DOCSLIB.ORG

You Know How to Mime at Least Three Onomatopoeias... Let's Not Worry, We Offer You Our Lexicon to Be Unbeatable on the World of the 9Th Art!

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
You Know How to Mime at Least Three Onomatopoeias... Let's Not Worry, We Offer You Our Lexicon to Be Unbeatable on the World of the 9Th Art! www.smartymagazine.com The comic book lexicon Comics Manga by Bubble You know how to mime at least three onomatopoeias... Let's not worry, we offer you our lexicon to be unbeatable on the world of the 9th art! 1 GENERIC TERMS RELATED TO THE MEDIUM COMIC STRIP Album : Refers to the comic book object. Art-book : Beautiful book gathering drawings, sketches, illustrations or specific information on the work and the universe of a series, an author or a universe. Used by extension for beautiful books on animes. Author, author and author: In recent years, women comic strip creators have proposed returning to an old word, author, to fight against sexism and the invisibilization of women in the milieu, rather than author or author. You can read this article by Audrey Alwett which explains well this distinction and its importance & consult the website of the collectif des créatrices de BD contre le sexisme. BDM : Created by Michel Béra, Michel Denni and Philippe Mellot who give their initials to the unofficial argus of the comic strip. Work that gives quotations that refer to the second-hand market, special editions and first editions. Quite contested and criticized on the indicated quotations, it is the only work of this kind existing since 1978, but several sites try to propose alternatives. Digital (or Webcomics) comics: Comics created especially to be read on screen. A very nice example here with Phallaina. Bedéphile : An old suitcase word for comic book enthusiasts. Cartoonist: Barbaric term created to designate comic book authors. Bubble (or balloon or phylactery): Materialization of speech in comic strip, generally represented by a bubble with a line towards the character. The phylactery may also indicate thought, and its shape may change to accompany this distinction. Box (or vignette): Main element of a comic strip page, the box delimits a finished space, which is however linked to the adjacent boxes and which hardly exists alone. Colorist: Artist who is specialized in the coloring of albums and plates. It is frequent that a draftsman is also his own colorist. Box: Cardboard binding that can contain several albums to protect or highlight them. Cover: First cardboard page of a book that protects the sheets and presents the album. What is commonly called a cover is called a dish in technical terms. By extension this term refers to the drawing on the cover of the book. The back cover designates the back of the book. Crossover: Story that mixes characters from several universes or that takes place in several series. Cycle (or narrative arc): A grouping of several episodes which form a complete adventure and which develops over several volumes without concluding the story in the broad sense. A series can offer several cycles of different sizes. Back: Called slice by use, the back is the part that holds the book binding. It is also the only visible face on the shelves of our libraries. Bookplates: Image printed separately, usually in the form of a silkscreen or printed image used to promote an album. The originality of the design and/or its rarity make it a popular collector's item. It is very often numbered and signed by its author. Fanzine : Suitcase word that contains fan and magazine. It designates an individual or collective craft publication, produced outside the production circuits. It can be artistic or critical in nature. Fumetti : Designs Italian comics (and comics in general in Italian) Illustrated: Aged term for comic strips, taken from illustrated newspapers (a somewhat pejorative expression that implies the childish character of comics as "little pickets") Complete: A grouping of several albums intended to present a complete story or a complete cycle. Jaquette : Printed cover in the form of a soft cover with flaps that can be added to the existing cover. Clear line: Term forged in the 70s by Joost Swarte to designate the style of Hergé and the authors who claim it, around a will of legibility and stylisation of the line. Ninth art (or 9th art): Expression popularized by Morris, Lucky Luke's designer, to designate the comic strip among the classical arts. With the 7th art (cinema), they are the only ones for which expression is regularly used. One- shot: Refers to an album that does not call immediately. Onomatopoeia: Graphical materialization of a noise or sound with letters and symbols. Graphic novel: Literal translation of the term "graphic novel" coined by Will Eisner to designate a work whose ambition is to treat a subject on a par with literature. The author also gave a canon, with the idea of monovolume and black & white narrative. Scantrad: Pirate translation of a manga or comic book made by fans. Available online and often before official releases, these translations are illegal even though they are very popular. Strip: Literally "strip" means comic strips from the daily press with certain titles to follow or with independent gags. Spin-off: Derived series or album from the main series. Spoiler: I dare not say anything about that word to avoid ruining everything. Head print: Version of an album slightly different from the classic version that comes out before the official release. Its price is higher and often benefits from a more luxurious format or a numbering, signature, etc.... Volume (or volume): Numbered album that is part of a series. 