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Nele Noppe

Osamu Tezuka in Occupied Japan - 0 views

lib.umd.edu/...PDF_tezuka.pdf

academic manga presentations tezuka_osamu occupation war

shared by Nele Noppe on 09 Apr 09 - No Cached
  • Nele Noppe on 09 Apr 09
     
    By Takeshi Tanikawa, presented at Culture, Literature, Science and Technology: Research Using Prange Collection Resources, A Symposium Sponsored by the Gordon W. Prange Collection, September 21, 2006
Nele Noppe

iPad Publishing No Savior for Small Press, LGBT Comics Creators - 3 views

prismcomics.org/display.php

comics censorship digital_manga manga non-academic technology

shared by Nele Noppe on 28 May 10 - Cached
Ariane Beldi liked it
  • Anticipated as a potential savior of the comics industry, distribution of digital comics through Apple's iPhone and iPad is proving not to be the magic bullet many had hoped for. Format issues, pricing concerns, and censorship of content are hindering many creators, particularly those making lesbian and gay comics, from taking full advantage of this new outlet for their work.
  • But Apple chose ePub as the format for books sold through iBooks; the format is not designed to support fully illustrated projects like art books and comic books, and presents them with large white margins on each page. There are only a handful of graphic novels available in the iBooks store; most have been modified to show a few panels per page to avoid shrinking the content excessively.
  • Even if a creator happened to have the technical proficiency to write her own comics app, going from iBooks to a boutique comics app is hardly ideal for a small publisher or self-published creator. You have no opportunity to reach readers unless they specifically look for comic books; you don't benefit from the browsing and search traffic on the larger store and your books won't appear in searches. But even if a creator or small publisher persevered and created and successfully promoted his own comics app, there is the last, and possibly most significant, hurdle to overcome: Apple censorship.
  • ...14 more annotations...
  • Digital magazine store Zinio, like all content suppliers for iPhone and iPad, agreed to Apple's "Regional Content Review" for all items sold through their app. This means that all "in-app purchasable" content must be approved by Apple to be acceptable to the broad U.S. population (the United States is one "region") or it will block it. The more obvious targets for censorship in the Zinio store included Playboy and Penthouse magazines, but Vogue France was also rejected because it features artistic and occasional use of nudity. Vogue France is also not stocked at Wal-Mart stores for the same reason.
  • Stories have surfaced about comic books being blocked as well. In February, Stephen Lindsay, the creator of Jesus Hates Zombies, discovered that a link to buy his book through the ComiXology app had stopped working. A ComiXology rep explained in a tweet that Apple "deemed it inappropriate according to their SDK guidelines" and they were forced to remove it.
  • "Here's the thing," said Lindsay. "Jesus Hates Zombies doesn't involve any sex whatsoever. None. It has violence and swearing, but that's because it's a mature readers horror comedy. But the violence isn't even intense. And being a black and white comic, there's zero red blood, which means any gore is dramatically cut down."
  • When asked if it would be fair to say that any comics with content that would fit in an R-rated movie (violence, brief nudity without explicit sex) would fit into Apple's guidelines, Murphey agreed.
  • "People seem to think that Apple is slamming our hands down every day saying 'No — we shall oppress this material— you are not permitted to do anything that we do not deem to be family friendly'… and that's not what's happening at all," Murphey continued. "Apple has not censored what we publish in a way that we feel has been terribly oppressive. When things first started in 2008, before they had the parental controls in effect, they were much more strict about what could and couldn't be allowed in the store. Now things are much better."
  • "My problem with Apple banning [Jesus Hates Zombies] is simply this," says Lindsay. "They allow the Marvel book Kick-Ass. How in God's name is my book worse than Kick-Ass when it comes to content? The simple answer, it's not. But because Kick-Ass is a Marvel book, it gets a pass."
  • The experience of smaller publishers producing books with LGBT characters and situations also seems hard to reconcile with Murphey's assessment of Apple's guidelines. Tom Bouden's adaptation of The Importance of Being Earnest was rejected as an iPad app for the App Store, again due to "materials that may be considered obscene, pornographic, or defamatory." A handful of sexually suggestive images depicting men, some extremely mild, were specifically flagged as problematic in the 80-page graphic novel.
  • perhaps to avoid calling attention to its restrictions, Apple did not allow black censor bars to appear in content.
  • Yaoi Press packaged their graphic novel Zesty for submission to the App Store with the assistance of digital provider Fika Publishing
  • The book was rejected without explanation.
  • "I'm not as hopeful about the iPad as I was this morning," said Abraham in an article about Manga on the iPad for About.com. "The iTunes store just rejected Zesty, our tamest graphic novel, without citing a reason. We thought this could be a bright spot for us, akin to our sales on Amazon Kindle, but we're very discouraged right now."
  • We have snuck onto Apple platforms through the Kindle app." A search on Amazon's Kindle Store for Yaoi Press titles yields a wide range of prose and graphic novels, all of which can be purchased and synced to an iPad or iPhone. Kindle purchases do not happen "in-app", and are not required to be reviewed and approved by Apple. Amazon appears to have no content restrictions with regard to sexual content; even explicit sexual material appears to be fair game for Kindle books.
  • "Amazon doesn't seem to have a problem with the story," Bonte said. "They accepted it for digital distribution. The problem with Amazon is that they take 70% and Apple only 30%, plus the platform is absolutely not usable for comics.
  • "If Dylan was 20 today," Tate wrote, "how would he feel about your company? Would he think the iPad had the faintest thing to do with 'revolution'? Revolutions are about freedom." "Yep, freedom from programs that steal your private data," Jobs responded. "Freedom from programs that trash your battery. Freedom from porn. Yep, freedom. The times they are a changin', and some traditional PC folks feel like their world is slipping away. It is."
  • Ariane Beldi on 28 May 10
     
