2 Images section

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2 Images section

2 Images section
works in profile
Manga
Gekiga
1
Metropolis (Metoroporisu)
8
Crime & Punishment (Tsumi to batsu)
slip-case design for Metropolis 1949
published by Ikuei
gouache, 9.5 x 13.2 cm
© Tezuka Productions
page from Crime and Punishment 1953
published by Tokodo
pen and ink and watercolour, 26.9 x 19.0 cm
2
Astro Boy (Tetsuwan Atomu)
9
Ludwig B (Rudovihi B)
title page for Roboids 1965
Shonen, published by Kobunsha
poster for Ludwig B 1987–89
Comic Tom, published by Ushio Shuppansha
gouache. 38.0 x 27.2 cm
3
Jungle Emperor
10
Human Metamorphosis
aka Kimba The White Lion (Jangeru taitei)
title page for Jungle Emperor c1950–66
Monthly Disneyland, published by Kodansha
(Ningen konchu ki)
title page for Human Metamorphosis 1975
Play Comic, published by Shogakukan
4
Princess Knight (Ribon no kishi)
11
Buddha (Buddha)
title page for Princess Knight 1965
Nakayoshi and Nakayoshi Comics, vol. 4
published by Kodansha
cover for Buddha 1981
published by Ushio Shuppansha
5
Wonder 3
aka The Amazing Three (W3 aka WAnda 3)
title page for Wonder 3 1966
Weekly Shonen Sunday, published by Shogakukan
12
Phoenix (Hi no tori)
cover for Future 1976
Monthly Manga Shonen, vol. 2
published by Asahi Sonorama
6
Marvellous Melmo
(Fushigi na Merumo aka Mama chan)
page from The Policewoman 1970–72
Shogaku Ichinensei and Yoiko
published by Shogakukan
7
Black Jack (Burakku Jakku)
cover from Black Jack 1974
Weekly Shonen Champion, published by Akita Shoten
11 Tezuka: The marvel of manga Education Kit Art Gallery of New South Wales
1
TEZUKA Osamu Japanese 1928–89
Metropolis
(Metoroporisu)
published by Ikuei
Manga
Filmmaker Fritz Lang was inspired by the Manhattan skyline for his science fiction
film Metropolis (1927). In turn, Tezuka was inspired to create a manga featuring his
own interpretation of Lang’s robot Maria. Tezuka’s Metropolis (Metoroporisu) is a
frenetic, multi-layered story typical of the fantasy sagas that were produced during
the 1940s upsurge of akabon (red book) pulp manga in Osaka, Japan.
A catastrophic transformation of the sun, a villain in multiple disguises, an island
fortress, a robot rebellion, a secret science organisation – Metropolis has all this and
more. Reaching near-hysteria and dramatically imploding at some points, its most
memorable element is the unisexual robot Michi. Amid chaos, noise and destruction,
the naive and innocent Michi remains calm while those around her are engulfed in
swirling subterfuge.
With a switch at the back of the throat that allows her/him to instantly change
sex, she/he is less a superhero and more a tragically displaced being. An archetypal
Tezuka figure, Michi exemplifies his ongoing interest in how those who differ from
us are crucial to a deeper understanding of ourselves.
1
Metropolis
(Metoroporisu)
published by Ikuei
Manga
2
Astro Boy
(Tetsuwan Atomu)
Manga
Tezuka’s take on Everyman is a robot named Astro Boy, or as he is known in Japan
Tetsuwan Atomu (Mighty Atom). Just as Astro Boy is Tezuka’s summation of his
views on the harmony and discord between technology and humanity, he is the
opposite of all we would expect of a hero. Cute, infantile and even trans-gendered,
he is capable of tremendous feats of strength due to his seven atomic powers. His
foes, who are mostly ‘bad’ robots and the humans who are the controlling force
behind them, push Astro Boy into many thrilling wrestling bouts.
Not once does Astro Boy gloat or abuse his power. He is the embodiment of energy
and consciousness – the result of Japan’s assessment of living beyond the atomic
bomb. Despite the childlike appeal of Astro Boy’s character and the blustering
battles graphically splayed across the pages of this long-running manga, Astro Boy
is underscored by a sombre, cautionary sentiment: all life, human or otherwise, is
precious and deserving of respect.
Produced twelve years before the first Astro Boy TV series, the original manga
remains Tezuka’s seminal creation.