2 TERMS SPECIFICALLY RELATED TO ASIAN COMICS Anime (or japananimation or japanime): Japanese term which designates the animated drawings and by extension in France to designate all the animated productions coming from Japan or Asia. Anime comics: Manga which is composed of color images of an anime, not original drawings, to which we add bubbles, a recitative or dialogues. Bunkobon : Refers to manga bound in pocket format (A6 format & soft cover) Ecchi : Refers to mangas with sexual connotations with a tendency to target humour more than pornography. To differentiate from the Hentai (see below) which designates more erotic or pornographic mangas. Fan service: Popular practice in Japanese prepublication newspapers and found in albums: where authors please their fans by adding details or scenes that are not useful to the story, but please the audience. A large majority of these fan services offer drawings of heroes & heroines in sexy outfits. Gekiga : Expression designating a realistic style of manga that is concerned with social issues. Genre appeared in the 60s and 70s on the fringe of manga in its definition of the time. Hentai : Term for erotic or pornographic mangas. Manga: Generic word for Japanese comics in general (and comics in Japan). The term would be taken from the drawing notebooks of the painter Hokusaï at the beginning of the 19th century, who made freer drawings in his notebooks. Josei : Manga for adult women. Kodomo : Manga for children. Mangaka: Refers to a manga author. Manga-manbun : Particular manga which consists of a drawing with legend, or a strip, inspired by American comic strips. Manhua (and lianhuanhua): Manhua: generic word for Chinese comics. Lianhuanhua indicates him a more popular and ancient form than the manhua. Manhuajia: Refers to an author from Manhua. Manhwa: Generic word for Korean comics. Manhwaga: Refers to an author from Manhwa. Mecha : Abbreviation of "mechanical" which designates the manga genre based on armor and combat robots. Seinen: Manga for adults. Shôjo : Manga for girl. Shônen : Manga for young boy. Shitei: Refers to humorous mangas in the broad sense. Story manga : Refers to mangas that follow each other over several chapters or volumes with a twist plot design most often. Genre popularized by the god of manga, Osamu Tezuka. Tankôbon: Generic term for collections of publications previously pre-published in newspapers. It is these versions that are most often used as the basis for translation for European and American editions. Yaoi (or boys' love): Refers to works that stage sentimental and/or sexual relationships between male characters intended for a female readership. It differs from Men's love (or bara), which is intended for a male readership. Yuri (or Girls' Love): Refers to works that stage sentimental (and rarely sexual) relationships between female characters. Yonkoma : Form of manga frozen in four boxes, most often humorous or autobiographical. 3 TERMS SPECIFICALLY RELATED TO AMERICAN COMICS Annual : A special comic book with a strong pagination that appears once a year or several times on specific occasions. Cartoon: Not to be confused with animated cartoon, this word also designates the American comic strip. The comic book authors who work on this format are cartoonists. Comics: Generic word for American comics in general (and comics in the USA). One also speaks of Cartoons or Funnies, but these more marked terms are more specifically linked to the press. Comic book: Compendium or booklet that proposes a complete story or a story to follow, regularly published. This is different from paperback (see below). Comic strip: Comic strip from the daily press (then pages of Sunday supplements) with some titles to follow or independent gags. Comix : Comic book distortion, playing on the sound and the final X to mark a break with the industry in place. The term refers to underground comics that appeared in the 60s and 70s. Cover-Artist : Draftsman in charge of creating a comic book cover or specialized in this type of order. Creator-Owned: Character or series whose rights belong to their authors and not to the publisher as is the custom in the USA. Golden Age: Golden age of comics, from the birth of Superman in 1938 until the end of the Second World War. The moment it all started for comic books. Then the Silver Age followed the Golden Age in comic book history from the mid-1950s to the early 1970s.
