By Jennifer S. Prough
ISBN-10: 0824834577
ISBN-13: 9780824834579
Manga is the spine of jap pop culture, influencing every little thing from tv, video clips, and games to novels, artwork, and theater. Shojo manga (girls’ comics) has been seminal to the style as an entire and particularly formative for jap ladies’ tradition in the course of the postwar period. In Straight from the Heart, Jennifer Prough examines the shojo manga as a website of cultural storytelling, illuminating the ways in which problems with mass media, gender, creation, and intake are all for the method of making shojo manga.
With their glittery pastel covers and concentrate on human relationships and romance, shojo manga are completely marked through gender―as certainly are just about all manga titles, magazines, and publishing divisions. Drawing on years of fieldwork at the construction of shojo manga, Prough analyzes shojo manga texts and their journal contexts to provide an explanation for their targeted attraction, probe the gendered dynamics inherent of their production, and display the suggestions procedure that hyperlinks manufacturers and shoppers in a continual cycle of "affective labor." every one bankruptcy makes a speciality of one side of shojo manga creation (stories, layout, group of workers, dynamics), delivering attractive insights into this well known medium. Tacking among tale improvement, interactive journal gains, and relationships among male editors and feminine artists, Prough examines the concrete ways that shojo manga mirror, refract, and fabricate structures of gender, intake, and intimacy. Straight from the Heart hence weaves jointly problems with creation and intake, human family members, and gender to give an explanation for the original global of shojo manga and to interpret its dramatic cultural and fiscal good fortune on a national―and more and more global―scale.
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Extra resources for Straight from the Heart: Gender, Intimacy, and the Cultural Production of Shojo Manga
Example text
The new weekly format was not simply an effort to sell more manga quantitatively, but was formulated to compete with the weekly serialized television shows. ” He writes, “We wondered if it was going to be the fate of the children’s magazines to disappear from this world, having been crushed by television. No, it can’t be, there must be some way out. All brains were put to use and all ideas considered. One of the answers was the change to weekly magazines. The tempo of life was transformed into weekly units because of television, so the idea was to keep pace with them” (1999, 209).
They ranged in price from ten to ninety yen, depending on the quality, and thus were within the range of what children could afford (Shimizu 1999, 85; Yonezawa 1980, 16). While akahon was essentially a cheap pulp genre, many artists who would become renowned in the ensuing decades first published their works within the pages of these red books, including Tezuka Osamu (Takahashi and Yonezawa 1996a, 9; Yonezawa 1980, 17–18). Akahon’s production and sales peaked around 1949, although they could still be found for close to a decade later.
Thus, the weekly magazines were an attempt on the part of publishers to counter the draw that television had on children and to reorganize themselves to fit the new weekly lifestyle timetable spawned by television. In March 1959 Kodansha launched Shūkan shōnen magajin (Weekly shōnen magazine) followed just one week later by Shogakukan’s Shūkan shōnen sandee (Weekly shōnen Sunday). 5 to 2 million copies a week (Shimizu 1999, 93–95). Girls’ weeklies lagged slightly behind. In 1962 Kodansha discontinued its flagship shōjo manga magazine, Shōjo club, replacing it with a weekly girls’ magazine called Shūkan shōjo furendo (Weekly shōjo friend) (Maruyama 1999, 209).
Straight from the Heart: Gender, Intimacy, and the Cultural Production of Shojo Manga by Jennifer S. Prough
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