Traditional Monster Imagery in Manga, Anime and Japanese Cinema

Traditional Monster Imagery in Manga, Anime and Japanese Cinema builds on the earlier volume Anime and its Roots in Early Japanese Monster Art (2010), that aimed to position contemporary Japanese animation within a wider art historical context by tracing the development of monster representations in Edo- and Meiji-period artworks and post-war visual media. While the previous volume concentrated on modern media representations, this work focuses on how Western art historical concepts and methodology might be adapted when considering non-Western works, introducing traditional monster art in more detail, while also maintaining its links to post-war animation, sequential art and Japanese cinema. The volume aims at a general readership interested in Japanese art and media as well as graduate students who might be searching for a research model within the fields of Animation Studies, Media Studies or Visual Communication Design. Author as monster extra in ornamented kimono at Chofu City filming site of Great Yokai Wars (2005, Kadokawa Film Studios). See page 194. Traditional Monster Imagery in Manga, Anime and Japanese Cinema builds on the earlier volume Anime and its Roots in Early Japanese Monster Art , that aimed to position contemporary Japanese animation within a wider art historical context by tracing the development of monster representations in Edo- and Meiji-period art works and post-war visual media. While the previous volume concentrated on modern media representations, this work focuses on how Western art historical concepts and methodology might be adapted when considering non-Western works, introducing traditional monster art in more detail, while also maintaining its links to post-war animation, sequential art and Japanese cinema. The book aims at a general readership interested in Japanese art and media as well as graduate students who might be searching for a research model within the fields of Animation Studies, Media Studies or Visual Communication Design. Table of Contents Acknowledgements List of Figures List of Tables 1 Introduction: Context and Contemporary Scene 2 Geisha and Robot How about Monsters? Manga in the Museum 3 New Vienna School Approach Case Study - Ubume 4 Yokai Art from Prehistory to Modernity Art and the Supernatural in the Jomon Period Heian Period Muromachi Period Edo Period Meiji Period Post-war Monsters - Mizuki Shigeru, Professor of Monsters 5 Multitude of Monsters in Multimedia Animals and Plants Utensils and Natural Phenomena Human Monstrosities 6 Yokai in Cinema, 1968–2008 Great Yokai Wars, 1966-2005 Kitaro on Film, 2007 Lurking in the Shadows: The Artists Responsible for the Visual World of Yokai in Japanese Contemporary Cinema 7 Monster Landscapes Harakiri and Bloodshed in the Countryside: Ekin, the Vagabond Painter Bibliography Glossary of Terms Glossary of Persons Index Focuses On Traditional Monster Art And Its Links To Post-war Animation, Sequential Art, And Japanese Cinema By Adapting Western Art Historical Concepts And Methodology. Introduction : Context And Contemporary Scene -- Geisha And Robot -- New Vienna School Approach -- Yōkai Art From Prehistory To Modernity -- Multitude Of Monsters In Multimedia -- Yōkai In Cinema, 1968-2008 -- Monster Landscapes. Zilia Papp. Includes Bibliographical References (p. [226]-233) And Index.