In this context, for non-Japanese trying to fathom what is really going on, both manga and-to a lesser extent-anime can be an immense aid in bridging the disconnect. As is often noted, Japan is a culture where the difference between public and private realities, and appearance and reality, is often great. In the process I also eventually discovered that manga are much more they are an open window onto the Japanese id, a view-not necessarily of reality itself-but of a culture’s aspirations, dreams, nightmares, fantasies, and fetishes. Manga were fabulous entertainment, and I could easily rationalize reading them as a way to learn Japanese. I noticed that my fellow Japanese students seemed to be spending far more time reading giant weekly manga magazines than they did cracking their textbooks, and it did not take me long to become hooked, too. I personally became interested in manga, especially, back in 1970, when I was an undergraduate Asian Studies major attending a university in Tokyo and trying to learn Japanese. There, along with MySpace, Video iPod, PS3, Snoop Dogg, Algebra, and YouTube, was a large zone labeled “Manga.” There was no translation of the word, of course, and-with the market for English versions of both manga and anime now estimated to be in the billions of dollars-who would need one? I never dreamed that manga and anime would become so popular outside of Japan. That week, the New Yorker magazine featured on its cover a cartoon titled “Back to Cool,” showing an average American teenager slouching back to school, his brain depicted as an enlarged map divided into zones of interest. Considering Manga Discourse: Location, Ambiguity, Historicity Jaqueline Berndt Bibliography About the Contributors Indexīy September 4, 2006, it was clear to me that manga had truly conquered North America. National History as Otaku Fantasy: Satoshi Kon’s Millennium Actress Melek Ortabasi 14. Heart of Japaneseness: History and Nostalgia in Hayao Miyazaki’s Spirited Away Shiro Yoshioka 13. The Utopian “Power to Live”: The Significance of the Miyazaki Phenomenon Hiroshi Yamanaka 12. Medieval Genealogies of Manga and Anime Horror Rajyashree Pandey 11. Aum Shinriky÷o and a Panic About Manga and Anime Richard A. Framing Manga: On Narratives of the Second World War in Japanese Manga, 1957–1977 Eldad Nakar 9. Intellectuals, Cartoons, and Nationalism During the Russo-Japanese War Yulia Mikhailova 8. Situating the Sh÷ojo in Sh÷ojo Manga: Teenage Girls, Romance Comics, and Contemporary Japanese Culture Deborah Shamoon 7. Opening the Closed World of Sh÷ojo Manga Mizuki Takahashi 6. From Metropolis to Metoroporisu: The Changing Role of the Robot in Japanese and Western Cinema Lee Makela 5. Characters, Themes, and Narrative Patterns in the Manga of Osamu Tezuka Susanne Phillipps 4. Contemporary Anime in Japanese Pop Culture Gilles Poitras 3. Schodt A Note on Language Introduction Mark W. Printed in the United States of America The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences Permanence of Paper for Printed Library Materials, ANSI Z 39.48-1984.Ĭontents Foreword: Japan’s New Visual Culture Frederik L. Animated ﬁlms-Japan- History and criticism. Comic books, strips, etc.-Japan-History and criticism. Includes bibliographical references and index. Published with support from the Japan Foundation Library of Congress Cataloging-in-Publication Data Macwilliams, Mark Wheeler, 1952– Japanese visual culture : explorations in the world of manga and anime / edited by Mark W. Sharpe, Inc., 80 Business Park Drive, Armonk, New York 10504. No part of this book may be reproduced in any form without written permission from the publisher, M.E. } An East Gate Book Copyright © 2008 by M.E. M.E.Sharpe Armonk, New York London, England CULTURE Explorations in the World of Manga and AnimeĮdited by Mark W.

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