Load more

Recommended publications
  • Use Style: Paper Title
    International Journal on Recent and Innovation Trends in Computing and Communication ISSN: 2321-8169 Volume: 4 Issue: 6 494 - 497 ____________________________________________________________________________________________________________________ Study of Manga, Animation and Anime as an Art Form Steena. J. Mathews Department of Master Of Computer Application(MCA) University Of Mumbai Dr.G.D.Pol Foundation YMT College of Management Sector-4 Kharghar, Navi Mumbai-410210, India [email protected] ne 1 (of Affiliation): dept. name of organization Abstract—Manga is from Japanese for comics or whimsical images. Manga grow from combining of Ukiyo-e and from Western style drawing and it’s currently soon after World War II. Part from Manga's covers which is usually issued in black and white. But it is usual to find introductions to chapters to be in color and is read from top to bottom and then right to left, alike to the layout of a Japanese basic text. Anime relates to the animation style developed in Japan. It is characterized by particular characters and backgrounds which are hand drawn or computer generated that visually and confined set it apart from other forms of animation. Plots may include a variety of imaginary or ancient characters, events and settings. Anime is a complex art form that includes various themes, animation styles, messages, and aspects of Japanese culture. Each member will understand the differences in theme, style, animation, and cultural influences between Anime, Manga and American animation. As mass- produced art, anime has a stature and recognition even American animated films, long accepted as a respectable style of film making, have yet to achieve.
    [Show full text]
  • The Practical Use of Comics by TESOL Professionals By
    Comics Aren’t Just For Fun Anymore: The Practical Use of Comics by TESOL Professionals by David Recine A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in TESOL _________________________________________ Adviser Date _________________________________________ Graduate Committee Member Date _________________________________________ Graduate Committee Member Date University of Wisconsin-River Falls 2013 Comics, in the form of comic strips, comic books, and single panel cartoons are ubiquitous in classroom materials for teaching English to speakers of other languages (TESOL). While comics material is widely accepted as a teaching aid in TESOL, there is relatively little research into why comics are popular as a teaching instrument and how the effectiveness of comics can be maximized in TESOL. This thesis is designed to bridge the gap between conventional wisdom on the use of comics in ESL/EFL instruction and research related to visual aids in learning and language acquisition. The hidden science behind comics use in TESOL is examined to reveal the nature of comics, the psychological impact of the medium on learners, the qualities that make some comics more educational than others, and the most empirically sound ways to use comics in education. The definition of the comics medium itself is explored; characterizations of comics created by TESOL professionals, comic scholars, and psychologists are indexed and analyzed. This definition is followed by a look at the current role of comics in society at large, the teaching community in general, and TESOL specifically. From there, this paper explores the psycholinguistic concepts of construction of meaning and the language faculty.
    [Show full text]
  • Manga Book Club Handbook
    MANGA BOOK CLUB HANDBOOK Starting and making the most of book clubs for manga! STAFF COMIC Director’sBOOK LEGAL Note Charles Brownstein, Executive Director DEFENSE FUND Alex Cox, Deputy Director Everything is changing in 2016, yet the familiar challenges of the past continueBetsy to Gomez, Editorial Director reverberate with great force. This isn’t just true in the broader world, but in comics,Maren Williams, Contributing Editor Comic Book Legal Defense Fund is a non-profit organization Caitlin McCabe, Contributing Editor too. While the boundaries defining representation and content in free expression are protectingexpanding, wethe continue freedom to see to biasedread comics!or outmoded Our viewpoints work protects stifling those advances.Robert Corn-Revere, Legal Counsel readers, creators, librarians, retailers, publishers, and educa- STAFF As you’ll see in this issue of CBLDF Defender, we are working on both ends of the Charles Brownstein, Executive Director torsspectrum who byface providing the threat vital educationof censorship. about the We people monitor whose worklegislation expanded free exBOARD- Alex OF Cox, DIRECTORS Deputy Director pression while simultaneously fighting all attempts to censor creative work in comics.Larry Marder,Betsy Gomez, President Editorial Director and challenge laws that would limit the First Amendment. Maren Williams, Contributing Editor In this issue, we work the former end of the spectrum with a pair of articles spotlightMilton- Griepp, Vice President We create resources that promote understanding of com- Jeff Abraham,Caitlin McCabe,Treasurer Contributing Editor ing the pioneers who advanced diverse content. On page 10, “Profiles in Black Cartoon- Dale Cendali,Robert SecretaryCorn-Revere, Legal Counsel icsing” and introduces the rights you toour some community of the cartoonists is guaranteed.
