Manga_and_Anime_Studies

Este artigo pretende abordar o uso do manga  como estratégia de mercado, além de mostrar a força do design editorial, que possibilita lançamentos de novos produtos. A aceitação do manga no Brasil é clara, desde 2000, quando as editoras passaram a publicá-los, a cada ano aumenta o número de leitores, a ponto que em 2008, os Estúdios Maurício de Sousa  lançaram a revista Turma da Mônica Jovem , em estilo manga, como estratégia para se aproximar do público infanto-juvenil, e sua aceitação foi enorme. Várias vezes a revista se encontra na lista de livros infanto-juvenis mais vendidos da revista Época e outros veículos de informação, o que pode apontar para a eficácia da estratégia. Em Turma da Mônica Jovem, diversos símbolos do manga foram apropriados, os olhos grandes e brilhante, onomatopeias, gotas de suor. Outros signos que traduzem esse novo universo podem ser percebidos: os guarda-roupas dos personagens ganharam novos estilos que reflete suas personalidades, além de em vários episódios a moda do bairro Harakuju estar presente e a moda é estratégia mercadológica da Turma da Mônica Jovem. Em setembro de 2008 os personagens de Turma da Mônica Jovem participaram de um desfile para a AMEM, Associação dos Amigos do Menor pelo Esporte Maior, em 2011 a Merheje lançou os esmaltes e kits de cuidados de unha da Turma da Mônica Jovem e percebe-se que ligação entre moda e manga se fortalece, o design sai do suporte papel e vai para o tecido, para a modelagem, produtos e embalagem.

Miyazaki, 1997 senesinde vizyona giren Mononoke Hime animesinde toplumsal olarak kabul edilmiş normları sorunsallaştırırken, bu sorunlar üzerinden ele aldığı karşıtlıklıkları norm dışı betimleyerek mevcut “Japon Değerleri”ni eleştirir. Japon toplumunun kendini çoktan belli bir yere yerleştirdiği kimlik ideolojilerine ve Doğa/Uygarlık, Kentleşme; Kami(Tanrı)/İnsan, Hayvan/İnsan, Kadın/Erkek gibi dikotomilere yamuk bakarak, normların aslında kendi içinde yarattığı sağlam olmayan temelleri göz önüne çıkarmaya çalışır. Yapılmaya çalışılan ise mevcut hiyerarşiler içinde bir yabancılaşma ve yaratılan olası kimlik, tarih kurguları içinde Japon değerlerinin zaten kendi içinde yarattığı varyasyonları izleyiciye göstererek genel normları sorgulama ortamının yaratılmasıdır. Bu açıdan Miyazaki, Japon değerlerini dekonstrüksiyona uğratılacak bir metin olarak ele alıp, karşıtlıkların “birbirlerinin altını oyduklarını gösterir”.

In Kirino Natsuo's 2003 suspense novel Real World (Riaru wārudo), four high school girls help a young man who has killed his mother evade arrest. These four friends have nothing in common with the boy, whom they have unflatteringly dubbed "Worm," save for their shared hatred of adult society. Over the course of the novel, each of the four girls unleashes a litany of petty complaints against her parents' generation, thus exposing the ugliness at the core of her personality. This affective nastiness is targeted at adult women in particular, and the misogyny underlying such attacks is striking in a novel written by a female author known for her thematic focus on politicized gender issues. I argue that Kirino is exaggerating the misogyny implicit in two widespread media discourses of the turn of the millennium for the purpose of cultural critique. The first is a chauvinistic and patronizing concern for high school girls in the wake of the Kobe child murders of 1997, which added fuel to the fire of debates on "compensated dating" (enjo kōsai). The second is a body of academic discussions positioning beautiful female characters (bishōjo) as consumable properties for male genre fans (otaku), for whom young women were presumably mythical creatures entirely divorced from reality. By rendering her female characters as thoroughly unpleasant, Kirino challenges the protectiveness and sentimentality associated with high school girls in popular representations, whose underlying distrust of women is caustically exposed by the negative attitudes of her narrators. Kirino thus forces her reader to feel bad about wanting to feel good about high school girls, who are real people who live in the real world and not empty symbols floating freely across media landscapes.

In this article, I construct a post-play reading of the dating-sim Hatoful Boyfriend (MIST[PSI]PRESS, 2011) - a cult favourite among fans of Japanese popular culture and beyond.  At first mistaken as a bad game, fans were surprised to find something unique. The game is deceptively weird. While its surface, particularly the concept and visuals, seem to create its strangeness and ambiguity, the actual weird resides in its deconstruction of the dating-sim genre. In this close-reading, I analyze the unusual storytelling, structure and mechanics of this bizarre parody game and explore the tropes and conventions of Japanese popular culture which are subverted to determine this a strange dating-sim.

Satrapi’s prose “Introduction” to Persepolis suggests a grounding impulse to connect her ancestral heritage to an alternative, yet historically concrete past. References to kinship and home in her key graphic works also acknowledge the chaos and precariousness of nations and individuals vacillating between love and hate, belonging and exile. This paper demonstrates that Satrapi’s geneagraphies—her autobiographical writing engaging genealogy broadly defined—dialectically perform both gestures of securing and destabilizing. Her graphic narratives often question the very loftiness suggested in her introductory prose, and instead, offer strategic mobility across gestures of longing/belonging as well as self-reflective irony against such familial completeness.

This paper examines the appropriation of The Diary of Anne Frank (1952) for use in Japanese educational (gakushu) manga. The argument is made that the particularity of Anne's Jewish identity and religious persecution are lessened in support of a generic portrayal that can speak to uniquely Japanese experiences such as the 2011 Tohoku Earthquake and the atomic bombings of Hiroshima and Nagasaki.

In the aftermath of the Fukushima Daiichi nuclear disaster of 3/11, one disputed issue has been the acceptance of precedent nuclear energy policies among the wider population, despite Japan being a country of high seismic risk and a nation that experienced atomic bombing on its population during World War II. This paper investigates how the transmedia constellation of the mangaesque intersecting manga, anime, pop-art, governmental educational characters and youth subcultures has been strategic in domesticating contested meanings of nuclear related issues, as well as being deeply informed itself in its ground-breaking stages (Astroboy-Tezuka Osamu, Barefoot Gen-Nakazawa Keiji, Little Boy-Murakami Takashi) by these issues, contributing ultimately to their naturalisation and hegemonic reproduction from ‘below’.

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The presentation argues that Kaoru Mori's mangas: "Otoyomegatari" and "Emma"can be treated as etnography.
This is the second version of the presentation.
First presentation was on Avangarda 9 Convention (09.08.2014, Warszawa, 12:00-12:50).
Second presentation was on Baltikon Convention (13.09.2014, Sopot g. 17-18).
Celem prezentacji było udowodnienie iż mangi Kaoru Mori: "Otoyomegatari" oraz "Emma" można traktować jako komiksy etnograficzne.
Prezentacja pokazana dwukrotnie (jest to druga wersja prezentacji):
- Avangarda 9 (09.08.2014, Warszawa, 12:00-12:50),
- Baltikon (13.09.2014, Sopot g. 17-18).