into two forms: biological adulthood and social adulthood. Thus, there are now two primary forms of adults: social adults. Depending on the context, adult can indicate either definition. Although few or no established dictionaries provide a definition for the two word term biological adult, the first definition of adult in multiple dictionaries includes "the stage of the life cycle of an animal after reproductive capacity has been attained". Thus, the base definition of the word adult is the period beginning at physical sexual maturity, which occurs sometime after the onset of puberty. Although this is the primary definition of the base word "adult", the term is frequently used to refer to social adults.
The two-word term biological adult stresses or clarifies that the original definition, based on physical maturity, is being used. The time of puberty varies, but begins around 10 or 11 years old. Girls begin the process of puberty at age 10 or 11, boys at age 11 or 12. Girls complete puberty by 15–17, boys by age 16 or 17. Nutrition and environment usually play a part in the onset of puberty. Adulthood means that one has reached the age of majority – when parents lose parenting rights and responsibilities regarding the person concerned. Depending on one's jurisdiction, the age of majority may or may not be set independently of and should not be confused with the minimum ages applicable to other activities, such as engaging in a contract, voting, having a job, serving in the military, buying/possessing firearms, traveling abroad, involvement with alcoholic beverages, sexual activity, being a model or actor in pornography, running for President, etc. Admission of a young person to a place may be restricted because of danger for that person, concern that the place may lead the person to immoral behavior or because of the risk that the young person causes damage.
One can distinguish the legality of acts of a young person, or of enabling a young person to carry out that act, by selling, renting out, permitting entrance, allowing participation, etc. There may be distinction between commercially and enabling. Sometimes there is the requirement of supervision by a legal guardian, or just by an adult. Sometimes there is no requirement, but rather a recommendation. Using the example of pornography, one can distinguish between: being allowed inside an adult establishment being allowed to purchase pornography being allowed to possess pornography another person being allowed to sell, rent out, or show the young person pornography, see disseminating pornography to a minor being a pornographic actor: rules for the young person, for other people, regarding production, etc. With regard to films with violence, etc.: another person being allowed to sell, rent out, or show the young person a film. Niger, Democratic Republic of Congo and Cameroon define adulthood at age 15, but marriage of girls at an earlier age is common.
In most of the world, including most of the United States and China, the legal adult age is 18 for most purposes, with some notable exceptions: British Columbia, New Brunswick and Labrador, Northwest Territories, Nova Scotia, Yukon Territory in Canada. In contrast to biological perspectives of aging and adulthood, social scientists conc
Eveready Harton in Buried Treasure
Eveready Harton in Buried Treasure known as Eveready Harton, Buried Treasure, or Pecker Island, is an adult animated cartoon short film made in the United States in 1929, depicting the unlikely adventures of the perpetually aroused title character with a woman, a man, a donkey, a cow. U. S. film labs refused to process the film, it had to be developed in Cuba. The artists are unknown, but a widespread rumor states that a group of famous animators created the film for a private party in honor of Winsor McCay. Disney animator Ward Kimball gave the following account of the history of the short: The first porno-cartoon was made in New York, it was made in the late 1920s, silent, of course -- by three studios. Each one did a section of it without telling the other studios. Studio A finished the first part and gave the last drawing to Studio B Involved were Max Fleischer, Paul Terry and the Mutt and Jeff studio, they didn't see the finished product till the night of the big show. A couple of guys who were there tell me the laughter blew the top off the hotel where they were screening it.
