Japanese Mongo Manga Are Japanese Graphic Novels, Or Long Comic Books

Total Page:16

File Type:pdf, Size:1020Kb

Japanese Mongo Manga Are Japanese Graphic Novels, Or Long Comic Books Name ___________________ Date _____ Class _____ History and Cultures of East Asia and Southeast Asia DIHerentlated Instruction Japanese Mongo Manga are Japanese graphic novels, or long comic books. The word manga can be translated as "humorous or whimsical pictures." With roots in medieval Japanese art, manga has developed into an important part of Japanese culture. Manga are read by Japanese people of all ages, and manga-ka (artists and writers of manga) are respected as serious artists. Many manga stories run for several volumes and thousands of pages. Manga Style Manga has developed a unique style. "Manga style" includes dialogue bubbles, speed lines (small lines that show where a character is moving), flashbacks, and visual symbols (such as sweat droplets to show nervousness). Characters are usually depicted with large eyes and small mouths as well as unnatural hair color. They also frequently show overexaggerated emotions. For example, a manga character does not just cry-the tears pour out of her eyes like water from a faucet. An angry character might have red cheeks and steam spouting from his or her ears. Types of Manga Because manga is so popular in Japan, several separate genres, or types, have emerged to attract specific readers. Shan en is manga for teenage boys. It is usually funny and full of action. ShOjo, manga for teenage girls, is often lighthearted and romantic. Seinen (manga for men) and josei (manga for women) frequently have more mature themes. Even small children have their own manga called kodomo. Manga Classics Famous manga titles include Akira, a future world of social isolation, power, and corruption; and Ghost in the Shell, a science-fiction epic. Other manga classics are Glass Mask, a saga about the adventures of a young actress, and Knights of the Zodiac, a story about a group of five mystical warriors. Directions: On a separate sheet of paper, answer the following questions. 1. Describing Describe at least two characteristics of the manga style. 2. Categorizing The information above mentions four classic manga titles. Based on their descriptions, categorize each by genre. 65 Teaching Strategies for Different Learning Styles ' -. - ~ .,,- The following activities are ways the basic lesson can be modified to accommodate students' different learning styles. Visual/Spatial English Learners (EL) After students review several examples of The essay contains many non-English manga and research the genre's characteristic words. Ask EL students to identify them. Then style, have them find a comic in a local news­ ask them to find at least one source where they paper and re-create it in manga style. might learn how to pronounce these words. Advanced Learners Verbal/Linguistic; Intrapersonal Ask students to write a three-page paper Manga plots can become complicated on the subject "Why Do Manga Characters and outrageous (a young man is transformed Look the Way They Do?" Students should into a zombie and becomes the guardian of explore cultural and aesthetic explanations a three-eyed girl with a split personality and for the manga style. Can they draw any con­ supernatural powers; a young woman who clusions about Japanese culture from it? falls in love with her race's arch enemy resists Logical/Mathematical the horrifying discovery that she's a monster destined to take over the world). Ask students Ask students to use library or Internet to use library or Internet resources to summa­ resources to complete the following table com­ rize the stories of five manga. Then have them paring and contrasting characteristics write a two- to three-page story outline that of American comics and manga. they believe would make a good manga. American Visual/Spatial; Interpersonal . Comics Manga Ask groups of students to use library or Typical Internet resources to compile lists of staple readers techniques and symbols used in manga (e.g., a white, cross-shaped bandage denotes Typical pain; an explosion-shaped dialogue bubble themes represents an angry exclamation). Each entry Characters should include a drawing illustrating the technique or symboL Author(s) Story Auditory/Musical continuity After students have read a few manga, ask them to create a song in a style that matches Below Grade Level a favorite character's personality. Encourage students to find musical ways to mimic Free-write sessions engage students and manga-style drawing conventions. tap into their prior knowledge. Ask students to examine some manga comics you bring to Kinesthetic class. Tell them to look closely for details. Then Have students create and perform in class have them write in their journals what they a brief scene based on a popular manga. Stu­ can learn about manga as an art form from the dents' performances should not neglect the pictures. Emphasize that there are no wrong emotionalism and "look" of manga. answers to the question. Wrap up the activity by explaining that students will be studying Japanese culture in the chapter. bb .