    [Show full text]
  • Anglophonic Influence in the Use of Sound Symbolism in Italian Disney Comics: a Corpus-Based Analysis
    Open Linguistics 2017; 3: 591–612 Research Article Pier Simone Pischedda* Anglophonic Influence in the Use of Sound Symbolism in Italian Disney Comics: A Corpus-based Analysis https://doi.org/10.1515/opli-2017-0030 Received August 11, 2017; accepted November 20, 2017 Abstract: This article will explore the linguistic implications of employing and creating sound symbolism (ideophones, onomatopoeia and interjections) in Italian Disney comics. It will endeavour to investigate the way sound symbolic forms in both imported Disney US comics and original Italian stories have profoundly influenced the development of Italian sound symbolism in the last century. The diachronic analysis is carried out thanks to the creation of a corpus of ideophones and interjections from 210 Disney stories published between 1932 and 2013. The corpus will allow the author to investigate how these forms have changed diachronically throughout the eighty years under investigation with the final aim of highlighting changes and patterns in both original and translated Italian stories. The unique status of ideophones, confirmed by language, sociological and neurological studies, has led to interesting experimentations but also to complicated dynamics. Certain linguistic settings seem to foster a better affinity towards the device— particularly if compared to Romance languages, such as Italian and Spanish, that often have to rely on Anglophone renditions. Anglicisation has indeed overshadowed previous original attempts. Nevertheless, recent creations, particularly from
    [Show full text]
  • British Library Conference Centre
    The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at
    [Show full text]
  • The Translation of American Comics During Italian Fascism
    Between Censorship and Innovation: The Translation of American Comics during Italian Fascism Caterina Sinibaldi (University of Warwick) Abstract This article outlines the main issues surrounding the process of import, trans- lation and cultural adaptation of American comics in Italy from 1908 to 1942. During this time, the first comics were translated from Europe and the United States, leading to a revolution in Italian children’s literature. These were also the years in which comics began to be perceived as a political, as well as pedagogical problem, which prompted the Fascist regime to issue censorship measures aimed at limiting their circulation. The aesthetic and ideological dimension of comics will be investigated alongside the different strategies of translation and adaptation used by Italian editors and cartoonists. The reasons behind the disapproval of comics by Italian pedagogues, and the ambivalent attitude of the Fascist regime, will also be explored. In conclusion, my anal- ysis aims to offer insights into the cultural function of children’s literature during Fascism and the specific role of comics as a site for innovation. Comics and Translation The history of Italian comics is a history of translation. Foreign comics, mostly from the United Kingdom, France and the United States, entered the Italian mar- ket at the beginning of the twentieth century, adding movement and colour to the pages of the first children’s magazines. Being labelled as a product for children, comics had to comply with specific translation norms and pedagogical (as well as aesthetic) requirements. Such requirements acquired political connotations during the years of Fascism (1922–43), when books for children became powerful tools for propaganda in the service of Mussolini’s regime.
    [Show full text]
  • Of 16 ADA PALMER Curriculum Vitae the University of Chicago 773-834
    ADA PALMER Curriculum Vitae The University of Chicago 773-834-8178 Department of History Fax: 773-702-7550 1126 East 59th Street, Mailbox 47 [email protected] Chicago, IL 60637 adapalmer.com ● exurbe.com EDUCATION AND EMPLOYMENT Academic Employment University of Chicago, Department of History, Associate Professor 2018-present . Assistant Professor, 2014-2018 o Associate Member of the Department of Classics o Member of the Institute on the Formation of Knowledge o Affiliate Member of the Center for the Study of Gender and Sexuality Texas A&M University, Department of History, 2009 – 2014, Assistant Professor Education Ph.D., History, 2009, Harvard University, Cambridge, MA M.A., History, 2003, Harvard University, Cambridge, MA B.A., History, cum laude, 2001, Bryn Mawr College, Bryn Mawr, PA A.A., with distinction, 1999, Simon’s Rock College of Bard (now Bard College at Simon’s Rock), Great Barrington, MA Non-Degree Programs: o Seminario di Alta Cultura, 2010, Istituto Internazionale di Studi Piceni, Sassoferrato, Italy o Aestiva Romae Latinitatis, 2004, with Fr. Reginald Foster, Rome, Italy Languages: English, Italian, French, Latin, Ancient Greek, Gothic, German (reading). ACADEMIC PUBLICATIONS Books Reading Lucretius in the Renaissance. I Tatti Renaissance Studies Series. Cambridge, MA: Harvard University Press, 2014. The Recovery of Classical Philosophy in the Renaissance, a Brief Guide, Quaderni di Rinascimento 44. Co-author with James Hankins. Istituto Nazionale di Studi sul Rinascimento. Florence: Leo S. Olschki, 2008. Peer-Reviewed Articles and Book Chapters “Pomponio Leto’s Lucretius and the Negative Space of Humanist Latin Knowledge.” Erudition and the Republic of Letters, forthcoming. Page 1 of 16 Curriculum Vitae Ada Palmer “The Effects of Authorial Strategies for Transforming Antiquity on the Place of the Renaissance in the Current Philosophical Canon,” in Beyond Reception: Renaissance Humanism and the Transformation of Classical Antiquity, eds.
