Editoriale Di Roy Menarini

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    From top to bottom and left to right: -Photo 01: First shelf (some of my favorite collections): Manga: El Solar de los Sueños (A Patch of Dreams’s Spanish edition, Hideji Oda), Il Mondo di Coo (Coo no Sekai’s Italian edition, Hideji Oda), La Rosa de Versalles (The Rose of Versailles’s Spanish edition, Riyoko Ikeda), La Ventana de Orfeo (Orpheus no Mado’s Spanish edition, Riyoko Ikeda), Très Cher Frère (Oniisama e…’s French edition, Riyoko Ikeda), Koko (Kokkosan’s French edition, Fumiyo Kôno), Une longue route (Nagai Michi’s French edition, Fumiyo Kôno), Blue (“’s Spanish edition, Kiriko Nananan), Fruits Basket (“’s Spanish Edition, Natsuki Takaya), Fruits Basket #24: Le chat (Fruits Basket: Cat’s French edition, Natsuki Takaya), Uzumaki (“’s English edition, Junji Ito), Elegía Roja (Red Colored Elegy’s Spanish Edition, Seiichi Hayashi), Calling you (“’s Spanish edition, Otsuichi & Hiro Kiyohara), Ashita no Joe (“’s French edition, Asao Takamori & Tetsuya Chiba), Stargazing Dog (“’s English edition, Takashi Murakami), Flare: the art of Junko Mizuno (“’s “bilingual” English and Japanese edition, Junko Mizuno), Welcome to Nod·d·a·ringniche Island: Animal Encyclopedia (“’s Japanese edition, Prof. K·Sgyarma) and Fruits Basket Artbook (“’s Spanish edition, Natsuki Takaya). Postcards: two Marie Antoinettes copied by me from The Rose of Versailles, Twinkle Stars’ Spanish edition and an angel with the spiral shaped universe, from the curch of Chora, Istanbul, Turkey. Stuff: Bakugan’s ball, Alice in the Wonderland’s figurine, blue snail, Misty’s tazo, green snail, magneto with the same image than in the last postcard mentioned.
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  • A Study of Ukiyo-E's Place in the Development
    PROGENITOR OR MERE PREDECESSOR: A STUDY OF UKIYO-E’S PLACE IN THE DEVELOPMENT OF MODERN MANGA THROUGH THE WORKS OF RUMIKO TAKAHASHI A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of The requirements for the degree MASTER OF ARTS by Julia Fields Jackson B.A., Pomona College, 2006 Kansas City, Missouri 2014 © 2014 JULIA FIELDS JACKSON ALL RIGHTS RESERVED PROGENITOR OR MERE PREDECESSOR: A STUDY OF UKIYO-E’S PLACE IN THE DEVELOPMENT OF MODERN MANGA THROUGH THE WORKS OF RUMIKO TAKAHASHI Julia Fields Jackson, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2014 ABSTRACT In their effors to understand the history of manga , or Japanese comics, scholars have struggled determining the timeline of this art form. While some historians begin their narrative as far back as the twelfth century with examples of art that might be classified as “pre-manga ,” some academics choose to cite the start point manga ’s timeline in the nineteenth century with the first usage of the term “ manga .” Others researchers are even more conservative, beginning their scope of manga ’s history with the techniques developed during the mid-twentieth century which yield artwork recognizable to today’s aesthetics. The study of manga is still in an embryonic state, and the scope of this genre of art is vast; these two factors create a challenge in establishing a timeline for manga ’s history. Although it would be convenient to consider the history of Japanese illustrative art as a timeline that leads directly to modern manga , the myriad of genres and styles complicate the researcher’s ability to make claims about the pertinence of any specific point on that timeline to the development of manga as it is known today.