Recommended publications
  • 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]
  • Conjoined by Hand: Aesthetic Materiality in Kouno Fumiyo's
    Conjoined by Hand: Aesthetic Materiality in Kouno Fumiyo’s Manga In This Corner of the World Jaqueline Berndt Mechademia, Volume 12, Number 2, Spring 2020, pp. 83-101 (Article) Published by University of Minnesota Press For additional information about this article https://muse.jhu.edu/article/761079 [ Access provided at 7 Aug 2020 11:37 GMT from Stockholms universitet ] Conjoined by Hand Aesthetic Materiality in Kouno Fumiyo’s Manga In This Corner of the World JAQUELINE BERNDT In recent years, content- driven, or representational, readings of anime and manga have been increasingly countered by mediatic approaches, but the main focus has been mainly on the materiality of platforms and institutions rather than that of signifiers and artifacts that afford certain mediations in the first place. Kouno Fumiyo’s In This Corner of the World (Kono sekai no kata- sumi ni) provides an excellent case to explore manga’s aesthetic materiality, last but not least because of its congenial adaptation to the animated movie of the same name directed by Katabuchi Sunao (Studio MAPPA, 2016).1 This movie attests to what John Guillory has pointed out in a different context, namely, that “[r]emediation makes the medium as such visible.”2 Conse- quently, it is used below as a foil to highlight how Kouno’s manga conjoins different materialities in a medium- specific way resting on the drawn line, print on paper, and the serial format of the narrative. This article pursues manga mediality from the angle of materiality to ap- proach forms as aesthetic affordances without reiterating a decontextualized formalism modeled on modernist notions of authorship and autonomous art.
    [Show full text]
  • Intercultural Crossovers, Transcultural Flows: Manga/Comics
    Intercultural Crossovers, Transcultural Flows: Manga/Comics (Global Manga Studies, vol. 2) Jaqueline Berndt, ed. Kyoto Seika University International Manga Research Center 2012 Table of Contents Introduction 1 Jaqueline BERNDT 1: Particularities of boys’ manga in the early 21st century: How NARUTO 9 differs from DRAGON BALL ITŌ Gō 2. Subcultural entrepreneurs, path dependencies and fan reactions: The 17 case of NARUTO in Hungary Zoltan KACSUK 3 .The NARUTO fan generation in Poland: An attempt at contextualization 33 Radosław BOLAŁEK 4. Transcultural Hybridization in Home-Grown German Manga 49 Paul M. MALONE 5. On the depiction of love between girls across cultures: comparing the 61 U.S.- American webcomic YU+ME: dream and the yuri manga “Maria- sama ga miteru” Verena MASER 6. Gekiga as a site of intercultural exchange: Tatsumi Yoshihiro’s A 73 Drifting Life Roman ROSENBAUM 7. The Eye of the Image: Transcultural characteristics and intermediality 93 in Urasawa Naoki’s transcultural narrative 20th Century Boys Felix GIESA & Jens MEINRENKEN 8. Cool Premedialisation as Symbolic Capital of Innovation: On 107 Intercultural Intermediality between Comics, Literature, Film, Manga, and Anime Thomas BECKER 9. Reading (and looking at) Mariko Parade-A methodological suggestion 119 for understanding contemporary graphic narratives Maaheen AHMED Epilogue 135 Steffi RICHTER Introduction Kyoto Seika University’s International Manga Research Center is supposed to organize one international conference per year. The first was held at the Kyoto International Manga Museum in December 2009,1 and the second at the Cultural Institute of Japan in Cologne, Germany, September 30 - October 2, 2010. This volume assembles about half of the then-given papers, mostly in revised version.
