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Darkrose
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 Manga Informatii |
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Manga (漫画, Manga?) listen (help·info) is the Japanese word for comic (sometimes also called komikku コミック) and print cartoons.[1][2] In their modern form, manga date from shortly after World War II[3] but have a long, complex history in earlier Japanese art.[4][5][6] In Japan, manga are widely read by children and adults of all ages,[7] so that a broad range of subjects and topics occur in manga, including action/adventure, romance, sports and games, historical drama, comedy, science fiction and fantasy, mystery, horror, sexuality, and business and commerce, among others.[7] Since the 1950s, manga have steadily become a major part of the Japanese publishing industry,[3][8] representing a 481 billion yen market in Japan in 2006 [9] (approximately 4.4 billion dollars[10]). Manga have also become increasingly popular worldwide.[11][12] In 2006, the United States manga market was $175-200 million.[13]
Manga are typically printed in black-and-white,[14] although some full-color manga exist (e.g. Colorful[15]). In Japan, manga are usually serialized in telephone book-size manga magazines, often containing many stories each presented in a single episode to be continued in the next issue.[6][7] If the series is successful, collected chapters may be republished in paperback books called tankōbon.[6][7] A manga artist (mangaka in Japanese) typically works with a few assistants in a small studio and is associated with a creative editor from a commercial publishing company.[3] If a manga series is popular enough, it may be animated after or even during its run.[16] although sometimes manga are drawn centering on previously existing live-action or animated films[17][18] (e.g. Star Wars[19]).
Manga as a term outside of Japan refers specifically to comics originally published in Japan.[20] However, manga and manga-influenced comics, among autentic works, exist in other parts of the world, particularly in Korea ("manhwa")[21] and in the People's Republic of China, including Hong Kong ("manhua").[22] In France, "la nouvelle manga" is a form of bande dessinée drawn in styles influenced by Japanese manga.[23] In the United States, manga-like comics are called Amerimanga, world manga, or original English-language manga (OEL) manga.[24]
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| 16/11/2007 21:23 |
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Darkrose
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Etymology
Manga, literally translated, means "whimsical pictures". The word first came into common usage in the late 18th century with the publication of such works as Santo Kyoden's picturebook "Shiji no yukikai" (1798), and in the early 19th century with such works as Aikawa Minwa's "Manga hyakujo" (1814) and the celebrated Hokusai manga containing assorted drawings from the sketchbook of the famous ukiyo-e artist Hokusai. The first user of the word "manga" as its modern usage is Rakuten Kitazawa
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| 16/11/2007 21:24 |
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Darkrose
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History and characteristics of manga
Main article: History of manga
[edit] An overview of Ideas about manga history
Historians and writers on manga history have described two broad and complementary processes shaping modern manga. Their views differ in the relative importance they attribute to the role of cultural and historical events following World War II versus the role of pre-War, Meiji, and pre-Meiji Japanese culture and art.
The first view emphasizes events occurring during and after the US Occupation of Japan (1945-1952), and stresses that manga was strongly shaped by United States cultural influences, including US comics brought to Japan by the GIs and by images and themes from US television, film, and animated cartoons (especially Disney).[3][6] Kinsella also sees a central role for how the booming post-war Japanese publishing industry helped fabricate a consumer-oriented society in which publishing giants like Kodansha could shape popular taste.[3]
Japanese scholars like Takashi Murakami have also stressed events after WWII, but Murakami sees Japan's staggering defeat and the atomic bombing of Hiroshima and Nagasaki as having created long-lasting scars on the Japanese artistic psyche, which, in this view, lost its previously virile confidence in itself and sought solace in harmless and cute ("kawaii") images.[26] However, Takayumi Tatsumi sees a singular role for a transpacific economic and cultural transnationalism that created a postmodern and shared international youth culture of cartooning, film, television, music, and related popular arts, which was, for Tatsumi the crucible in which modern manga have developed.[27]
