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Outside Japan, the term ’manga’ usually refers to comics originally published in Japan. Yet nowadays many publications labelled ’manga’ are not translations of Japanese works but rather have been wholly conceived and created elsewhere. These comics, although often derided and dismissed as ’fake manga’, represent an important but understudied global cultural phenomenon which, controversially, may even point to a future of ’Japanese’ comics without Japan. This book takes seriously the political economy and cultural production of this so-called ’global manga’ produced throughout the Americas, Europe, and Asia and explores the conditions under which it arises and flourishes; what counts as ’manga’ and who gets to decide; the implications of global manga for contemporary economies of cultural and creative labour; the ways in which it is shaped by or mixes with local cultural forms and contexts; and, ultimately, what it means for manga to be ’authentically’ Japanese in the first place. Presenting new empirical research on the production of global manga culture from scholars across the humanities and social sciences, as well as first person pieces and historical overviews written by global manga artists and industry insiders, Global Manga will appeal to scholars of cultural and media studies, Japanese studies, and popular and visual culture.
Outside Japan, the term ’manga’ usually refers to comics originally published in Japan. Yet nowadays many publications labelled ’manga’ are not translations of Japanese works but rather have been wholly conceived and created elsewhere. These comics, although often derided and dismissed as ’fake manga’, represent an important but understudied global cultural phenomenon which, controversially, may even point to a future of ’Japanese’ comics without Japan. This book takes seriously the political economy and cultural production of this so-called ’global manga’ produced throughout the Americas, Europe, and Asia and explores the conditions under which it arises and flourishes; what counts as ’manga’ and who gets to decide; the implications of global manga for contemporary economies of cultural and creative labour; the ways in which it is shaped by or mixes with local cultural forms and contexts; and, ultimately, what it means for manga to be ’authentically’ Japanese in the first place. Presenting new empirical research on the production of global manga culture from scholars across the humanities and social sciences, as well as first person pieces and historical overviews written by global manga artists and industry insiders, Global Manga will appeal to scholars of cultural and media studies, Japanese studies, and popular and visual culture.
A collection of essays by an international cast of scholars, experts, and fans, providing a definitive, one-stop Manga resource.
Japanese manga comic books have attracted a devoted global following. In the popular press manga is said to have “invaded” and “conquered” the United States, and its success is held up as a quintessential example of the globalization of popular culture challenging American hegemony in the twenty-first century. In Manga in America - the first ever book-length study of the history, structure, and practices of the American manga publishing industry - Casey Brienza explodes this assumption. Drawing on extensive field research and interviews with industry insiders about licensing deals, processes of translation, adaptation, and marketing, new digital publishing and distribution models, and more, Brienza shows that the transnational production of culture is an active, labor-intensive, and oft-contested process of “domestication.” Ultimately, Manga in America argues that the domestication of manga reinforces the very same imbalances of national power that might otherwise seem to have been transformed by it and that the success of Japanese manga in the United States actually serves to make manga everywhere more American.
In the last few decades, Japanese popular culture productions have been consolidated as one of the most influential and profitable global industries. As a creative industry, Japanese Media-Mixes generate multimillion-dollar revenues, being a product of international synergies and the natural appeal of the characters and stories. The transnationalization of investment capital, diversification of themes and (sub)genres, underlying threat in the proliferation of illegal audiences, development of internet streaming technologies, and other new transformations in media-mix-based production models make the study of these products even more relevant today. In this way, manga (Japanese comics), anime (Japanese animation), and video games are not necessarily products designed for the national market. More than ever, it is necessary to reconcile national and transnational positions for the study of this cultural production. The present volume includes contributions aligned to the analysis of Japanese popular culture flow from many perspectives (cultural studies, film, comic studies, sociology, etc.), although we have emphasized the relationships between manga, anime, and international audiences. The selected works include the following topics: • Studies on audiences—national and transnational case studies; • Fandom production and Otaku culture; • Cross-media and transmedia perspectives; • Theoretical perspectives on manga, anime, and media-mixes.
This landmark book, first published at the height of the manga boom, is offered in a hardcover collector's edition with a new foreword and afterword. Frederik L. Schodt looks at the classic publications and artists who created modern manga, including the magazines Big Comics and Morning, and artists like Suehiro Maruo and Shigeru Mizuki; an entire chapter is devoted to Osamu Tezuka. The new afterword shows how manga have evolved in the past decade to transform global visual culture. Frederik L. Schodt, based in San Francisco, is fluent in Japanese and author of many works about Japan.
This collaborative book explores the artistic and aesthetic development of shojo, or girl, manga and discusses the significance of both shojo manga and the concept of shojo, or girl culture. It features contributions from manga critics, educators, and researchers from both manga’s home country of Japan and abroad, looking at shojo and shojo manga’s influence both locally and globally. Finally, it presents original interviews of shojo manga-ka, or artists, who discuss their work and their views on this distinct type of popular visual culture.
This volume critically analyses and theorises Asian interventions in the expanding phenomenon of Global Shakespeare. It interrogates Shakespeare’s ‘universality’ from Asian perspectives: how this has been modified or even replaced by the ‘global bard’ as a recognisable brand, and how Asian Shakespeares have contributed to or subverted this process by both facilitating the worldwide dissemination of the bard’s plays and challenging and resisting the very templates through which they become globally legible. Critically acclaimed Asian productions have prominently figured at premier Western festivals, and popular Asian appropriations like Bollywood, manga and anime have created new kinds of globally accessible Shakespeare. Essays in this collection engage with the emergent critical issues: the efficacy of definitions of the ‘local’, ‘global’, ‘transnational’ and ‘cosmopolitan’ and of the liminalities and mobilities in between. They further examine the politics of ‘West’ and ‘East’, the evolving markers of the ‘Asian’ and the equation of the ‘glocal’ with the ‘Asian’; they attend to performance and archiving protocols and bring the current debates on translation, appropriation, and world literature to speak to the concerns of global and transnational Shakespeare. These investigations analyse recent innovative Asian theatre productions, popular cinematic and manga appropriations and the increasing presence of Shakespeare in the Asian digital sphere. They provide an Asian standpoint and lens in rereading the processes of cultural globalisation and the mobilisation of Shakespeare.
This collaborative book explores the artistic and aesthetic development of shojo, or girl, manga and discusses the significance of both shojo manga and the concept of shojo, or girl culture. It features contributions from manga critics, educators, and researchers from both manga’s home country of Japan and abroad, looking at shojo and shojo manga’s influence both locally and globally. Finally, it presents original interviews of shojo manga-ka, or artists, who discuss their work and their views on this distinct type of popular visual culture.