    [Show full text]
  • Japanese Boy-Love Manga and the Global Fandom
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUPUIScholarWorks JAPANESE BOY-LOVE MANGA AND THE GLOBAL FANDOM: A CASE STUDY OF CHINESE FEMALE READERS Yannan Li Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of Communication Studies Indiana University July 2009 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. John Parrish-Sprowl, Ph.D., Chair Elizabeth M. Goering, Ph.D. Master’s Thesis Committee Ronald M. Sandwina, Ph.D. ii ACKNOWLEDGEMENTS It is difficult to overstate my gratitude to my advisor, Dr. John Parrish-Sprowl, for being so supportive and encouraging me every step of the way throughout my thesis- writing period. The sound advice, warm encouragement and good teaching I received from him always filled me with confidence. I also like to express my gratitude to Dr. Elizabeth M. Goering, for sharing with me a lot of her research expertise and insights. Her enthusiasm and intelligence in Intercultural Studies motivated me to keep going from time to time. And I am especially grateful to Dr. Ronald M. Sandwina, for helping me polishing the research and keeping me on the right track. Under his instruction, learning and applying communication research methods became such a great fun. Special thanks to my colleague Tilicia, for inspiring me with interesting insights from Rhetorical Studies and generously sharing with me the academic literatures she found. Thank all my Chinese friends who volunteered in the survey to help me figure out the myth.
    [Show full text]
  • Japanese Boy-Love Manga and the Global Fandom
    JAPANESE BOY-LOVE MANGA AND THE GLOBAL FANDOM: A CASE STUDY OF CHINESE FEMALE READERS Yannan Li Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of Communication Studies Indiana University July 2009 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. John Parrish-Sprowl, Ph.D., Chair Elizabeth M. Goering, Ph.D. Master’s Thesis Committee Ronald M. Sandwina, Ph.D. ii ACKNOWLEDGEMENTS It is difficult to overstate my gratitude to my advisor, Dr. John Parrish-Sprowl, for being so supportive and encouraging me every step of the way throughout my thesis- writing period. The sound advice, warm encouragement and good teaching I received from him always filled me with confidence. I also like to express my gratitude to Dr. Elizabeth M. Goering, for sharing with me a lot of her research expertise and insights. Her enthusiasm and intelligence in Intercultural Studies motivated me to keep going from time to time. And I am especially grateful to Dr. Ronald M. Sandwina, for helping me polishing the research and keeping me on the right track. Under his instruction, learning and applying communication research methods became such a great fun. Special thanks to my colleague Tilicia, for inspiring me with interesting insights from Rhetorical Studies and generously sharing with me the academic literatures she found. Thank all my Chinese friends who volunteered in the survey to help me figure out the myth. Without them I cannot imagine how to accomplish this innovative project.
    [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]
  • Table of Contents
    Table of Contents #00. Prologue #01. Will manga exist 10 years from now? #02. Just what are manuscript fees, anyway? #03. What kind of a life is a life lived off royalties? #04. A million-seller hit with 220 million yen of profit in a single year...what does that turn my yearly salary into? #05. Printing 1 million copies myself would make me a quicker 100 million. #06. You know, I'm starting to think I should just die along with paper media. #07. I'll make my own homepage, release my own manga on it, and let all my readers purchase it there. #08. I haven't had a single meeting with an editor for several years now. #09. A relationship between mangaka and readers without a publisher in between. #10. Honestly, doing online comics is hard. #11. Those books are the publisher's products, not yours. #12. OK, so how much will it actually cost? #13. Sato Shuho on Web is open. But is it making money? #14. You may laugh, but I'm really trying to change the world here. #15. Marching toward 'Manga on Web' #16. Epilogue #17. Credits 1 Prologue In February, 2009, I started an e-book site called Sato Shuho on Web. Currently, we're in the middle of a slump in the publishing world. Manga magazines keep taking breaks and ceasing publications, and bookstores are disappearing from our streets. Every year, big publishers find themselves billions of yen in debt, and the industry itself is continuing a 14-year streak of dropping sales.