2
Astro Boy
(Tetsuwan Atomu)
Manga
3
Jungle Emperor
Manga
Anthropomorphism – the imbuing of animals and objects with human traits – is
mostly a comical affair. In the hands of Tezuka it is also solemn and touching. Jungle
Emperor (Jangeru taitei) is his ultimate call for a deeper dialogue between mankind
and the animal kingdom. Expressing many of Tezuka’s personal views on life as well
as symbolising how Japan might connect with the rest of the world, Jungle Emperor
is an ambassadorial work that entertains without preaching.
Centred on the life of the newly born Leo (known in the West as Kimba in the
animated version), the story follows his estrangement from family and surroundings
as he is adopted by humans. Before long he returns to the jungle and struggles to
attain his birthright as ‘king of the animals’. Along the way he loses his parents and
many friends, and battles greed and avarice, both in humans and other animals. Leo
is yet another of Tezuka’s innocent beings who discover themselves through trials
and tribulations.
Abundantly cute yet powerfully dramatic, Jungle Emperor covers three
generations, from Leo’s parents to his own children, and stands as a testament of
hope for how the animal kingdom might grow despite human intervention.
3
Jungle Emperor
Manga
4
Princess Knight
(Ribon no kishi)
Manga
Responsible for creating the shojo manga (girls comics) market in Japan, Princess
Knight (Ribon no kishi) is a delightful variation on popular European fairy tales
enjoyed by young girls the world over. Princess Knight presents all the glitter and
romance of those fantasies in overdrive, creating a hyper-reality of royal intrigue,
glamorous pageants and enough love-affair plots and twists to put Shakespeare
to shame.
Despite being so popular with young girls during the 1960s, Princess Knight
appears bold to Western readers today. The story is centred on young Sapphire
whose ascension to the throne can only be accomplished in the guise of a prince.
Tragically, Sapphire must leave all feminine aspirations behind to govern the
kingdom with a mix of manly confidence and feminine reserve. Princess Knight is
a fascinating pre-feminist document from postwar Japan and represents a notable
precursor to the more recent ‘Girl Power’ phenomenon.
Princess Knight was inspired by Tezuka’s upbringing in the city of Takarazuka,
famous for its dazzling all-female theatrical reviews. More so than any of his manga,
it employs a dizzying array of decorative motifs and ornate framing devices, which
have since become part of the visual vocabulary of shojo manga.
4
Princess Knight
(Ribon no kishi)
Manga
5
Wonder 3
aka The Amazing Three (W3 aka Wanda 3)
Manga
Wonder 3 (Wanda Suri) is another of Tezuka’s science-fiction fantasies. Made
into an animated series under limited release in the West, it is a mix of espionage,
aliens and world domination by evil scientists. It is a fine example of Tezuka at
his most entertaining, portraying human foibles and shortcomings through nonhuman characters.
Three aliens who have been sent to study Earth transform themselves into farm
animals – Bokko the cute rabbit, Pokko the irritable duck and Nokko the goofy horse.
They are befriended by young Shinichi – a problem child at school but a lone dreamer
who loves animals. Through him the aliens come to appreciate the positive aspects
of humans along with their selective regard for life in their treatment of animals.
Shinichi’s older brother, Koichi, operates as an undercover agent to stamp
out super-criminals and his adventures criss-cross the paths of the aliens.
Tezuka’s robots, machinery and spaceships are vividly contrasted with a rural
Japanese setting, making Wonder 3 an exciting hybrid tale unfettered by narrow
considerations of genre and style.
5
Wonder 3
aka The Amazing Three (W3 aka Wanda 3)
Manga
6
Marvellous Melmo
Manga
Tezuka seems drawn to tragedy, yet his stories uncover inspiring ways for his
characters’ survival. Marvellous Melmo (Fushigi na Merumo) reflects the plight of
struggling waifs scattered worldwide during the Second World War, opening with
Melmo’s mother dying in a car accident. Once in the heavens, Melmo’s mother
implores the gods to grant her young daughter the power to look after herself and her
newborn brother.
Melmo is given a jar of magic pills – the red ones allow her to grow into an adult
while the blue ones reverse the effect. Armed with these ‘metamorphosis pills’, she
forges on, looking after herself and her brother. No superpowers or mega-struggles
here; this is a story of the everyday existence of the single mother in postwar Japan,
conveyed by the cute figure of Melmo.
