By Jennifer S. Prough
Manga is the spine of eastern 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 a complete and particularly formative for eastern ladies’ tradition through the postwar period. In Straight from the Heart, Jennifer Prough examines the shojo manga as a domain of cultural storytelling, illuminating the ways in which problems with mass media, gender, construction, and intake are fascinated with the method of constructing 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 creation 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 construction, and show the suggestions method that hyperlinks manufacturers and shoppers in a continuing cycle of "affective labor." every one bankruptcy makes a speciality of one part of shojo manga creation (stories, structure, 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 replicate, refract, and fabricate structures of gender, intake, and intimacy. Straight from the Heart therefore weaves jointly problems with construction and intake, human relatives, and gender to give an explanation for the original global of shojo manga and to interpret its dramatic cultural and fiscal luck on a national―and more and more global―scale.
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Additional info for Straight from the Heart: Gender, Intimacy, and the Cultural Production of Shojo Manga
Example text
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). In 1963 Shueisha launched a weekly oldersister magazine for Ribon, Shūkan Maagaretto (Weekly Margaret, replacing Shōjo book), and Shogakukan followed suit a few years later, introducing the Shūkan shōjo comikku (Weekly shōjo comic) in 1965. These magazines would soon become stars in the shōjo manga magazine galaxy.
What has manga meant to us in the past, what is it to us now, what will it become in the future? The goal [of the Japan Society for Studies in Cartoon and Comics] is to create a forum for people who have posed this question to themselves that they might enrich their ways of thinking through the mutual sharing of ideas. ” This speaks both to the growth in the quantity and quality of research on manga in recent decades and to the prominence that manga has acquired as a part of the landscape of postwar Japan.
2). 7 not only to the recession, but also to new media trends. Beginning with the famicon (Nintendo Family Computer, marketed internationally as the Nintendo Entertainment System) boom in the mid-1980s, video games have captured some of the manga audience. Until the late 1980s manga still had the edge on games because of their portable format and the propensity for long commutes in urban Japan. However, the invention of handheld games cut into manga’s commute status, particularly with shōnen manga’s audience.