When a copy of the short was screened in San Francisco in the late 1970s, the program notes attributed the animation to George Stalling, George Canata, Rudy Zamora, Sr. and Walter Lantz. The short circulated informally, shown only at small underground festivals or parties, until 2002 when it was included in the theatrically released compilation The Good Old Naughty Days. Buried Treasure, a preceding silent comedy that may have influenced the title The complete version on LiveLeak Eveready Harton in Buried Treasure on IMDb
A Thousand and One Nights (1969 film)
A Thousand and One Nights is a 1969 adult anime feature film directed by Eiichi Yamamoto, conceived by Osamu Tezuka. The film is part of a series of films aimed at an adult audience; the film was a hit in Japan and was given limited screenings in America in 1970, but the film did poorly, as an X-rated cartoon did not seem to appeal to an audience. The dubbed version of the film is now rare, has never been released on home video, may be considered lost. However, the trailer for the English dub was found; the English-dubbed version was cut to 100 minutes. The film predates the more successful release of Fritz the Cat, the first American X-rated animated film, by three years. Aldin, a poor traveling water seller, falls in love with Miriam, a slave woman on auction in Baghdad, but Havasalakum, the son of the chief of police, buys her. Before he can take her home, a sand storm interrupts the auction. Aldin uses the opportunity to steal away the slave woman, they hide from pursuing guards in a empty mansion.
They have sex there, are secretly watched by the master of the mansion, who locks them in and commands them to continue. Havasalakum and his guards invade the mansion, where he takes Miriam. Badli, the right-hand man of the chief of police, murders Sulaiman. Aldin sent to prison by mistake for the murder of Sulaiman. One year Aldin is set free. Meanwhile a heartbroken Miriam dies in childbirth. Aldin meets Badli in the desert. Aldin shows him mercy and lets him leave. Aldin finds the magic cave where the forty thieves hides their treasure. Aldin follows a thief inside, as the thieves are asleep, he begins stealing the treasure. Madia, a young female thief and threatens to kill Aldin, who convinces her to see the world with him; the two fly away on a magic wooden horse. While they are crossing the ocean, living hair pulls them down, and they find themselves landed to the Lotus Island, home to beautiful Sirens. Their Queen invites them to stay, she leaves on the magic horse while Aldin has sex with the sirens.
The queen forbids Aldin from following her to her house in the woods at night, but he still does so, he is shocked when the queen and the sirens transform into snakes. The snakes chase him, but Aldin flees from the island to escape and is rescued by sailors, they travel to a mysterious island, inhabited by a man-eating giant who eats most of the crew while Aldin survives. From the island, Aldin finds a magical, sentient ship that will take him anywhere and fulfill any of his wishes. 15 years two genies on a carpet come across a shepherd named Aslan, which the female genie falls for. The male genie in hopes of keeping the other genie from risking death by being seen by the sheepherder, brings a beautiful princess from Baghdad and teleports her away when things were going wrong; the male genie in a huff leaves the female genie, as She transforms into a horse when Aslan hopes to go to Baghdad. Of course, when Aslan and the Princess cross paths in the desert, the genie disappears from sight. Meanwhile, now became a rich man, enters a competition in Baghdad, the winner of which will become king.
He wins the competition by tricking his opponent onto his magical ship, by commanding the ship to take him to the end of the world. Wanting the Princess who looks like Miriam, Aldin tries to use his power as the king to make the Princess named Jalis –, Miriam's daughter – marry him, but she is in love with Aslan. Aldin commands the people to build a tower to Heaven; the people hate revolt, led by Aldin's second-in-command. Not prepared for the pressures of kingship, Aldin gives up the throne to travel the world as a poor man again, now seeing the value of freedom and peace. Yukio Aoshima as Aldin Kyōko Kishida as Miriam/Jalis Sachiko Itō as Madia Isao Hashizume as Aslan Haruko Kato as the Genie Noboru Mitani as Gin Hiroshi Akutagawa as Badli Asao Koike as Kamahakim Shūsaku Endō, Junnosuke Yoshiyuki, Morio Kita, Sakyō Komatsu and Yasutaka Tsutsui as onlookers in the female slave market Sōichi Ōya, Sen Saga and Minoru Ōmori as senate members Kyosen Ōhashi as a ticket scalper at the horse race Takehiko Maeda, Danshi Tatekawa and Chinpei Nozue as horse race spectators Kunika Kizaki as the quack doctor Takako Andō List of Osamu Tezuka anime List of animated feature-length films A Thousand and One Nights at Anime News Network's encyclopedia A Thousand and One Nights on IMDb A Thousand and One Nights in the TezukaOsamu.net database bcbd Senya Ichiya Monogatari bcdb cartoon characters