For Murakami and Tatsumi, transnationalism (or globalization) refers specifically to the flow of cultural and subcultural material from one nation to another.[26][27] In their usage, the term does not refer to international corporate expansion, nor to international tourism, nor to cross-border international personal friendships, but to ways in which artistic, aesthetic, and intellectual traditions influence each other across national boundaries.[26][27] An example of cultural transnationalism is the creation of Star Wars films in the United States, their transformation into manga by Japanese artists, and the marketing of Star Wars manga to the United States.[28] Another example is the transfer of hip-hop culture from the United States to Japan.[29] Wong also sees a major role for transnationalism in the recent history of manga.[11]
However, other writers stress continuity of Japanese cultural and aesthetic traditions as central to the history of manga. These scholars include Frederik L. Schodt,[6][8] Kinko Ito,[30] and Adam L. Kern.[31][32]
Schodt points to the existence in the 1200s of illustrated picture scrolls like the Tobae scrolls that told stories in sequential images with humor and wit.[6] Schodt also stresses continuities of aesthetic style and vision between ukiyo-e and shunga woodblock prints and modern manga (all three fulfill Eisner's criteria [33] for sequential art). Schodt also sees a particularly significant role for kamishibai, a form of street theater where itinerant artists displayed pictures in a light box while narrating the story to audiences in the street.[6] Torrance has pointed to similarities between modern manga and the Osaka popular novel between the 1890s and 1940, and argues that the development of widespread literacy in Meiji and post-Meiji Japan helped făurite audiences for stories told in words and pictures.[34]
Kinko Ito also roots manga historically in aesthetic continuity with pre-Meiji art, but she sees its post-World War II history as driven in part by consumer enthusiasm for the rich imagery and narrative of the newly developing manga tradition. Ito describes how this tradition has steadily produced new genres and markets, e.g., for girls' (shōjo) manga in the late 1960s and for ladies comics (redisu) in the 1980s.[30]
Kern has suggested that kibyoshi, illustrated picture books from the late 1700s, may have been the world's first comic books. These graphical narratives share with modern manga humorous, satirical, and romantic themes.[31] Although Kern does not believe that kibyoshi were a direct forerunner of manga, nonetheless, for Kern the existence of kibyoshi points to a Japanese willingness to mix words and pictures in a popular story-telling medium.[32] The first recorded use of the term "manga" to mean "whimsical or impromptu pictures" comes from this tradition in 1798, which, Kern points out, predates Katsushika Hokusai's better known later usage by several decades (Kern, 2006, pp. 139-144; Figure 3.3).[31]
Similarly, Inoue sees manga as being a mixture of image- and word-centered elements, each pre-dating the U.S.A. occupation of Japan. In his view, Japanese image-centered (pictocentric) art ultimately derives from Japan's long history of engagement with Chinese graphic art, whereas word-centered (logocentric) art, like the novel, was stimulated by social and economic needs of Meiji and pre-War Japanese nationalism for a populace unified by a common written language. Both fuse in what Inoue sees as a symbiosis in manga.[35]
Thus, these scholars see the history of manga as involving historical continuities and discontinuities between the aesthetic and cultural past as it interacts with post-World War II innovation and transnationalism.
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| 16/11/2007 21:25 |
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Darkrose
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Manga format
Manga magazines usually have many series running concurrently with approximately 20–40 pages allocated to each series per issue. These manga magazines, or "anthology magazines", as they are also known (colloquially "phone books"), are usually printed on low-quality newsprint and can be anywhere from 200 to more than 850 pages long. Manga magazines also contain one-shot comics and various four-panel yonkoma (equivalent to comic strips). Manga series can run for many years if they are successful. Manga artists sometimes start out with a few "one-shot" manga projects just to try to get their name out. If these are successful and receive good reviews, they are continued.
When a series has been running for a while, the stories are usually collected together and printed in dedicated book-sized volumes, called tankōbon. These are the equivalent of US comic's trade paperbacks. These volumes use higher-quality paper, and are useful to those who want to "catch up" with a series so they can follow it in the magazines or if they find the cost of the weeklies or monthlies to be prohibitive. Recently, "deluxe" versions have also been printed as readers have got older and the need for something special grew. Old manga have also been reprinted using somewhat lesser quality paper and sold for 100 yen (about one US dollar) each to compete with the used book market.
Manga are primarily classified by the age and gender of the target audience. In particular, books and magazines sold to boys (shōnen) and girls (shōjo) have distinctive cover art and are placed on different shelves in most bookstores.
Japan also has manga cafés, or manga kissa (kissa is an abbreviation of kissaten). At a manga kissa, people drink coffee and read manga, and sometimes stay there overnight.