Originally envisioned as a sex-education narrative, Marvellous Melmo explains
much about how species evolve, breed and grow. It also projects fantasy images for
young girls while expressing concern for how women are treated in Japan. It’s an
incongruous mix, but one typical of Tezuka’s modulation of entertainment with a
social message.
Extending shojo manga style, many pages feature vertical strips where Melmo has
just been transformed into an adult. Catering to the desire of young girls to dress up
like adult women, images of nurses, air hostesses, mermaids and ballerinas appear as
the mature Melmo strikes sexy poses. Not only does Melmo survive in a harsh world,
she deals with the social inequities around her while always looking ravishing.
6
Marvellous Melmo
Manga
7
Black Jack
(Burakku Jakku)
Manga
An unexpectedly popular title which was serialised over five years, Black Jack
(Burakku Jakku) is Tezuka’s most brooding work. Black Jack could be Tezuka’s alter
ego: a disbarred renegade surgeon concerned with the fragility of life while ignoring
all moral codes for saving lives. This is definitely not children’s entertainment.
Nearly all Black Jack stories follow a simple template. Someone is suffering from
an incurable illness and all hope is lost until the rich, the powerful and the righteous
are forced to summon Black Jack. He performs the impossible on the operating table
and demands inordinate payments – his stiff fees a lesson to the pompous who seek
his services.
But Black Jack is far from noble. Wracked with inner conflicts, his emotional state
adds underlying complexity to the story. These darker moments propel Black Jack
with a dramatic compulsion fractured by subplots and unexpected flashbacks.
How apt to have a cute assistant like Pinoko to contrast the doctor’s cavernous
psyche. Yet, like everything in Tezuka’s world, Pinoko is not as she appears. Previously
a tumorous newborn who Black Jack saved through encasing her organs and limbs in a
custom-built prosthetic suit, Pinoko is a haunting image of enduring life.
7
Black Jack
(Burakku Jakku)
Manga
8
Crime & Punishment
(Tsumi to batsu)
published by Tokodo
Gekiga
If we presume that comics are ‘just for kids’ then Tezuka’s interpretation of
Dostoevsky’s Crime and Punishment (Tsumi to batsu) invites us to reassess this view.
The deluded yet repenting Raskolnikov is rendered in a disturbingly quaint manner
instantly recognisable as Tezuka’s style. Far from shirking the moral complexity
of the original Raskolnikov, Tezuka’s version retains the character’s conflict and
confusion while depicting him as a Japanese version of a Russian doll.
Tezuka’s Crime and Punishment stands among his most sophisticated narrative
visualisations. With self-reflexive cunning he divides many of the pages into
frames based on architectural shapes and forms. Apartment stairwells, bedroom
floors, dining tables and town plazas are repeated across sequences, mimicking
an animation film strip as the settings remain fixed while characters move across
the frames. Tezuka’s use of expressionistic light and shade, and dramatic angles,
heightens the cinematic effect.
Yet the turmoil Raskolnikov suffers is always spot-lit by Tezuka’s formal
experiments in staging. Only superficially melodramatic, this retelling of an
existential classic is testament both to Dostoevsky’s modern tale and Tezuka’s
ability to transform the most unexpected story into manga form.
8
Crime & Punishment
(Tsumi to batsu)
published by Tokodo
Gekiga
9
Ludwig B
(Rudovihi B)
Gekiga
The great composer Ludwig van Beethoven has long been a favourite subject for
portraits of disturbed genius. Tezuka’s Ludwig B (Rudovihi B) extends this tradition
and imaginatively tackles Beethoven’s passion and mania in the silent medium of
the printed page.
Possibly because of this silence, Tezuka’s manga pushes the medium to staggering
heights of abstraction in its representation of music – the most untranslatable of
the arts. Page after page of Ludwig B unfurls with depictions of complex musical
patterning, from crashing waves and mountainous ridges to billowing clouds.
Swirling musical staves, storms of manuscripts and cascading paths of piano keys
are imaginatively assembled into vistas which symbolise the beauty and grandeur
of Beethoven’s classical harmony.
The aspiring and perspiring Ludwig toils and excels, sometimes soaring
across these musical landscapes, at other times trapped within them. Tezuka’s
characterisation partially recalls his own compulsion to work non-stop, driving
himself ever onward. Enhanced by an equally obsessive degree of architectural
and decorative detailing, Ludwig B is among Tezuka’s most ornate works.
