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Asian Popular Culture: New, Hybrid, and Alternate Media, edited by
John A. Lent and Lorna Fitzsimmons, is an interdisciplinary study
of popular culture practices in Asia, including regional and
national studies of Japan, China, South Korea, and Australia. The
contributors explore the evolution and intersection of popular
forms (gaming, manga, anime, film, music, fiction, YouTube videos)
and explicate the changing cultural meanings of these media in
historical and contemporary contexts. At this study's core are the
roles popular culture plays in the construction of national and
regional identity. Common themes in this text include the impact of
new information technology, whether it be on gaming in East Asia,
music in 1960s' Japan, or candlelight vigils in South Korea;
hybridity, of old and new versions of the Chinese game Weiqi, of
online and hand-held gaming in South Korea and Japan that developed
localized expressions, or of United States culture transplanted to
Japan in post-World War II, leading to the current otaku (fan boy)
culture; and the roles that nationalism and grassroots and
alternative media of expression play in contemporary Asian popular
culture. This is an essential study in understanding the role of
popular culture in Asia's national and regional identity.
The personal anecdotes and candid reflections on the lives and work
of these important critical scholars, and their predictions on the
future of the field, make this book a valuable resource for
scholars and students of communication, media studies, political
economy, political science, and those interested in critical
theoretical approaches.
Asian Popular Culture in Transition examines contemporary
consumption practices in South Korea, China, India, and Japan, and
both updates and extends popular culture studies of the region.
Through an interdisciplinary lens, this collection of essays
explores how recent advances and shifts in information technologies
and globalization have impacted cultural markets, fashion, the
digital generation, mobile culture, femininity, matrimonial
advertising, and a film actress' image and performance. Drawing
upon a diverse range of sources and methods including historical
research, content analysis, anthropological observation, textual
analyses, and interviews, Asian Popular Culture in Transition makes
a significant contribution to this growing area of research. Given
its broad range of countries, theories, and approaches, this book
will be of great interest to students and scholars of Asian
studies, cultural studies, media and communication studies, and
gender studies.
This book provides perspectives on relationships between Asian
popular culture and a number of major socio-political issues and
movements, including war responsibility, democratization,
globalization, urbanization, modernization, and gender
reconstruction. It consists of studies of film, music, television,
anime, architecture, and computer-mediated communication in China,
Japan, South Korea, Taiwan, the Philippines, Malaysia, and
Singapore. Themes include the relationships between popular culture
and nationalism, Western social forces and cultural forms,
regionalism, political change, modernity, traditionalism, and
gender identity. The three sections of the book--memory, city,
celebrity--are interlinked in their shared concern with the
socio-political functions of popular culture.
This book explores various aspects of transnationalism and comics
art in six East Asian and seven Southeast Asian
countries/territories. The 14 richly illustrated chapters embrace
comics, cartoons, and animation relative to offshore production,
transnational ownership, multinational collaboration, border
crossings of comics art creators and characters, expansion of
overseas markets, cartoonists in political exile, colonial
underpinnings, adaptation of foreign styles and formats,
representation of other cultures, and more. Using case studies,
historical accounts, descriptive overviews, individual artists'
profiles, and representational analyses, and fascinatingly told
through techniques as document use, interviews, observation, and
textual analyses, the end result is a thorough, interesting, and
compact volume on transnationalism and comics art in East and
Southeast Asia.
In Asian Political Cartoons, scholar John A. Lent explores the
history and contemporary status of political cartooning in Asia,
including East Asia (China, Hong Kong, Japan, North and South
Korea, Mongolia, and Taiwan), Southeast Asia (Brunei, Cambodia,
Indonesia, Malaysia, Myanmar, Philippines, Singapore, Thailand, and
Vietnam), and South Asia (Bangladesh, India, Iran, Nepal, Pakistan,
and Sri Lanka). Incorporating hundreds of interviews, as well as
textual analysis of cartoons; observation of workplaces, companies,
and cartoonists at work; and historical research, Lent offers not
only the first such survey in English, but the most complete and
detailed in any language. Richly illustrated, this volume brings
much-needed attention to the political cartoons of a region that
has accelerated faster and more expansively economically,
culturally, and in other ways than perhaps any other part of the
world. Emphasizing the "freedom to cartoon," the author examines
political cartoons that attempt to expose, bring attention to,
blame or condemn, satirically mock, and caricaturize problems and
their perpetrators. Lent presents readers a pioneering survey of
such political cartooning in twenty-two countries and territories,
studying aspects of professionalism, cartoonists' work
environments, philosophies and influences, the state of newspaper
and magazine industries, the state's roles in political cartooning,
modern technology, and other issues facing political cartoonists.