    It looks like I'm not about to get an iPad! I have already decided not to get an iPhone (short-lived batteries, locked software, cost of mobile internet subscription) but it looks like Apple is heading in a direction with which I can't agree, meaning that my next computer certainly won't be from this brand. There were things I didn't like with Microsoft either, but it seems that Apple is doing even worse. And Google isn't walking that much of a more satisfying path. After I'm done with my dissertation, I'm definitely planning on learning better how to use linux and other open-source materials.
  • ...2 more comments...
  • Nele Noppe on 28 May 10
     
    I did get an iPhone last year. The very high cost is somewhat balanced out by the great ease of use, but after all the random app-banning and the launch of this new reactionary device, I have to agree with you and quit buying Apple products. This kind of content censorship is incredibly harmful.
  • Ariane Beldi on 28 May 10
     
    Ah! So, you were also a victim of the iPhone craze! ;-) I must say that it does look very enticing and seducing, but I feel that Apple is going too far with all these automatisms, to the point that you don't even know where the stuff you download or even write is stored on your device. There was a time when Apple products were more transparent than Microsoft's. But now, ergonony for the sake of ergonony and design have taken over completely to the point that Apple products are becoming complete "black boxes". My next cell-phone will certainly look a lot more like a smart phone than mine does now, but it won't be an Apple product, nor probably an Android one. I don't like all these geolocalization softwares. I'm not sure what it will be, because my present cellphone is doing ok and have no idea how long it will last, so it will depend on what's available and within the reach of my wallet.
  • Nele Noppe on 28 May 10
     
    Yes yes, it was a bad call, thank you for rubbing it in ;) In my defense, they hadn't started with the app-bannings and absurd censorship policies back then. Listening to Jobs defining "freedom" now, it's like hearing Agent Smith explain the purpose of the Matrix. I'm not sure what my next phone will be, either. Android looks better, but Google owns quite enough of me as it is.
  • Ariane Beldi on 28 May 10
     
    Well, I don't blame you! My father got one as soon as he was able to. His excuse was that he needed to receive emails on his cellphone, but there were other brands and models who could do the same. They just weren't as sexy and let's face it, not as frequently displayed in public spaces. As for me, since I didn't want to get a mobile internet subscription, as they are quite expensive in Switzerland (around 60 Euros/month and for a limited amount of downloaded data), an iPhone would have been pretty much useless and would have costed me a fortune (without phone subscription, they were sold between 700 and 800 Euros a piece). So, what saved me, in reality, was simply lack of money and other priorities than mobile telephony. Moreover, I have an iPod mini on which I can download music, radio recording and video shows, so I don't need anything else to entertain me during my train travels. So, really, I have absolutely no merit whatsoever for not following fashion...if I had had the money, who knows...I might have fallen to the craze too! ^_^
Ariane Beldi

