More than two years ago, I gave a conference paper titled “Japanese Art in the Contact Zone: Between Orientalism and ‘Japansplaining’”. The proceedings of this conference, Migrations in Visual Art, have now been published as an Open Access PDF at https://e-knjige.ff.uni-lj.si/znanstvena-zalozba/catalog/book/122 (doi: 10.4312/9789610601166, ISBN: 978-961-06-0116-6). There you’ll also find a table of contents with links to the PDFs of the individual papers. Again, this paper isn’t about comics, but I dare say it’s relevant to anyone interested in transnational manga reception. Here’s the abstract as published in the proceedings:
After WWII, Japan came to be economically and politically at eye level with its
former enemy nations. Therefore, one cannot say that the Western reception of
Japanese artworks takes place within an actual context of an asymmetrical power
relation. Yet, European and American audiences often approach Japanese art from
a position of perceived superiority. Overt and subtle traces of this attitude can be
detected in reviews and other texts on Japanese artworks ranging from the films of
Akira Kurosawa to the photographs of Nobuyoshi Araki.
Earlier this year I gave a talk at MSU Comics Forum, and now a journal article based on that talk has already been published:
Has Akira Always Been a Cyberpunk Comic?
Arts 7(3), https://doi.org/10.3390/arts7030032
Here’s the abstract again:
Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.
Read the article online for free at http://www.mdpi.com/2076-0752/7/3/32.
Fun fact: this is my 10th publication (not counting reviews, translations, and articles related to my library ‘day job’)! Find them all here: https://www.bibsonomy.org/cv/user/iglesia
de la Iglesia, Martin 2016, ‘The Task of Manga Translation: Akira in the West’. The Comics Grid: Journal of Comics Scholarship 6(1), http://dx.doi.org/10.16995/cg.59
There’s also a PDF version.
Translated editions of Katsuhiro Ōtomo’s manga Akira played an important role in the popularisation of manga in the Western world. Published in Japan between 1982 and 1990, editions in European languages followed as soon as the late 1980s. In the first US edition (Epic 1988–1995) the originally black and white manga was printed in colour and published in 38 issues, which were designed not unlike typical American comic books. The first German edition (Carlsen 1991–1996) marked the beginning of Carlsen’s manga publishing efforts. It was based on the English-language edition and also printed in colour, and combined two American issues in one.
This article analyses the materiality of these two translated editions with a focus on three main issues – the mirroring (or ‘flipping’) which changes the reading direction from right-to-left into left-to-right, the colouring of the originally black and white artwork, and the translation of different kinds of script (sound effects, speech bubble text, and inscriptions or labels) – before concluding with a brief examination of their critical reception.
Last year at a conference on “the translation and adaptation of comics” in Hildesheim, Germany, I gave a talk on the first English and German editions of Katsuhiro Ōtomo’s Akira . The conference proceedings have now been published as a book, albeit with most of the papers in German, including my own. I’m working on making an English-language, Open Access version of my talk available soon. Anyway, here’s the bibliographic data:
de la Iglesia, Martin. “Akira im Westen.” In Comics. Übersetzungen und Adaptionen, edited by Nathalie Mälzer, 355-373. Berlin: Frank & Timme, 2015.
The ISBN of the book is: 978-3-7329-0131-9
Remember the conference paper I announced on this weblog in 2012? It took some time, but now this paper has been published as an article in Studies in Visual Arts and Communication – an international journal and is available online for free: http://journalonarts.org/wp-content/uploads/2015/01/SVACij-Vol1_No2_2014-delaIGLESIA_Martin-Presence_in_comics.pdf
Here’s the abstract:
The term ‘presence’ is often used to denote a trait of an artwork that causes the feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. So far, scholars who have used this term have not explicitly provided criteria for the assessment of the degree of presence in a work of art. However, such criteria are implicitly contained in a number of theoretical texts. Three important criteria for presence appear to be:
1. size – the larger a figure is depicted, the more likely this artwork will instil a feeling of presence.
2. deixis – the more the work is deictically orientated towards the beholder, e.g. if figures seem to look or point at the beholder, the higher the degree of presence.
3. obtrusiveness of medium – if there is a clash of different diegetic levels within an artwork, the degree of presence is reduced.
These criteria can be readily applied to a single image like a painting or a photograph. A comic, however, consists of multiple images, and the presence of each panel is influenced by the panels that surround it by means of contrast and progression. Another typical feature of comics is written text: speech bubbles, captions etc. do not co-exist with the drawings on the same diegetic level, thus betraying the mediality of their panels and reducing their degree of presence. A comic that makes striking use of effects of presence, which makes it a suitable example here, is the superhero series The Ultimates by Mark Millar and Bryan Hitch (Marvel 2002 – 2004). The characters in this comic are often placed on splash pages and/or seemingly address the reader, resulting in a considerable experience of presence.
New article published – “I’m always touched by your presence, dear: Blondie album covers and the concept of presence”Posted: September 2, 2013
I’m pleased to announce the publication of my latest journal article. You can read the abstract at the ERAS journal website and directly download the PDF here: http://www.eras.utad.pt/docs/JUN%202013%20estudos%20interdisciplinares1.pdf
In case you were wondering: no, this article isn’t about comics. But my previous blog posts about Michael Fried from February last year and photography theory from January last year are connected to it (and of course my conference paper on “presence in comics“, which will be published too, eventually).