    [Show full text]
  • Truth, Justice, and the Canadian Way: the War-Time Comics of Bell Features Publications Ivan Kocmarek Hamilton, Ontario
    Truth, Justice, and the Canadian Way: The War-Time Comics of Bell Features Publications Ivan Kocmarek Hamilton, Ontario 148 What might be called the “First Age of Canadian Comics”1 began on a consum- mately Canadian political and historical foundation. Canada had entered the Second World War on September 10, 1939, nine days after Hitler invaded the Sudetenland and a week after England declared war on Germany. Just over a year after this, on December 6, 1940, William Lyon MacKenzie King led parliament in declaring the War Exchange Conservation Act (WECA) as a protectionist measure to bolster the Canadian dollar and the war economy in general. Among the paper products now labeled as restricted imports were pulp magazines and comic books.2 Those precious, four-colour, ten-cent treasure chests of American culture that had widened the eyes of youngsters from Prince Edward to Vancouver Islands immedi- ately disappeared from the corner newsstands. Within three months—indicia dates give March 1941, but these books were probably on the stands by mid-January— Anglo-American Publications in Toronto and Maple Leaf Publications in Vancouver opportunistically filled this vacuum by putting out the first issues of Robin Hood Comics and Better Comics, respectively. Of these two, the latter is widely considered by collectors to be the first true Canadian comic book becauseRobin Hood Comics Vol. 1 No. 1 seems to have been a tabloid-sized collection of reprints of daily strips from the Toronto Telegram written by Ted McCall and drawn by Charles Snelgrove. Still in Toronto, Adrian Dingle and the Kulbach twins combined forces to release the first issue of Triumph-Adventure Comics six months later (August 1941), and then publisher Cyril Bell and his artist employee Edmund T.
    [Show full text]
  • Consumer Target Brand Essence Marketing Highlights Licensing
    Translated from Latin as, “It does not follow,” Non Sequitur is Wiley’s wry look at the absurdities of everyday life. Often biting satire, sometimes silly, but always entertaining, his goal is to “produce the funniest, best-drawn cartoon possible, regardless of theme, subject matter or setting.” www.gocomics.com/nonsequitur Consumer Target Media • Primary: Men/Women, working professionals 26-55 • Internet: “Obviousman the Movie” featured on • Secondary: Characters Ordinary Basil, Lucy, Danae YouTube.com and Kate for Children 8-11 Merchandise Program Brand Essence • Andrews McMeel Publishing: calendars and books • Distributed by Universal Uclick since 1992 • Elite Escrow Services • The strip’s sardonic humor and distinctive art have • FranklinCovey Products given NON SEQUITUR an impassioned following among readers • Graphique de France • The comic strip does not follow any set of rules, and • Lulu changes topics and characters daily • Cafe Press Marketing Highlights Target Categories • Extraordinary Adventures of Ordinary Basil, and • Greeting cards Attack of the Volcano Monkeys (Ordinary Basil) are • Stationery available as chapter books for reluctant readers 8-10 • Apparel years old • Event/promotion • Won the National Cartoonists Society “Outstanding Cartoonist of the Year” Award in 2014 • Office supplies • Large, loyal online following at GoComics.com • Toy/Plush • Non Sequitur has received four National Cartoonists • Games Society divisional awards • The only comic strip to win the coveted Reuben Award in its first year of syndication and the only one to win in both the Best Comic Strip and Best Comic Panel categories Licensing Notables • FranklinCovey Products • Grants permission for use of characters, slogans, and comic strips to various non-profit organizations © Wiley Ink, Inc.