Visualizing Asia Conference - Home - 0 views

www.visualizingasia.com

website english html textual academic scholar cfp event social sciences cultural studies media studies globalization asia

shared by Ariane Beldi on 23 Sep 10 - No Cached
  • Ariane Beldi on 23 Sep 10
     
    About the Conference The Visualizing Cultures project and the Council on East Asian Studies at Yale University are pleased to announce an academic conference focused on the relationship between visual imagery and social change in modern Asia entitled, "Visualizing Global Asia at the Turn of the 20th Century." This will be one of the first academic conferences devoted to "image-driven scholarship" and teaching about Asia in the modern world. We have selected scholars of history, art history, history of photography, and history of technology specializing in China, Korea, Japan, United States, Europe and the Philippines to discuss how to integrate visual and textual media in research and teaching, using to the fullest the opportunities presented by the new technologies and the use of the internet as a publishing platform.
Nele Noppe

Applying Manga-Based Thinking Method to Help Student Teachers to Make Lesson Plans - 0 views

ci.nii.ac.jp/110007642206

academic manga education

shared by Nele Noppe on 02 Dec 10 - No Cached
  • Nele Noppe on 02 Dec 10
     
    This paper describes the application of a manga-based thinking method to train student teachers to form and revise their lesson plans from the learners' viewpoint. According to this method, learners are asked to present their lesson plan in the form of a manga. It is expected that this method will help student teachers to envision learners' voices since manga, which is comprised of actors and their words, can assist student teachers to simulate classroom activity vividly. The result of a field test suggests that manga-based thinking helps student teachers to see their lesson plan from the learners' viewpoint, and to revise their plan through conversing with the voices of the envisioned learners.
Nele Noppe

Les nouvelles elites racontées aux adolescents Japonais: une etude de deux best-sellers du manga des années 1990 - 0 views

209.85.129.132/custom

academic manga gender

shared by Nele Noppe on 24 Feb 09 - Cached
  • Nele Noppe on 24 Feb 09
     
    Also, presentation "Sexe et guerre des sexes dans « GTO » et « Hana yori dango »" during conference "Le manga, 60 ans après..."
Nele Noppe

A nightmare of capitalist Japan: Spirited Away - 0 views

www.ejumpcut.org/...text.html

academic anime miyazaki_hayao shinto religion economy cosplay characters technology

shared by Nele Noppe on 22 Jun 09 - Cached
  • "Our old enemy 'poverty' somehow disappeared, and we can no longer find an enemy to fight against" (Miyazaki, 1988). In other words, after Japan's industrial success since the Meiji restoration in 1890s and recovery from WWII cast out poverty from the nation, people still remain possessed by an illusion of gaining a wealthy everyday life and continue living with a gap between their ideal and real life. As a result, an endless and unsatisfying cycle of production and consumption has begun destroying harmony among family and community (Harootunian, 2000).
  • Zizek (1989) points out that people of late capitalism are well aware that money is not magical. To obtain it, it has to be replaced through labor, and after you use it, it will just disappear, as will as any other material. Allison (1996) adds to this point: "They know money is no more than an image and yet engage in its economy where use-value has been increasingly replaced and displaced by images (one of the primary definitions of post-modernism) all the same” (p. xvi).
  • Related to its presentation of the loss of spiritual values, the film elaborates an extensive critique of another contemporary global issue: identity confusion. A symptom of identity loss is seen in the way that cultures today encourage people to constantly refashion their self-image, so that individuals construct their identity based on ideals presented in popular media.
  • ...4 more annotations...
  • Because of the gap between the real and the fantasy, people in late capitalist society become ever more unsatisfied with themselves. Perhaps, that is one of the reasons why people are more and more attracted to anime, where transformation of identity are easily visually accomplished. To illustrate, we may name a few examples from a popular daily life phenomenon among anime fans, called “cosplay.”
  • When you are cosplaying, your identity depends on what others know about the character, not on who you are. Cosplay, therefore, allows the players to change their identity.
  • Miyazaki stresses the importance of having a proper name to warn us against the possibility of losing our identity in the post-modern world. When Chihiro first gets hired by Yubaba, Yubaba alters Chihiro’s name to Sen. Later Haku explains to Chihiro that Yubaba controls people by stealing their names. The plot operates on the premise that if Chihiro forgot her original name, she would forget about her past and never be able to go back to where she was from.
  • Besides Chihiro and Haku, a key character representing identity confusion is No-Face, who has only a shadow-like body and a mask. The mask does not hide his face for he has no face; rather, the mask constructs his outside identity. Since the mask symbolizes a product that people can buy with money, here it indicates an unoriginal identity that people can construct by giving into materialism.
Nele Noppe

