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'The Growth of Manhua in China: an Overview' De Masi, V; Chen, C C (2010). The Growth of Manhua in China: An Overview. CMO Newsletter, (6):7-10. Postprint available at: http://www.zora.uzh.ch Posted at the Zurich Open Repository and Archive, University of Zurich. University of Zurich http://www.zora.uzh.ch Zurich Open Repository and Archive Originally published at: De Masi, V; Chen, C C (2010). The Growth of Manhua in China: An Overview. CMO Newsletter, (6):7-10. Winterthurerstr. 190 CH-8057 Zurich http://www.zora.uzh.ch Year: 2010 The Growth of Manhua in China: An Overview De Masi, V; Chen, C C De Masi, V; Chen, C C (2010). The Growth of Manhua in China: An Overview. CMO Newsletter, (6):7-10. Postprint available at: http://www.zora.uzh.ch Posted at the Zurich Open Repository and Archive, University of Zurich. http://www.zora.uzh.ch Originally published at: De Masi, V; Chen, C C (2010). The Growth of Manhua in China: An Overview. CMO Newsletter, (6):7-10. The Growth of Manhua in China: An Overview Chwen Chwen Chen, China Media Observatory, USI, Lugano, Switzerland. Vincenzo De Masi, Zurich University Seminar für Filmwissenschaft, Réseau Cinéma and USI, Switzerland. To interpret this article cor- ment and mass demonstrations rectly it is important to note that against imperialism and foreigners the word manhua is used in China in the early 1900s. These events to refer not only to cartoons and inspired the creation in 1900 of a comics published in China but also comic called ‘Shoot pig cut sheep to translations of Japanese works pictures’ (shezhu zhanyan tu), and, in general, to comics in the where, by playing with Chinese Chinese language. On the contrary, characters and sounds, ‘pig’ indi- the Japanese word manga (from cated the Christian God and ‘sheep’ which manhua takes its name and stood for the Christians. From an style) is used only for comics pro- aesthetic point of view, this comic duced in Japan. In any case, the is relevant in the history of Chinese word manhua has now been ad- manhua as it combines folk pic- opted also in Japan. tures with more traditional Chinese The development of Chinese pictorial elements (Fig. 2). manhua has been closely bound to the main historical and politi- cal events that have shaped Chi- na’s history. According to some authors, manhua was born in the years straddling the 19th and 20th centuries, roughly between 1867 and 1927 (e.g. Wong, 2002). In- deed, 1867 saw the creation in Hong Kong of the first Chinese sa- tirical comic magazine called ‘The China Punch’: this magazine was in English and the style was that of the modern manhua while the stories were political satires full of Fig. 2 - Shezu zhanyan tu, 1900 humor and pictures (Fig. 1). Manhua appeared for the first time in a Shanghai newspaper in 1903; after this more and more newspapers in other important Chi- nese cities such as Beijing, Tianjin and Guangzhou began to publish comics and comic magazines. The main aim of these was to criticize and highlight the weaknesses of the Qing dynasty and, after 1911, of the Republican government. One of the most important comic Fig. 1 - The China Punch, 1867 magazine was ‘The Journal of Cur- rent Pictorial’, created in 1905 by Although there were other kinds a revolutionary group called the of comics circulating in this period, “Chinese Alliance” that depicted an the satirical manhua was the most emblematic history (Fig. 3). Be- important as it marked the birth of cause of its political nature, this China’s modern manhua which de- magazine was banned on mainland veloped along with the bourgeois China two years after its creation democratic revolutionary move- but it continued to be published in 7 Hong Kong for some years until it published 17 magazines for around had to shut down because of the 15 years, was established, lead- continuous pressure exerted by ing to more coherent and system- the Qing government on the Brit- atic growth of the cartoon sector. ish Colonial government. In 1912, The Association was important in with the fall of the Qing dynasty the history of Chinese manhua as it contributed to the cohesion of the loosely organized group of art- ists. One year later the ‘Shanghai Sketch’, the first Chinese manhua magazine in the Chinese language, was created. It is interesting to note that the ‘Shanghai Sketch’ was largely influenced by Western com- ic works such as ‘Ally Sloper’s Half Holiday’ (Gilbert Daziel, 1884) and ‘The Yellow Kid’ (Richard Outcault, 1896): for example, the Chinese works ‘Mr. Wang’ by Yeh Qianyu and Fig. 3 - The Journal of Current Picto- ‘Dr. Reform’ by Lu Shaofei had a rial, 1905 similar design to the Western com- ics. The importance of Shanghai as a creative center of manhua also and the founding of the