    [Show full text]
  • Disney Comics from Italy♦ © Francesco Stajano 1997-1999
    Disney comics from Italy♦ © Francesco Stajano 1997-1999 http://i.am/filologo.disneyano/ A Roberto, amico e cugino So what exactly shall we look at? First of all, the Introduction fascinating “prehistory” (early Thirties) where a few pioneering publishers and creators established a Disney Most of us die-hard Disney fans are in love with those presence in Italy. Then a look at some of the authors, seen comics since our earliest childhood; indeed, many of us through their creations. Because comics are such an learnt to read from the words in Donald’s and Mickey’s obviously visual medium, the graphical artists tend to get balloons. Few of us, though, knew anything about the the lion’s share of the critics’ attention; to compensate for creators of these wonderful comics: they were all this, I have decided to concentrate on the people who calligraphically signed by that “Walt Disney” guy in the actually invent the stories, the script writers (though even first page so we confidently believed that, somewhere in thus I’ve had to miss out many good ones). This seems to America, a man by that name invented and drew each and be a more significant contribution to Disney comics every one of those different stories every week. As we studies since, after all, it will be much easier for you to grew up, the quantity (too many) and quality (too read a lot about the graphical artists somewhere else. And different) of the stories made us realise that this man of course, by discussing stories I will also necessarily could not be doing all this by himself; but still, we touch on the work of the artists anyway.
    [Show full text]
  • History 146C: a History of Manga Fall 2019; Monday and Wednesday 12:00-1:15; Brighton Hall 214
    History 146C: A History of Manga Fall 2019; Monday and Wednesday 12:00-1:15; Brighton Hall 214 Insufficient Direction, by Moyoco Anno This syllabus is subject to change at any time. Changes will be clearly explained in class, but it is the student’s responsibility to stay abreast of the changes. General Information Prof. Jeffrey Dym http://www.csus.edu/faculty/d/dym/ Office: Tahoe 3088 e-mail: [email protected] Office Hours: Mondays 1:30-3:00, Tuesdays & Thursdays 10:30-11:30, and by appointment Catalog Description HIST 146C: A survey of the history of manga (Japanese graphic novels) that will trace the historical antecedents of manga from ancient Japan to today. The course will focus on major artists, genres, and works of manga produced in Japan and translated into English. 3 units. GE Area: C-2 1 Course Description Manga is one of the most important art forms to emerge from Japan. Its importance as a medium of visual culture and storytelling cannot be denied. The aim of this course is to introduce students and to expose students to as much of the history and breadth of manga as possible. The breadth and scope of manga is limitless, as every imaginable genre exists. With over 10,000 manga being published every year (roughly one third of all published material in Japan), there is no way that one course can cover the complete history of manga, but we will cover as much as possible. We will read a number of manga together as a class and discuss them.
    [Show full text]
  • Manga Vision: Cultural and Communicative Perspectives / Editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, Manga Artist
    VISION CULTURAL AND COMMUNICATIVE PERSPECTIVES WITH MANGA ARTIST QUEENIE CHAN EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL MANGA VISION MANGA VISION Cultural and Communicative Perspectives EDITED BY SARAH PASFIELD-NEOFITOU AND CATHY SELL WITH MANGA ARTIST QUEENIE CHAN © Copyright 2016 Copyright of this collection in its entirety is held by Sarah Pasfield-Neofitou and Cathy Sell. Copyright of manga artwork is held by Queenie Chan, unless another artist is explicitly stated as its creator in which case it is held by that artist. Copyright of the individual chapters is held by the respective author(s). All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/mv-9781925377064.html Series: Cultural Studies Design: Les Thomas Cover image: Queenie Chan National Library of Australia Cataloguing-in-Publication entry: Title: Manga vision: cultural and communicative perspectives / editors: Sarah Pasfield-Neofitou, Cathy Sell; Queenie Chan, manga artist. ISBN: 9781925377064 (paperback) 9781925377071 (epdf) 9781925377361 (epub) Subjects: Comic books, strips, etc.--Social aspects--Japan. Comic books, strips, etc.--Social aspects. Comic books, strips, etc., in art. Comic books, strips, etc., in education.
    [Show full text]