Call for papers: IBBY UK/NCRCL MA CONFERENCE, 14 NOVEMBER 2009 Roehampton University, London - 0 views

preview.diigo.com/...1a8d51582c9e102e0f4914d6d5ee34

academic literature manga call_for_papers

shared by Nele Noppe on 14 Jul 09 - Cached
  • IBBY UK/NCRCL MA CONFERENCE, 14 NOVEMBER 2009 Roehampton University, London - Call for Papers The theme this year is Comics and Graphic Novels. Graphic novels are becoming increasingly popular and diverse in the UK and have been highly valued in many countries, notably France, Belgium and Japan, for many years. The 2009 IBBY UK/NCRCL MA conference will explore the developing interest in this medium from a variety of perspectives, in addition to considering developments in the range and content of comics available to children and young people. The conference will include keynote presentations by well-known writers, publishers and academics. Proposals are welcomed for workshop sessions (lasting about 20 minutes) on the following or other relevant issues: International perspectives – comics and graphic novels in a particular culture and/or across cultures Comics from a contemporary or historical perspective. Has the number and range of comics declined and, if so, why? Manga - its origins in Japan and developments and adaptations in other cultures New literacies – the changing interface between visual images and text Links between media – computer games, films, internet comics, character toys Animations and cartoons The work of individual and collective creators of comics and graphic novels. What collaborations are involved in the production of a graphic novel? Is the author a major or minor player in the design of a graphic novel? Use of artistic styles – colour/black and white artwork/photography/fonts and typography. What are the technical complexities of producing comics and graphic novels? Engagement of children and young people with/through this medium. Is there a particular appeal to the `reluctant' reader? Gendered reading. Do comics and graphic novels have more appeal to male readers? Controversial issues/taboo subjects – the notion of `appropriate' material for What is the appeal of a graphic novel as against an illustrated book? How do picture books compare in popularity with graphic novels for a younger age group? We welcome contributions from interested academics and others. of these areas. Brief accounts of the papers that are presented at the conference will be published in the Spring 2010 issue of IBBYLink, the journal of British IBBY. Also we hope that the proceedings of the conference will be published later that year in full in book form. The deadline for proposals is 20 July 2009. Please email a 200-word abstract (for a 20-minute paper) as an attached Word document to Pat Pinsent and also contact her if your require any further information on this call for papers. Please also include a short biography and affiliation. Pat Pinsent, 23 Burcott Road, Purley, CR8 4AD. Tel: (020) 8668 4093. Email: patpinsent@aol.com The IBBY has just opened the CFP for its September 2010 conference in Santiago de Compostela, Spain. The theme is "The Strength of Minorities". Details here: http://www.ibbycompostela2010.org/ Topics Children's and young people's literature: a minority area within the literature arena Despite the high quality and notable presence of children's book editions and the general growth of literature, they still hold a minority status in the eyes of editors, writers and the media, generally. Why are we writing or illustrating for children in these conditions? Children's and young people's literature in minority languages: from difference to survival Literature written in minority languages invariably face a wide set of challenges. Its survival is dependent on factors such as socio-political context, the extent of the official status bestowed on them and the general public response to cultural and linguistic diversity. Children's books can contribute towards the standardization of the edition in minority languages. However, publishers targeting a reduced market undoubtedly encounter many difficulties. Readers in a minority situation Children and young people with disabilities or special needs usually encounter many obstacles with regards to access to books or the pleasure of reading. We must find solutions to help combat these difficulties. A readership bereft of childhood Books and reading matter are generally considered staples for intellectual and cultural development and the growth of the youngest members of society. However, not all children have easy access to books. How do we broach the subject of books and reading material with those readers who missed out on their childhood: exploited children and those without even enough to eat? I am a reading girl, you are a reading boy... Do we still need children's literature which takes into account the gender issue? How do we tackle questions relating to sexual orientation and the rights of sexual minorities within children's books? Globalizing diversity and tolerance through children's books The 21st century must ensure the survival of minorities on the road to a better future. Diversity and tolerance - which are vital for a fairer world - must respectively make inroads in relation to minority groups.
Nele Noppe

