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2022 ◽  
pp. 101-110
Author(s):  
Chengyan Zeng

Anime (animated films) and manga (comic books), fans are easily misunderstood and can even face prejudice. In fact, they are usually not as people see them. As one of the many anime and manga fans, I would like to show people what the real world of the anime and manga fan is like. As the fan population grows, the market increases, so this chapter will also act as a guide for those who are interested in this market. This chapter aims to introduce readers to the world of anime and manga fandom and to its fans, in particular. It will present and explain specific terms such as weeaboo, otaku, waifu, husbando, fujoshi, and critic. This chapter will also describe the different characters of anime and manga fans and explain how these characters can affect marketing. Finally, this chapter will look at the current market size of anime and manga fandom and explore how the culture is used in marketing.


Author(s):  
Sandra Gorgievski

In both medieval and contemporary culture, defamiliarization in space frames the imagined relationship with the other in fantasized views of the East. This paper addresses ways the creative imagination functions in the contemporary four-volume Belgian comics series Croisade by Dufaux and Xavier (vol I-IV). They foster a self-reflexive vision of competing universes, from the Celtic to the ancient Roman, from the Moorish to the Gothic. The cultural relativism of our contemporary era seems more relevant than any attempt to historicize faithfully the fictional plot. These comic books exploit the visual evidence of space as emblematic natural sites of heterotopias like the desert, and architectural space like Jerusalem, some burial sites, the sultan’s oriental palace and the Crusaders’ fortress, while assessing the changing representation of space from the medieval era to the present.


2021 ◽  
Vol LXXVII (77) ◽  
pp. 267-278
Author(s):  
WOJCIECH GĘSZCZAK

Celem niniejszego artykułu jest odniesienie polskiej klasyfikacji stylizacji językowej przeprowadzonej przez Dubisza (1996: 17-20) do pewnych ustaleń z zakresu badań nad stylistyką języka japońskiego. Wspomniany wyżej polski podział stylizacji językowych zastosowano w celu opisu stylistyki języka mówionego, który został utrwalony w tekście jako zapis rozmów oraz dialogów postaci literackich i komiksowych. Dwie spośród pięciu klas stylizacji wydzielonych przez Dubisza zostały wykorzystane w celu rozpatrzenia wyników badań nad stylistyką japońskich gatunków multimodalnych (Kinsui, Yamakido 2015). Japońskie stylizacje językowe rozważono pod kątem wpływu cech indywidualnych postaci na style językowe oraz multimodalnego charakteru komiksu i powieści ilustrowanej. Podjęcie tej próby umożliwiło wydzielenie pewnych innowacji w obrębie istniejącej polskiej klasyfikacji stylizacji językowej. Polish classification of the varieties and types of speech stylization as a tool for addressing selected areas of Japanese stylistics Summary: The aim of this study is to apply the classification of speech stylization proposed by Dubisz (1996: 17-20) to some findings reported on in studies on Japanese stylistics. The classification was utilized to describe the stylistics of spoken language, transcribed into text as a record of the utterances of fictional characters in Japanese literature and comic books. Two out of five classes of stylizations defined by Dubisz were used as reference points for reviewing the results of studies on the stylistics of Japanese multimodal genres (Kinsui, Yamakido 2015). Japanese speech stylizations were evaluated with regard to the impact of individual traits of characters on their speech styles and to the multimodal nature of genres such as comic book and illustrated book. This attempt has led to the proposal of some innovations in the Polish classification of speech stylizations.


2021 ◽  
pp. 1-14
Author(s):  
Jeremiah Clabough ◽  
Caroline Sheffield
Keyword(s):  
Cold War ◽  

2021 ◽  
Vol 14 (28) ◽  
pp. 67-78
Author(s):  
Alexandra Presser ◽  
Gilson Braviano ◽  
Eduardo Côrte-Real

There is a noticeable gap in academic studies between comic books and hypermedia. On the one hand, are found several publications on both printed and digital comic books. On the other hand, are publications aimed at media and technologies for content usability for small screen devices. Therefore, this study focuses on the development of comic books for small screen device reading. A parameter guide for the so-called Webtoons was developed, based on theoretical foundation, observation of webcomics in this style on content platforms, and 3 phases of qualitative field research. The research included interviews with comic artists, comic book professionals, and, seeking successive refinement, the guide's presentation to students as educational material.


2021 ◽  
pp. 151-174
Author(s):  
Manuel Garin
Keyword(s):  

Author(s):  
M. Debrenne

This article initiates research on the representation of Russia in French comic books. From 1849 to the present about 400 volumes have been published. In this paper, the notion “comics about Russia” include: a) a book of comics in which the action takes place either in the tsarist Russia, the USSR or contemporary Russia, b) a book in which a character or a place of the above period are involved. After an overview of the types of books and genres of comics about Russia (documentary, historical, adventure, science fiction, comical, as well as literary adaptations), an analysis of the visual aspect of comic books, mainly the covers, is given. Such recurring elements as snow, red color, five-pointed star, trains, blood, weapons, beautiful girls, ugly old ladies, and old cars are considered. We discuss the reasons for the practical absence of such stereotypes as black caviar, bears and some others. Then we analyze the role of the Russian language in the realization of the image of Russia, on the example of borrowed words, toponyms, anthroponyms, and utterances. Сyrillic, transliterated text and insertion of certain letters from Cyrillic into Latin are examined, as well as the presence or absence of translation and its correctness. The author underlines cases in which nonexistent toponyms, names and surnames, remotely resembling Russian words, are used. The question is whether such errors are accidental or indicate the authors' evident lack of interest in the adequate depiction of the reality. At the end of the paper the author proposes a frame for the analysis of any comic book about Russia. Apart from the mentioned above, this frame takes into account such aspects as characteristics of the "Russian" personages and their actions. Hopefully, the frame will make it possible to observe the evolution of the image of Russia, the link between stereotypes and the type of comic book as well as to compare the same image in French mass-media, literature, and movies. In the future we would like to find out whether the use of these stereotypes comes from the authors' insufficient knowledge of the Russian reality, or from their intention to create and reinforce the existing stereotypical image of this country.


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