    [Show full text]
  • The Missing Link of Shōjo Manga History : the Changes in 60S Shōjo Manga As Seen Through the Magazine Shūkan Margaret
    京都精華大学紀要 第四十九号 ― 5 ― The missing link of shōjo manga history : the changes in 60s shōjo manga as seen through the magazine Shūkan Margaret Kálovics Dalma Introduction The worldwide success of manga can be partly attributed to the fact that Japanese comics provide a wide range of reading materials for girls. However even though shōjo manga existed for as long as shōnen manga, there are periods in the history of the genre we hardly know anything about. Shōjo manga research tends to focus on gender and due to that centers mainly on the 1970s and the manga of the Magnifi cent 49ers (Hana no 24-nen gumi ), a group of female artists born around 1949 including Hagio Moto, Ōshima Yumiko, Takemiya Keiko and Yamagishi Ryōko, who became famous for their literary style and addressing gender and sexuality in their works.1 This approach has resulted in many works being left out from the scope of research, be they from preceding periods or contemporary mainstream titles. The lack of detailed analysis of the 20 years of postwar shōjo manga up till the 70s can lead one to believe the 49ers singlehandedly created the genre out of nothing, when in reality by the time they appeared shōjo manga was a diverse and successful genre which sold over a million of its most popular magazines.2 In an attempt at shōjo manga historiography the fi rst part of this paper analyzes the discourse surrounding the genre, and fi nds reasons in publication history for the obscuring of̶among others̶ the 1960s of shōjo manga. The second part of the essay contrasts assumptions about 60s shōjo manga with actual facts based on fi ndings from an ongoing project, in which I examined so far over 250 issues of the magazine Shūkan Margaret published between 1963 and 1970, from the collection of the Kyoto International Manga Museum and the National Diet Library.
    [Show full text]
  • First Name Initial Last Name
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Alison A. Raab. Manga in Academic Library Collections: Definitions, Strategies, and Bibliography for Collecting Japanese Comics. A Master’s Paper for the M.S. in L.S. degree. November 2005. 60 pages. Advisor: David W. Carr. My research argues that manga, or Japanese comics, is a primary cultural artifact of modern Japan, and as such, must be a part of academic-library collections serving researchers of modern Japan. The primary goal of this research is to create a collection development resource for librarians by: introducing the format and history of manga, focusing on the diversification of manga that occurred in postwar (post World-War-II) Japan; articulating manga collection development strategies of active Japanese studies bibliographers in the United States; and providing a bibliography of secondary materials useful for academic librarians. I identify two important and complementary collection development strategies—a comprehensive approach aimed at creating a repository for current and future research needs, and a focused approach concerned with the needs of the library’s immediate research community. Both are committed to creating research- oriented collections, and provide models for other academic librarians collecting manga. Headings: Comic books, strips, etc. -- Japan Comic books, strips, etc. -- Japan -- Collection development Comic books, strips, etc. -- Japan -- Bibliography College and university libraries/Special collections -- Collection development MANGA IN ACADEMIC LIBRARY COLLECTIONS: DEFINITIONS, STRATEGIES, AND BIBLIOGRAPHY FOR COLLECTING JAPANESE COMICS by Alison A. Raab A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science.
    [Show full text]
  • A Guide to Dark Horse Manga T Able of Contents
    A GUIDE TO DARK HORSE MANGA T ABLE OF CONTENTS APPLESEED & THE WORKS OF SHIROW MASAMUNE . 5 ASTRO BOY . 7 BERSERK . 8 BLADE OF THE IMMORTAL . 9 BLOOD+ . 10 THE WORKS OF CLAMP . 11 EDEN . 13 GANTZ . 14 GUNSMITH CATS . 15 HELLSING & THE WORKS OF KOHTA HIRANO . 16 THE KUROSAGI CORPSE DELIVERY SERVICE . 18 LONE WOLF AND CUB & THE WORKS OF KAZUO KOIKE . 19 MPD-PSYCHO . 22 NEON GENESIS EVANGELION . 23 OH MY GODDESS! . 24 OLD BOY . 25 OREIMO . 26 TRIGUN & THE WORKS OF YASUHIRO NIGHTOW . 27 OTHER NOTABLE JAPANESE WORKS FROM DARK HORSE THE WORKS OF YOSHITAKA AMANO . 30 BLADE OF THE IMMORTAL ART BOOK & NOVEL . 33 BLOOD+ ILLUSTRATED NOVELS . 34 THE DIRTY PAIR ILLUSTRATED NOVELS . 35 GUNGRAVE . 36 OH MY GODDESS! FIRST END NOVEL . 37 SAMURAI CHAMPLOO . 38 VAMPIRE HUNTER D ILLUSTRATED NOVELS . 39 GLOSSARY anime—A general term for animated Japanese television shows and movies. BUNKobon—A small manga format, about 4 x 6 inches. FLopped—A format in which the manga artwork has been flopped to read left to right. This adjustment to fit the reading style of Western audiences was often made in the days when manga were targeted to the direct market. Josei—Manga intended for adult women. MANGa—A general term for Japanese comics, sometimes used incorrectly to refer to all Asian titles. MANGA-KA—Creator of manga. MANHWa—Korean comics. Although often grouped with manga, these titles have a distinct culture and style that differs from Japanese books. OTaku—A self-imposed term for a die-hard manga fan. seinen—Manga intended for adult men.