マンガ表現法による社会的ネットワーキング訓練がプレゼンテーションメッセージの説得性に与える効果の検討 - 0 views

ci.nii.ac.jp/40016414461

academic manga visual_language education information_manga

shared by Nele Noppe on 25 May 09 - Cached
  • Nele Noppe on 25 May 09
     
    Effect of Manga-representation method on persuasiveness of presentation messages
Nele Noppe

Categorizing Manga by Standardizing the Paratext - 0 views

mediacommons.futureofthebook.org/...g-manga-standardizing-paratext

academic manga manga_industry format

shared by Nele Noppe on 02 Apr 10 - Cached
  • Trim size is an example of a paratext. The paratext, according to Gérard Genette, is “…a certain number of verbal or other productions [that] surround [the text] and extend it, precisely in order to present it, in the usual sense of this verb but also in the strongest sense: to make present, to ensure the text’s presence in the world, it’s ‘reception’ and consumption in the form (nowadays at least) of a book.” True to form, the so-called Tokyopop size has become associated with manga as a whole and facilitated the creation of a new category of books called “manga.”
Ariane Beldi

Modern Art Asia - Reviews, Commentary and Peer-Reviewed Articles on Asian Art - 1 views

www.modernartasia.com/index.html

website english textual html academic scholar articles reviews references asia modern art humanities social sciences aesthetic transnationalism

shared by Ariane Beldi on 10 Apr 10 - Cached
  • Ariane Beldi on 10 Apr 10
     
    Modern Art Asia is a new journal dedicated to the arts of Asia from the eighteenth century to today, presenting postgraduate research from historical perspectives and international news on Asian art. For the rising generation of Asian art scholars, these works exist in a globalized interdisciplinary context at the intersection of scholarship, criticism, and the market. Founded to address the need within art history and art journalism for a space dedicated to the arts of Asia, Modern Art Asia combines peer-reviewed articles with insightful commentary and the latest exhibition reviews from international correspondents, providing a new forum for exchange between scholars that crosses the boundaries of traditional academic disciplines, and engages with a general readership through the addition of journalistic writing on art.
Nele Noppe