9
Ludwig B
(Rudovihi B)
Gekiga
10
Human Metamorphosis
(Ningen konchu ki)
Gekiga
An unflinching look at how far a woman will go to get what she wants, Human
Metamorphosis (Ningen konchu ki) is not for the faint-hearted or those seeking a
politically correct portrait of womanhood. But far from being exploitative, Human
Metamorphosis is an uncompromising piece of modern fiction conveyed upon the
graphic stage of Tezuka’s manga.
Here, metamorphosis is not simply a theme: it is the core means of existence for
the beautiful and wily Tomura, who evolves from a famous actress to a famous
designer to a famous novelist. She is seductively ruthless in her exploits, discarding
those around her just as she sheds each personality in her transformations.
Men, of course, are moths to her erotic flame. More than a femme fatale, she is
a queen of destruction, intoxicating in her power and shocking in her resilience.
Tezuka’s portrait of Tomura is also a loving one, depicting her in a sensuously
stylised manner against richly detailed backgrounds. Perceived this way,
Human Metamorphosis is an arch modernisation of kabuki male actors depicting
female tragedy.
10
Human Metamorphosis
(Ningen konchu ki)
Gekiga
11
Buddha
(Buddha)
Gekiga
Tezuka’s approach to fictionalising a biography of Buddha is symptomatic of
Japanese logic: he claimed that not being a practicing Buddhist allowed him to
free-form historical data for a more engaging story. What might appear blasphemous
to some is a liberating, creative strategy typical of Tezuka’s open-ended approach
to crafting his tales.
The epic interweaves a wide range of characters whose paths cross Buddha’s
journey, enriching this story of the charismatic mystic. Tezuka’s Buddha is
remarkably human and accessible. The subtext of Buddha is that enlightenment
might ultimately be the realisation that one must continually seek enlightenment.
Buddha experiences clarity of consciousness, but these moments always come at
a price to himself, his friends and colleagues. Devoid of any moralistic preaching,
Buddha’s encounters reveal the innate meld of good and bad in everyone.
Tezuka’s graphic skill comes to the fore in Buddha as he harvests the medium’s
potential for visualising heightened sensations and disorienting perspectives.
Depicting how life and the cosmos are entwined across time and space, the pages
exemplify some of Tezuka’s most inspired artistry.
11
Buddha
(Buddha)
Gekiga
12
Phoenix
(Hi no tori)
Gekiga
A mythical firebird of eternal reincarnation, the Phoenix has appeared in many
cultures throughout history. Tezuka’s Phoenix (Hi no tori) is an exquisite matrix
anchored to this universal symbol of the regenerative essence of life. Covering eleven
chapters and sequenced across ancient epochs and futuristic realms, this narrative
suite mixes genres and styles to chart the Phoenix’s existence on a plane beyond that
of mortals.
Abundant in cosmological contemplation, each chapter of Phoenix zooms in
on key individuals and aligns their existence with the higher forces of fate. These
connections and transitions generate powerful drama full of adrenaline, action and
emotional depth.
From the illuminating portrayal of everyday life in the past to the vividly imagined
consequences of human–robot relations in the distant future, Phoenix subsumes its
philosophical pondering into riveting stories. Aside from the head-spinning plot
lines, the artwork and design of the manga capitalise on the stories’ unexpected
shifts in tone. This truly is Tezuka’s masterwork, embodying his core ideals: respect
for all life and an awareness of one’s relation to others.
12
Phoenix
(Hi no tori)
Gekiga
9–12 framing questions
The West has its Every Man;
the Japan has its Every Robot.
Philip Brophy
Astro Boy: social issues for our time
Outline the central themes conveyed in
Astro Boy and consider how they reveal
ethical and social issues that concern
post-war Japanese society. Do these
issues have relevance for contemporary
audiences, not just in Japan but worldwide? In what way does the Astro Boy
character convey the artists’ vision of the
future and the place of humanity in it?
Facts and fictions: blurring the line
Consider the artist’s approach to character
development. Examine where the line
between fact and fiction is drawn.
Define some of the key messages Tezuka
is trying to communicate in his work.
Select a key Tezuka character and
develop an in-depth study on his/her
approach to the concept of life and
death. In what way does the audience
learn valuable moral and ethical lessons
to apply to the actual world via the
fantasy world of manga? Using evidence,
his personal biography and body of work
argue whether Tezuka’s characters are
in some way autobiographical.
While comics remain tethered
to gag strips, situational
comedy, political cartooning
and satirical illustration,
manga extends well beyond
those paradic bases to
incorporate novelistic, literate,
poetic and cinematic modes
of narrative expression.