    [Show full text]
  • Japan Pop: La Cultura Popular Japonesa De Masses
    Japan Pop: la cultura popular japonesa de masses. Manga, anime i més Dani Madrid Morales i Guillermo Martínez Taberner 1. Breu introducció al Japó contemporani 1.1. El Japó del segle XXI 1.2. Revisitant la societat japonesa: el debat homogeneïtat vs. diversitat cultural 1.3. La cultura popular japonesa: definició, evolució i noves manifestacions 2. Manga, el còmic japonès 2.1. 60 o 1000 anys de manga? Una història del còmic al Japó 2.2. El manga avui en dia: gèneres, estils i públics 2.3. Els grans autors de la postguerra a l’actualitat 2.4. Deu títols bàsics de manga 2.5. El manga més enllà del Japó 3. L’animació japonesa: l’anime 3.1. L’animació japonesa al llarg de la història 3.2. L’anime al cinema i l’anime a la televisió 3.3. La relació entre manga i anime 3.4. La internacionalització de l’anime 3.5. Els clàssics: autors, pel·lícules i sèries 4. Les múltiples cares del Japan Pop 4.1. El cinema japonès de terror ( j-horror ) 4.2. La música pop ( j-pop ) 4.3. Els culebrons i sèries de televisió ( j-drama ) 5. Un fenomen global: l’èxit de la cultura popular japonesa al món 5.1. El soft power japonès: la influència del Japó al món a través de la diplomàcia cultural 5.2. La globalització del Japan Pop . El fenomen a Àsia, els Estats Units i Europa 5.3. L’impacte de la cultura popular japonesa a Espanya i Catalunya Quan a la dècada dels setanta van arribar a les llars espanyoles personatges d’animació com Heidi, la nena de les muntanyes suïsses, o Maya, l’abella, gairebé ningú no sabia dir d’on venien, però tots dos personatges es van integrar ràpidament a la llista de referents culturals compartits de tota una generació, com ho havien fet abans Pere Picapedra o, més endavant, Scooby-Doo.
    [Show full text]
  • Coercion As a Political Tool in Queer Manga
    Sharalyn Orbaugh Compulsorily Queer: Coercion as a Political Tool in Queer Manga Keywords: consent, queer theory, shōjo manga, gender-queer Introduction Students in Canada claim that the diverse types of queerness found in manga — an attribute they associate with manga’s Japanese origins — constitute one of the medium’s most appealing characteristics. Gender- queer, sex-queer, sexuality-queer, and ontologically queer characters appear in manga of all genres, marKeted toward a variety of audiences. While the plasticity of imagery and of normative social boundaries in many manga stories seems to have contributed to the medium’s popular- ity outside of Japan, an aspect of queer manga rarely noticed by my North American students is the coercion or compulsion at the heart of many queer stories. This has been a subject of some scholarly discussion with regard to the prevalence of “non-con” (non-consensual) sex in boys’ love (BL) and yaoi manga, but coercion is also a fundamental narrative device in exploring queer genders, sexes, and ontologies as well. Here we explore the following questions: what is the effect of using coercion or external compulsion as a primary tool for exploring diversity in non-BL or yaoi manga? How does this contrast with political discourses of volun- tary experimentation or intrinsic, in-born identities? How are stories that use coercion as a narrative tool read by North American students who have been intensively educated in the politics of consent? How do stories of coercion and non-consensuality contribute to the global mass media image of Japanese popular culture as perverse? But the main question that motivates my on-going exploration of this topic is: what kind of work do these coercively queer manga do, and for whom? Students in Canada Reading Queer Manga Every year I teach a large-enrollment (typically 130-160 students) course on manga and anime at the University of British Columbia.
    [Show full text]