Youth Brigade: Clearing up the Tokyo Youth Ordinance Bill - 0 views

www.animenewsnetwork.com/...2010-12-21

non-academic manga law censorship sexual_content children

shared by Nele Noppe on 21 Dec 10 - No Cached
  • This bill is not good for the Japanese anime and manga industry as a whole; it is not good for publishers, and it is not good for the creators. As anime and manga fans, we are constantly fighting against the preconceived notion that such entertainment is just for kids. Unfortunately, if this law remains on the books and creators cannot make the daring works they wish, anime and manga may indeed turn into unquestioning, lobotomized entertainment for little kiddies from here on out.
  • Bill 156 is not an across the board muzzling of creativity and critical art in Japan. However, it is potentially a hollowing out of two of Japan's most noteworthy art forms.
  • novels and films are not affected by this law
  • ...8 more annotations...
  • At the very least, for the time being there is going to be a chilling effect on anime and manga creators. They will constantly have to stop and assess their works against the law, or what the lawyers in the company interpret the law to be. Publishers will be forced to become more conservative with their stories, potentially sidestepping any criticism or commentary on major social issues.
  • As Simon Jones of Icarus Publishing pointed out in a blog post in June celebrating the defeat of the “Nonexistent Youth Bill” (possibly NSFW content), the anime and manga industries are “predominantly female” and any legislation restricting creativity in these industries would have a disproportionate effect on the female workforce. I think this is even more of a concern with Bill 156. I don't think the majority of shounen series will experience much fallout from the bill. However, an emphasis on sex and relationships is more frequently seen in shoujo, josei, and yaoi manga, where both the creators and consumers are largely female. Although it seems gender-neutral on the surface, it could be women who feel the brunt of the enforcement of Bill 156.
  • Many Japanese publishers are against this bill for many of the same reasons they were against the first “nonexistent youths” bill – it unevenly restricts freedom of speech and is so vaguely worded that they are unsure if the manga or anime they are putting out would be in violation.
  • The bill also doesn't mention doujinshi and other works created by fans. Of course, a lot of doujinshi with sexual content are already for adults only, so it would have little effect even if the law applied to such fan creations. Also, the main punishment for breaking the law is removal of access to distribution and retail, which wouldn't really impact artists who may make more of their sales directly to fans at Comiket.
  • the bill has nothing to say about any manga or anime that's currently considered adult. All of those titles that are currently for sale only to people over the age of eighteen won't be directly impacted by this. I've seen a number of people saying that they might be in favor of this bill because it would get rid of some of the horribly violent manga that feature sex with underage characters. However, this bill has absolutely nothing to say to anime or manga like that – they would still be able to be sold to adult consumers.
  • The bill puts an emphasis on self-regulation, with the expectation that publishers will begin policing themselves. (However, this may be hard to do since the bill is still vaguely worded.) If a publisher runs afoul of the bill too many times, then they may face what is in essence a blacklist, with no distributors or retailers able to carry their products.
  • The bill goes into effect in April 2011, and it's presumed that materials that were published before this date won't be affected. However, new editions of previously published anime and manga will presumably fall under this law.
  • Since Dan Kanemitsu has been writing frequently about this bill, I'll just quote his summary of the relevant portion of it, which will restrict “any manga, anime and video games that feature any sexual acts that would violate criminal codes or Tokyo ordinances OR sexual depictions between close relatives who could not legally get married to be treated as adult material IF they are presented in [an] ‘unjustifiably glorified or exaggerated manner.’” In some ways the language of the bill clarifies things, since we no longer have to try to figure out if a character meets the qualifications of being a “youth” in order for the restrictions in the bill to apply. However, by taking out the language regarding youth, it actually means that Bill 156 could have a potentially wider reach than the one that was defeated earlier in the year. Additionally, the part about presenting such scenes in an “unjustifiably glorified or exaggerated manner” is open to a wide variety of interpretations.
Ariane Beldi

Underground Manga Find A Home in France - 2 views

www.animationinsider.net/article.php

website blog english html textual image professional online magazine manga comics europe france fan fandom public

shared by Ariane Beldi on 03 Feb 11 - No Cached
  • Ariane Beldi on 03 Feb 11
     
    The Ankama Group has announced their plans to move deeper into comics publishing, specifically manga publishing, with an initiative to kick off January 2011. Ankama, the Roubaix, France-based developer and publisher of comics, games, and cartoons in the DOFUS and Wakfu universes, has always maintained a sensitive if not sentimental connection to the visual and narrative disposition of manga artwork. Now, the group will put their passions for underground Japanese comics and art to healthy use by publishing a manga anthology, Akiba. The monthly collection presently aims to print the works of young or new Japanese manga-ka for consumption by French-speaking comics enthusiasts.
Zero Time

The difference between Manga and American comic books - 0 views

ezinearticles.com/?Comic-Books---Japanese-Manga-vs-American-Comics&id=206944

manga comic non-academic

shared by Zero Time on 17 Jul 10 - Cached
  • Zero Time on 17 Jul 10
     
    "There is a big difference in art styles between Manga, which is more stylized (exaggerated) and American comics, which tend to be more "realistic". There are also quite a few serious differences between the two types of comics. Some of the differences, just to mention a few of them are the cost, creation, diverse audience and genres, presentation and even size...."
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