Lamerichs, Nicolle: "Euromanga. Hybrid Styles and Stories in Transcultural Manga Production." In: Global Manga. “Japanese” Comics without Japan? Hrsg. v. Casey E. Brienza. 2. Aufl. London, New York: Routledge, 2016, S. 75–95.
Added by: joachim (2018-02-14 10:50) Last edited by: joachim (2018-02-14 11:14)
|Resource type: Book Article
BibTeX citation key: Lamerichs2015
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Keywords: Gender, Germany, Interculturalism, Japan, Manga, Netherlands
Creators: Brienza, Lamerichs
Publisher: Routledge (London, New York)
Collection: Global Manga. “Japanese” Comics without Japan?
|Attachments||URLs https://www.academ ... l_Manga_Production|
This paper explores how European artists integrate the aesthetics of Japanese manga in their work. These local comic artists bridge artistic traditions by embedding narrative and visual tropes of Japan in their creations. Analytically, this emergence of European manga or “Euromanga” tells us much of the circulation of Japanese popular culture and its fan culture. I use the concepts “transculturalism” and “transmediality” to account for these complex cultural dynamics between various local traditions.
Methodologically, this paper provides a close-reading of various Euromanga and the local contexts in which they emerge. My approach is a medium-specific one (Hayles, 2004), that reads these comics in terms of their visual and narrative style, with close attention to elements such as paneling and their semiotic implications (McCloud, 1994). I also examine the production contexts of these Euromanga. Such comics often emerge in fandom as small independent projects, but can also be initiated by, or professionalized into, mainstream publishing houses.
Particularly, I shall focus on two cases that, each in their own way, mediate manga. First, I explore the manga publication Oost West (2009), in which multiple Dutch artists interpret Japanese culture and aesthetics. The project involved local doujinshi artist but also mainstream comic artists who created graphic novels that convey cultural themes and narratives of Japan. Second, the appropriation of “yaoi” and “yuri” doujinshi in Germany is subject to attention. By close-reading the anthology Lemon Law (2007–), I chart how German artists interpret the queer genres of manga culture and in what ways their culture stands out.
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