Mechademia 7: Lines of Sight (Mechamedia)

Lines of Sight—the 7th quantity within the Mechademia sequence, an annual discussion board dedicated to eastern anime and manga—explores a few of the ways that anime, manga, electronic media, fan tradition, and eastern art—from scroll work to superflat—challenge, undermine, or overlook the idea that of Cartesian (or one-point) point of view, the dominant mode of visible tradition within the West because the 17th century. greater than only a visible mode or geometric method, Cartesianism has formed approximately each element of contemporary rational concept, from arithmetic and technological know-how to philosophy and history.

Framed via Thomas Lamarre’s creation, “Radical Perspectivalism,” the essays the following procedure jap pop culture as a visible mode that employs non-Cartesian formations, which by means of extension make attainable new configurations of conception and information. no matter if via shattering the appearance of visible or narrative seamlessness by using a number of layers or abnormal layouts, blurring the divide among viewer and writer, offering varied views inside of a unmarried murals, or rejecting dualism, causality, and different hallmarks of Cartesianism, anime and manga supply of their radicalization of point of view the opportunity of aesthetic or even political transformation.

Contributors: David Beynon, Deakin U; Fujimoto Yukari, Meiji U; Yuriko Furuhata, McGill U; Craig Jackson, Ohio Wesleyan U; Reginald Jackson, U of Chicago; Thomas Lamarre, McGill U; Jinying Li; Waiyee Loh; Livia Monnet, U of Montreal; Sharalyn Orbaugh, U of British Columbia; Stefan Riekeles; Atsuko Sakaki, U of Toronto; Miryam Sas, U of California, Berkeley; Timon Screech, U of London; Emily Somers; Marc Steinberg, Concordia U.

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Fig 35 Closure After presenting the above findings to a joint meeting of the Manga History Study Group and the Shōjo Manga Section of the Japan Society for Studies in Cartoons and Comics, an audience member suggested that I might want to reread Yonezawa Yoshihiro’s History of Postwar Shōjo Manga. On doing so, I discovered that Yonezawa had already made most of the same observations I made in Part 1 regarding Takahashi Macoto; that is, that Takahashi was the true “reformer of shōjo manga,” and that this was made possible by his incorporation into shōjo manga of the techniques of both emonogatari and illustrated girls’ novels.

It can also be said that this was made possible because Takahashi Macoto brought not merely a sense of design but also the techniques of emonogatari to the genre of shōjo manga. Meaning “picture story,” emonogatari refers to a specific genre of heavily illustrated fiction in which text and illustrations are arranged across a two-page spread with an eye to overall design. The term encompasses a range of material from simple alternating blocks of text and image to forms that, to the modern eye, are all but indistinguishable from comics.

Some clarification is needed at this point. The three-row overlaid style picture I am discussing here appears in the body of the manga itself; title pages had featured full-body figure drawings and stylized composition prior to 1957. Title pages in the magazine Shōjo, in particular, often filled a two-page spread and were decoratively and stylishly designed. At the time, in other magazines, it was common to put the title and a drawing in a large panel occupying the top twothirds of the first page.

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