Manga: hybrid of cultures and media
Investigate the original meaning of
the term manga in Japanese culture
and how it is perceived today. Outline
the visual and conceptual differences
between manga and the American style
of comics. Collect examples of these
genres. Discuss how each has influenced
the other. Research and account for their
popularity for both Japanese and nonJapansese readers. Examine the visual
conventions of other 20th century media
forms including photography, television,
cinema and advertising, discussing their
influence on the format and aesthetics
of manga.
Gekiga: this is serious
Gekiga is Japanese for ‘dramatic
pictures’ a term adopted by Japanese
cartoonists who wanted to taken more
seriously. Assess the narratives and
design style. Suggest why they would
have a greater appeal to adult audiences
than manga. Discuss why recognition
by this audience would have been
important for Tezuka both personally
and professionally.
The characters in Tezuka’s
gekiga (drama pictures) are
abrasive recantations of
character types from his earlier
work, now forced to endure
the ravages of situations to
which they seem fated.
Philip Brophy
Philip Brophy
Generational influence
By the late 1960s and early 1970s gekiga
provided the children who grew up
reading manga with a continuum into
adulthood. Research the changing social
and political structures of this period in
Japan. Discuss how manga and gekiga
may have influenced the thinking of this
young generation – otherwise known as
the manga generation. Debate whether
Tezuka’s art practice has influenced
his society.
Conceiving the mask
Research the cultural traditions of the
mask in Japanese society. Investigate
the role of the mask in different cultural
forms such as kabuki, noh plays, samurai
and geisha rituals. How does the mask
simultaneously conceal and reveal? Is
there a link with the traditional use of
the mask in Japanese culture and the
concept of the mask in Tezuka’s manga?
Mickey Mouse and manga
Tezuka was exposed to American
cartoons and Japanese manga from a
very young age. His father would hold
regular animated cartoon nights showing
Mickey Mouse and Popeye to his family.
Though they were in a foreign language,
Tezuka was captivated by the characters
as well as popular Japanese manga of
the time such as Norakuro by Suiho
Tagawa and Fuku-cham by Ryuichi
Yokoyama. Source examples of these
childhood influences critically analysing
their signature design characteristics.
Define these qualities, creating a list with
which to label your examples. Select
and deconstruct a key Tezuka character,
locating examples from your list. Is one
influence more dominant than another?
Debate whether Tezuka’s design style
is simply a hybrid of influences or a
new design language all his own, which
pushed the boundaries of the genre.
In this dizzying phantasmal
cosmos Tezuka performs as a
theatre director; his characters
behave as masks; and his
manga pages operate as stages.
Japan’s cute face has
nothing to do with projecting
cuteness – but everything
to do with framing all that
cuteness conceals.
Philip Brophy
Philip Brophy
Wearing the mask
Develop your own wearable mask.
Consider its design elements as both a
wearable and aesthetic object. Consider
qualities that make you unique and
incorporate symbols that represent this
into the design. Wear the mask in
public, keeping a journal of how both
you and those around you respond
to this action. Is there a sense of
empowerment or disempowerment
for you or others around you? Outline
how Tezuka may have experience the
mask in a similar way.
Mis-reading manga
According to the exhibition curator,
Japan’s post-war popular culture tends
to be misread by Western audiences.
Considering differing social and
political histories, account for why
this misinterpretation has occurred.
Investigate the ways manga is perceived
in Japan and the West. Debate whether
the popularity of manga is founded on
the same rationale globally.
Post-war psyches and support
The characters in Tezuka’s work had
become vessels to explore the Japanese
psyche in the mid 20th century. Placing
his characters into dramatic situations
or gekiga, the artist heightens the effect
of their fate to the extreme. Speculate
on whether gekiga would have had as
much relevance to Tezuka’s audience
in pre-war Japan. Is it the product of
or a response to Japanese culture in
a post-nuclear world? Investigate the
importance of gekiga to Japanese people
dealing with this new age.
Tezuka’s characters in these
early manga are consistently
innocent yet abused; open
minded yet harshly-judged;
debilitated yet regenerative.
Philip Brophy
Tezuka’s world – your world
Tezuka childhood and wartime
experiences gave him a greater
understanding of the preciousness of
life. He was always interested in nature,
committing his life to working for living
things, the future of the earth and for
children. These experiences directly
influenced the way he approached
his artistic practice. Respond to your
past and present, by developing and
designing an original manga character.