The reading direction in a traditional manga.Traditionally, manga are written from top to bottom and right to left, as this is the traditional reading pattern of the Japanese written language. Some publishers of translated manga keep this format, but other publishers flip the pages horizontally, changing the reading direction to left to right, so as not to confuse foreign audiences or traditional comics consumers. This practice is known as "flipping". For the most part, the criticisms suggest that flipping goes against the autentic intentions of the creator (for example, if a person wears a shirt that reads "MAY" on it, and gets flipped, then the word is altered to "YAM"). Flipping may also cause oddities with familiar asymmetrical objects or layouts, such as a car being depicted with gas pedal on the left and the brake on the right.
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| 16/11/2007 21:26 |
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Darkrose
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Dōjinshi
Some manga artists will cauzează extra, sometimes unrelated material, which are known as omake (lit. "bonus" or "extra"). They might also publish their unfinished drawings or sketches, known as oekaki (lit. "sketches").
Dōjinshi is produced by small amateur publishers outside of the mainstream commercial market in a similar fashion to small-press independently published comic books in the United States. Comiket, the largest comic book convention in the world with over 400,000 gathering in 3 days, is devoted to dōjinshi.
Unofficial fan-made comics are also called dōjinshi. Some dōjinshi continue with a series' story or write an entirely new one using its characters, much like fan fiction.
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| 16/11/2007 21:27 |
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Darkrose
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Classification of manga
While 'manga' is defined as "a Japanese comic book or graphic novel",[20] some people contend that manga defines a style rather than a country of origin. This viewpoint can most predominantly be seen by the manga publisher Tokyopop, which markets original English-language manga.
"Manga is like hip-hop. It's a lifestyle. To say that you can't draw it because you don't have the DNA is just silly."
—Stu Levy, Tokyopop CEO[99]
However, like any artistic medium, there is no true set style for manga. Manga can range from the realistic to mega deformed. Therefore, when manga is referenced as a style, it generally is specifically referring to the moe style of manga common to the fantasy genre and the most familiar style of manga to foreign readers
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| 16/11/2007 21:29 |
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Darkrose
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Types of manga
With an immense market in Japan, manga encompasses a very diverse range of subjects and themes, satisfying many readers of different interests. Popular manga aimed at mainstream readers frequently involves sci-fi, action, fantasy and comedy. Notable manga series are based on corporate businessman (the Shima Kousaku and Salaryman Kintaro series), Chinese cuisine (Iron Wok Jan), criminal thriller (Monster) and military politics (The Silent Service). As a result, many genres apply equally well to anime (which very often includes adaptations of manga) and Japanese computer games (some of which are also adaptations of manga).
Manga are often broken up into demographics such as kodomo (children), shōjo (young girls), shōnen (young boys), and josei (women).
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| 16/11/2007 21:31 |
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Darkrose
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International influence
Along with anime, manga has become one of Japan's major cultural exports. Manga has had an influence on international comics and animation the world over.
[edit] North America
The first Westerner to introduce the visual approach and concepts of manga into English language comics was Vernon Grant, who drew comics in 1969-1972 while he was living in Japan[citation needed]. At the time, he was absorbing numerous Japanese comics, including Kazuo Koike's 28-volume samurai epic Lone Wolf and Cub, which he wrote about in the Mainichi Daily News in 1972. From 1977 to 1988, Grant published his series, The Love Rangers about a racially mixed space crew spreading love thoughout the universe. In 1983, Frederik L. Schodt's book Manga! Manga!: The World of Japanese Comics (Kodansha) detailed manga's background and history for US readers. The 1980s explosion of black-and-white comics in the US included a number of series that were conspicuous pastiches of manga, such as Ben Dunn's Ninja High School, Stan Sakai's Usagi Yojimbo, and Scott McCloud's Zot!, as well as translated Japanese manga.
Following increasing interest during the 1990s, manga eventually grew into a large industry in the US, tripling during 2002-05 to become a $180 million market by 2005. [99] By 2006 total US manga sales reached $200 million [100] At least 40 syndicated newspaper have added manga-style strips (mostly US-made) to their funny pages.[99] Manga has also been noted for making female readers interested in comics. In a nation where the US comic book readership is largely dominated by males, females make up 60% of all manga readership,[99] often attracted by more in-depth story lines and romance subplots.