Republican influenced Hong Kong’s cartoonists government in China, the “Chinese of that time as they created comic Alliance” began publishing again characters inspired by Shanghai- on mainland China and created based authors. the magazine ‘The True Record’ The publication of manhua (Zhenxiang Huabao) in Shanghai. continued even with the outbreak However, this magazine was soon of the Sino-Japanese war in 1937 banned by the Provisional Presi- and, two years later, of World War dent of the Republic of China, Yuan II, as well as during the civil war Shikai, because it criticized the new between Communists and Nation- Republic of China government. alists after the end of the war. Dur- Although a number of com- ing this period of conflict, the focus ics and comic authors began to of the content and themes of most emerge and become familiar names manhua was on the war and politi- with the public in this period, it was cal events. only in 1925 that the word manhua A number of scholars hold was used for the first time in asso- that the 1950s marked a revival of ciation with Chinese comics, when manhua in China (e.g. Lent, 2001; Feng Zi-Kai used it for a collection Wong, 2002). Indeed, the new called ‘Zi-Kai manhua’. More note- political and social phase China worthily, manhua gained increas- entered with the founding of the ing importance with the rise of the People’s Republic of China in Octo- Communist Party of China (CPC) - ber 1949 offered opportunities for founded in 1921 - as a propaganda new ideas and inspiration for comic tool for Party activities and events authors. 1950 saw the creation of aimed at workers and peasants a comic monthly called ‘Manhua’, throughout China. which contributed to enhancing From the late 1920s to mid the creativity and quality of comic 1930s, considered the golden age works in China and cultivated tal- of manhua in China, Shanghai be- ented young people in this field. came the most active comic pro- During the Cultural Revolution duction center in China: in 1927 (1966-1976) manhua became a Manhua hui, China’s first cartoon tool of propaganda and education and comic arts organization, which 8 in the hands of the Chinese gov- on sex. ernment because of the very sim- Nonetheless, the cultural, so- ple language and repetition it used, cial and economic implications of making it easy to promote and dis- having China’s own animation and seminate also in the furthest flung comic sector was clear to Chinese and poorest areas of mainland Chi- leaders, above all in view of Chi- na. na stepping onto the global stage The launch of the reforms in through membership of the World 1979 opened up a new phase for Trade Organization in December comics in China. On one hand, the 2001. The official recognition came CPC’s official organ the ‘People’s in October 2000 during CPC’s 15th Daily’ began to publish a series Congress and, one year later, ani- of satirical and humoristic comic mation and comic arts were made works, followed by other major na- an eligible sector for government tional dailies and specialized comic funds in the 10th Five-Year Plan.1 magazines in the following years In 2008 the Ministry of Culture and research and conferences launched a project which allocated flourished throughout the country; a total of RMB7 million (€748,190) on the other hand, an impressive to the promotion of 101 publica- inflow of foreign comics, above all tions. This investment was dou- the Japanese manga - with well- bled one year later, with 108 comic known titles such as ‘Doraemon’, works receiving funds and adopting ‘Dragon Ball’, and ‘Saint Seiya’ - a more advanced industrial strate- dominated the market for a long gy (Shanghai Daily, 2010); indeed, time. The manga had a huge influ- the manhua authors and stories ence on Chinese manhua and its were chosen for their creativity and development in the following years their sales potential. not only in terms of design and The Ministry of Culture has content but also as regards the or- also encouraged the exploitation of ganization and the market of comic merchandising (gadgets, clothes, works. toys, etc.) because comics and ani- In order to limit the “Japanese mation on their own are not profit- invasion”, in 1995 the Chinese gov- able: in fact, in developed markets ernment made a first attempt to such as Japan and the US, comics launch its domestic comic and ani- and animation are sold with their mation sector by promoting pro- side-products to create a profitable duction with the first official pack- “industrial chain”, says Professor age supporting the sector, but this Chen Shaofeng, deputy director of strategy failed because the funds the Peking University Institute for were handed out without conduct- Cultural Industries.
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