Asian Political Cartoons encompasses topics such as political and
social satire in Asia during ancient times, humor/cartoon magazines
established by Western colonists, and propaganda cartoons employed
in independence campaigns. The volume also explores stumbling
blocks contemporary cartoonists must hurdle, including new or
beefed-up restrictions and regulations, a dwindling number of
publishing venues, protected vested interests of conglomerate-owned
media, and political correctness gone awry. In these pages,
cartoonists recount intriguing ways they cope with
restrictions-through layered hidden messages, by using other
platforms, and finding unique means to use cartooning to make a
living.
Since 1945, Britain's political and cultural landscape has been transformed by social movements campaigning on issues of gender, race, disability, sexuality, the environment, and peace. Yet until now there has been no systematic attempt to chart the histories of these movements alongside one another. From early attempts to decriminalize gay sex to the movement against globalization, this book gives fresh insights into a neglected side of British history.
Grand in its scope, Asian Comics dispels the myth that, outside
of Japan, the continent is nearly devoid of comic strips and comic
books. Relying on his fifty years of Asian mass communication and
comic art research, during which he traveled to Asia at least
seventy-eight times and visited many studios and workplaces, John
A. Lent shows that nearly every country had a golden age of
cartooning and has experienced a recent rejuvenation of the art
form.
As only Japanese comics output has received close and by now
voluminous scrutiny, "Asian Comics" tells the story of the major
comics creators outside of Japan. Lent covers the nations and
regions of Bangladesh, Cambodia, China, Hong Kong, India,
Indonesia, Korea, Malaysia, Myanmar, Nepal, the Philippines,
Singapore, Sri Lanka, Taiwan, Thailand, and Vietnam.
Organized by regions of East, Southeast, and South Asia, Asian
Comics provides 178 black & white illustrations and detailed
information on comics of sixteen countries and regions--their
histories, key creators, characters, contemporary status, problems,
trends, and issues. One chapter harkens back to predecessors of
comics in Asia, describing scrolls, paintings, books, and puppetry
with humorous tinges, primarily in China, India, Indonesia, and
Japan.
The first overview of Asian comic books and magazines (both
mainstream and alternative), graphic novels, newspaper comic strips
and gag panels, plus cartoon/humor magazines, "Asian Comics" brims
with facts, fascinating anecdotes, and interview quotes from many
pioneering masters, as well as younger artists.
Asian Popular Culture: New, Hybrid, and Alternate Media, edited by
John A. Lent and Lorna Fitzsimmons, is an interdisciplinary study
of popular culture practices in Asia, including regional and
national studies of Japan, China, South Korea, and Australia. The
contributors explore the evolution and intersection of popular
forms (gaming, manga, anime, film, music, fiction, YouTube videos)
and explicate the changing cultural meanings of these media in
historical and contemporary contexts. At this study's core are the
roles popular culture plays in the construction of national and
regional identity. Common themes in this text include the impact of
new information technology, whether it be on gaming in East Asia,
music in 1960s' Japan, or candlelight vigils in South Korea;
hybridity, of old and new versions of the Chinese game Weiqi, of
online and hand-held gaming in South Korea and Japan that developed
localized expressions, or of United States culture transplanted to
Japan in post-World War II, leading to the current otaku (fan boy)
culture; and the roles that nationalism and grassroots and
alternative media of expression play in contemporary Asian popular
culture. This is an essential study in understanding the role of
popular culture in Asia's national and regional identity.