Though roughly equivalent of the US comic book, manga holds more importance in Japanese culture than comics do in US culture. In economic terms, weekly sales of comics in Japan exceed the entire annual output of the US comic industry [citation needed]. Additionally, manga and comics in general are more widely consumed among the adult population of Japan than in America. [citation needed] In 2003, Manga was a $5 billion a year industry, and accounted for 40% of all books and magazines sold in Japan (15 titles per person each year).[101] By comparison, the estimated overall US market size in 2003 for comics was $340-380 million.[102] Several major manga magazines which contain about a dozen episodes from different authors sell several million copies each per week. Manga is well respected both as an art form and as a form of popular literature, though it has not reached the acceptance level of historically higher art genres such as film or music. However, approval of Hayao Miyazaki's anime and other works of manga are gradually changing the perception of anime and manga, placing them closer to the status of "higher" arts (The film with the all-time highest box office gross in Japan is Spirited Away by Hayao Miyazaki, with 30.4 billion yen).
Like its US counterpart, some manga has been criticized for being violent or sexual. For example, a number of film adaptations of manga such as Fist of the North Star were rated Restricted or Mature in the United States. However, there have been no official inquiries or laws trying to limit what can be drawn in manga, except for vague decency laws applying to all published materials, stating that "overly indecent materials should not be sold." This freedom has allowed artists to draw manga for every age group and a wide selection of top
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| 16/11/2007 21:32 |
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Darkrose
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Europe
In France there is a "Nouvelle Manga" movement started by Frédéric Boilet which seeks to combine mature sophisticated daily life manga with the artistic style of traditional Franco-Belgian comics. While the movement also involves Japanese artists, a handful of French cartoonists other than Boilet have decided to embrace its ideal. France is the biggest country after Japan where Manga are most sold, with 10 million books in 2005.
The manga style has influenced not only writers and artists, but musicians as well. Turkish rock band maNga [sic] has not only its name derived from the style; their videos and album cover feature manga-style animation and the members of the band have their own manga characters, drawn by award-winning artist Kaan Demirçelik. English metal band Versus Akira derives its name and certain stylistic qualities in the music and artwork from the famous Japanese anime film/manga Akira
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| 16/11/2007 21:32 |
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Darkrose
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Influence
US artist and writer Frank Miller has been heavily influenced by manga and in particular by Koike's Lone Wolf and Cub.[dubious – discuss] Miller was one of the first US comic artists to make use of decompression, a style prevalent in manga.[citation needed]
Other US artists such as Becky Cloonan (Demo, East Coast Rising), Ben Dunn (Ninja High School), Corey Lewis (Sharknife, Adam Warren (Dirty Pair, Empowered), Joe Madureira (Battle Chasers) and Canadian Bryan Lee O'Malley (Lost At Sea, Scott Pilgrim) are also influenced by the mainstream manga style and have received acclaim for their work outside of anime/manga fan circles. These artists have their roots in the anime/manga subculture of their special regions (as well as the Internet and webcomics), but incorporate many other influences that make their work more palatable to non-manga readers.
US artist Paul Pope worked in Japan for Kodansha on the manga anthology Afternoon. Before he was fired (due to an editorial change at Kodansha) he was developing many ideas for the anthology that he would later publish in the US as Heavy Liquid. As a result his work features a strong influence from manga without influences from international otaku culture.
In addition, there are many amateur artists who are influenced exclusively by the manga style.[citation needed] Many of these have their own small publishing houses, and some webcomics in this style have become very popular (see Megatokyo and "Sequence (manga)"). For the most part, these artists are not yet recognized outside of the anime and manga fan community
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| 16/11/2007 21:33 |
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Darkrose
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Manga magazines
Manga magazines are weekly or monthly publications of about 200 to 900 pages. Each of them will have a series of chapters from different manga, each chapter from 20 to 40 pages long. Most of the pages are negru and white except for the cover and usually a few pages at the beginning. They also usually have some small, four-frame comics. Some of the manga chapters in these magazines, if they attract a lot of attention, will reappear in the magazine for years.
Some relatively well-known publications are:
Shonen Jump
Big Comic Original
Shonen Magazine
Shonen Sunday
Ribon
Nakayoshi
Young Animal
Shojo Beat
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| 16/11/2007 21:35 |
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Darkrose
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Language notes
Before the word anime (アニメ, anime?) came from overseas, manga (漫画, manga?) was used as a catch-all term for what US citizens refer to as manga and anime.[citation needed]
Because nouns in Japanese do not have a plural form, manga is the form for both plural and singular. It is also commonly called コミック (komikku, from comic) in Japanese.
Mangaka (漫画家)
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| 16/11/2007 21:35 |
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