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  • I. Early Days Through 1960S A. Tezuka I. Series 1. Sunday A
    I. Early days through 1960s a. Tezuka i. Series 1. Sunday a. Dr. Thrill (1959) b. Zero Man (1959) c. Captain Ken (1960-61) d. Shiroi Pilot (1961-62) e. Brave Dan (1962) f. Akuma no Oto (1963) g. The Amazing 3 (1965-66) h. The Vampires (1966-67) i. Dororo (1967-68) 2. Magazine a. W3 / The Amazing 3 (1965) i. Only six chapters ii. Assistants 1. Shotaro Ishinomori a. Sunday i. Tonkatsu-chan (1959) ii. Dynamic 3 (1959) iii. Kakedaze Dash (1960) iv. Sabu to Ichi Torimono Hikae (1966-68 / 68-72) v. Blue Zone (1968) vi. Yami no Kaze (1969) b. Magazine i. Cyborg 009 (1966, Shotaro Ishinomori) 1. 2nd series 2. Fujiko Fujio a. Penname of duo i. Hiroshi Fujimoto (Fujiko F. Fujio) ii. Moto Abiko (Fujiko Fujio A) b. Series i. Fujiko F. Fujio 1. Paaman (1967) 2. 21-emon (1968-69) 3. Ume-boshi no Denka (1969) ii. Fujiko Fujio A 1. Ninja Hattori-kun (1964-68) iii. Duo 1. Obake no Q-taro (1964-66) 3. Fujio Akatsuka a. Osomatsu-kun (1962-69) [Sunday] b. Mou Retsu Atarou (1967-70) [Sunday] c. Tensai Bakabon (1969-70) [Magazine] d. Akatsuka Gag Shotaiseki (1969-70) [Jump] b. Magazine i. Tetsuya Chiba 1. Chikai no Makyu (1961-62, Kazuya Fukumoto [story] / Chiba [art]) 2. Ashita no Joe (1968-72, Ikki Kajiwara [story] / Chiba [art]) ii. Former rental magazine artists 1. Sanpei Shirato, best known for Legend of Kamui 2. Takao Saito, best known for Golgo 13 3. Shigeru Mizuki a. GeGeGe no Kitaro (1959) c. Other notable mangaka i.
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  • Tsugumi Project
    Master 2 Sciences Humaines et Sociales Mention Métiers du livre Parcours Édition Carole FABRE ‘évolution du marché du manga à Ltravers une nouvelle génération d’éditeurs Le cas des éditions Sous la direction de Jean-Christophe BOUDET Année universitaire : 2018-2019 UNIVERSITÉ PARIS NANTERRE UFR SITEC – Pôle Métiers du livre de Saint-Cloud Master 2 Sciences Humaines et Sociales Mention Métiers du livre Parcours Édition Carole FABRE L’évolution du marché du manga en France à travers une nouvelle génération d’éditeurs : le cas des éditions Ki-oon Sous la direction de Jean-Christophe BOUDET L’université de Paris Nanterre n’entend donner aucune approbation ni improbation aux opinions émises dans ce projet de mémoire. Ces opinions devront être considérées comme propres à leur auteur. Sommaire Remerciements ....................................................................................................................................... 7 Introduction ............................................................................................................................................ 8 Bref historique : les débuts timides du manga menés par des essais infructueux ............................. 8 La publication d’Akira en France ......................................................................................................... 9 Akira, le véritable raz-de-marée ? .................................................................................................... 11 S’adresser aux plus jeunes : les mangas des grands groupes façonnés
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  • The Barefoot Gen Anime in the Aftermath of The
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  • Mangasia Wonderlands of Asian Comics Tour Pack Contents
    Mangasia Wonderlands of Asian Comics Tour Pack Contents 1 Introduction 2 Mapping Mangasia 3 Fables and Folklore 4 Recreating and Revising the Past 5 Stories and Storytellers 6 Censorship and Sensibility 7 Multi Media Mix 8 Highlights 9 Installation Shots 10 Sample Marketing 1 Introduction © Pentagram Mangasia: Wonderlands of Asian Comics will present Exhibition contains over 280 pages of original comic book the largest ever selection of original artworks from Asian artwork, 116 high quality facsimiles, and 200 rare printed comics, displayed alongside their printed, mass-produced comics. forms, much of them rarely if ever shown outside their country of origin. The exhibition will also reveal the creative processes that underlie their production, from scripts, sketches and Includes works by Osamu Tezuka, Fujiko. F. Fujio, Aya Takano, layouts to finished pages. Kim Junggi, Goseki Kojima, Francisco V. Coching, Amar Chitra Katha, Abhishek Singh, Jiro Taniguchi, Zao Dao, Curated by Paul Gravett and a team of over twenty advisors, Hiroshi Hirata, Keum-suk Gendry-Kim, Sonny Liew, Park Kun- Mangasia: Wonderlands of Asian Comics will survey woong, Peter van Dongen, Keiji Nakazawa, Mars Ravelo, the entire realm of this new comics continent of ‘Mangasia’, Tsuge Tadao, Orijit Sen, Young-man Hur, Prum Vannak, through artwork from Japan, North and South Korea, Fumio Obata, Sung-hee Kim, Li-Chin Lin, Kazuo Kamimura, India, China, Taiwan, Hong Kong, Indonesia, Malaysia, Quang Sáng Nguyen, Eiji Otsuka, Taiyo Matsumoto, Miki The Philippines and Singapore, as well as emerging comics Yamamoto, Lai Tat Tat Wing, Ken Niimura, Takashi Fukutani, cultures in Bhutan, Cambodia, East Timor, Mongolia and Sheila Rooswitha Putri, Masahiko Matsumoto, Totempole, Taro Vietnam.
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