Incorporate them into a story that
communicates a ‘lesson learned’ from
your youth, to the next generation.
Consider the unique characteristics
this character would possess, their
environment and key events that reflect
your understanding of the world and
your place in it.
Art: the personal and public experience
Many of Tezuka’s works are based on
the experiences he had during World
War 2. As a young student, Tezuka was
forced to work in a factory, while men at
this time were sent to war. Next world
was one of the first works that directly
references this time. Investigate artists
from the Art Gallery of New South Wales
collection such as Anselm Kiefer, Doris
Salcedo, and Mario Marini whose work
is a direct response to political and
social issues in their societies. Analyse
the characteristics these artist’s work
have in common with Tezuka. Discuss
the role of art making and the artist in
making sense of such events for
themselves, their audience and wider
society.
Composition and time
At some point in manga evolution,
artists became aware of time as an
employable method and experimented
and gradually expanded the
methodology to achieve new modes
of expression that became an accepted
aspect of manga language ... In fact,
this temporal reconstruction of the
event into frames was modern manga’s
single most innovative discovery.
Fusanosuke Natsume
Consider the quote above and discuss
how Tezuka responds to the concept of
time. In what way is Tezuka’s approach
similar to that of a film director? Select a
sequence from one of the Tezuka manga
series and list any cinematic conventions
apparent such as view point, panning
and close up. Suggest how this
innovative method has reinvented the
way the audience reads the visual image.
Reading manga: words and images
Examine the relationship between the
text and the image in Tezuka’s manga.
Debate how each element is a powerful
conveyer of meaning. Can a non-Japanese
audience successfully interpret Tezuka’s
manga without understanding the
associated text? Identify how the image
and text will then play a different role
for different audiences.
Negotiating narratives
Consider how the viewer understands
the narrative when reading manga.
Debate if Tezuka’s story making style is
linear, non-linear or both. How do these
reading conventions enhance or hinder
the meaning of the storyline? Are there
any differing cultural conventions linked
to the act of reading that may be at play.
Original objects vs mass media
The exhibition Tezuka: The Marvel of
Manga is comprised of original drawings,
manga covers and promotional posters
of 22 individual manga stories. List the
materials used to make these illustrations
and mass media images and examine the
possibilities and limitations of working
with these materials. Respond to the
original works in the exhibition. Discuss
how they can be interpreted differently
by an audience, to their computer
generated counterparts, that are so
prevalent in the manga industry today.
One in the same – design and art?
Define the term design and compare
this to the term art. Investigate how
these meanings are both similar and
different. Tezuka did not have the
intention of exhibiting his work in a
gallery. Consider how this exhibition
at the Art Gallery of New South Wales
can influence an audience’s perception
of manga. Discuss how an art gallery is
capable of redefining the intentions of
this visual form?
The artist and curator
Philip Brophy is a contemporary film
maker, composer and writer as well
as the curator of the Tezuka: The
Marvel of Manga exhibition. Investigate
Brophy’s own body of work. Suggest
why he would have chosen to develop
and curate this particular exhibition.
Propose the qualities a curator who is
also a practicing artist might bring to the
exhibition process. Discuss if could there
be any detrimental effects balancing
these two professional perspectives.
Tezuka: the Marvel of Manga
is equally moulded by an aim
to contextualise manga for
a Western audience, and an
intention to critically posit
Tezuka as an artist clearly
aware of manga’s greater
potential as a transcultural
form of communication.
Philip Brophy
Curating Tezuka
Collect a variety of images from
Tezuka’s body of work. Propose your
own exhibition of his work. Outline a
curatorial rationale or theme for your
choices, organising your exhibition
design in a way that communicates
this to your target audience. Write an
introductory text panel and supporting
captions for each work chosen. Present
your proposal to the class, comparing
your exhibition to Philip Brophy’s
Tezuka: The Marvel of Manga. Discuss
how your exhibition experience will
differ from Brophy’s and the insights
into the subject it will offer.
tezuka on manga
Manga is virtual.
Manga is sentiment.
Manga is resistance.
Manga is masturbation.
Manga is bizarre.
Manga is pathos.
Manga is destruction.
Manga is arrogance.
Managa is love.
Manga is kitsch.
Manga is sense of wonder.
Manga is …
There is no conclusion yet.
From: Tezuka, Boku wa maga-ka (I am a Manga Writer)
Mainichi Newspapers, Tokyo, 1969

2 Images section

Transcription

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