This is the first overview of cartoon art in this important
cultural nexus of Asia. The eight chapters provide historical and
present-day overviews of cartoons and comics in Indonesia, the
Philippines, Thailand, Cambodia, and Vietnam, and sociocultural and
political analyses of cartooning in Singapore, Myanmar, and
Malaysia. The volume benefits from firsthand accounts gleaned from
hundreds of interviews with Southeast Asia's major cartoonists,
conducted by the four authors, as well as textual analyses of
specific cartoons, on-the-spot observations, and close scrutiny of
historical documents. All genres of printed cartoon art are
studied, including political and humour cartoons, newspaper comic
strips, comic books, and humour/cartoon periodicals. A sense of
trends and problems offers topics for further discussion and
comparison with cartoon art of other parts of the globe. Among such
topics are national identity, transnational public sphere,
globalization, alternative media forms, freedom of expression,
consumerism, and corporatism. Southeast Asian cartoon art has a
number of features unique to the region, such as having as
pioneering cartoonists three countries' founding fathers, comics
that gave their name to a national trait, some of the earliest
graphic novels worldwide, and a king who hired a cartoonist to
illustrate his books.
Through interviews with scholar and essays evaluating their work,
John A. Lent compiles a sparkling introduction not only to the
different roads taken by these scholars en route to their
discoveries but also to the critical byways that they have opened
for others.
Dallas Smythe, George Gerbner, Herbert Schiller, James Halloran,
Kaarle Nordenstreng- these five seminal figures form the backbone
of current scholarship in critical communication. From policy
research to television demographics and from economic globalization
to cultural imperialism, their insights and discoveries have given
both scholars and the
Women's Manga in Asia and Beyond offers a variety of perspectives
on women's manga and the nature, scope, and significance of the
relationship between women and comics/manga, both globally as well
as locally. Based on the activities since 2009 of the Women's MANGA
Research Project in Asia (WMRPA), the edited volume elucidates
social and historical aspects of the Asian wave of manga from
ever-broader perspectives of transnationalization and
glocalization. With a specific focus on women's direct roles in
manga creation, it illustrates how the globalization of manga has
united different cultures and identities, focusing on networks of
women creators and readerships. Taking an Asian regional approach
combined with investigations of non-Asian cultures which have felt
manga's impact, the book details manga's shift to a global medium,
developing, uniting, and involving increasing numbers of
participants worldwide. Unveiling diverse Asian identities and
showing ways to unite them, the contributors to this volume
recognize the overlaps and unique trends that emerge as a result.
The personal anecdotes and candid reflections on the lives and work
of these important critical scholars, and their predictions on the
future of the field, make this book a valuable resource for
scholars and students of communication, media studies, political
economy, political science, and those interested in critical
theoretical approaches.
Popular Culture in Asia consists studies of film, music,
architecture, television, and computer-mediated communication in
China, Japan, South Korea, Taiwan, the Philippines, Malaysia, and
Singapore, addressing three topics: urban modernities; modernity,
celebrity, and fan culture; and memory and modernity.
Since 1945, Britain's political and cultural landscape has been
transformed by social movements campaigning on issues of gender,
race, disability, sexuality, the environment and peace. Yet until
now there has been no methodical attempt to chart the histories of
these movements alongside one another. From early attempts to
decriminalise gay sex to the movement against globalisation, Sex,
Colour, Peace and Power takes a comprehensive approach to social
movements that allows fresh insight into a neglected side of
British history.
Asian Popular Culture in Transition examines contemporary
consumption practices in South Korea, China, India, and Japan, and
both updates and extends popular culture studies of the region.
Through an interdisciplinary lens, this collection of essays
explores how recent advances and shifts in information technologies
and globalization have impacted cultural markets, fashion, the
digital generation, mobile culture, femininity, matrimonial
advertising, and a film actress' image and performance. Drawing
upon a diverse range of sources and methods including historical
research, content analysis, anthropological observation, textual
analyses, and interviews, Asian Popular Culture in Transition makes
a significant contribution to this growing area of research. Given
its broad range of countries, theories, and approaches, this book
will be of great interest to students and scholars of Asian
studies, cultural studies, media and communication studies, and
gender studies.
International Convention of Asia Scholars 2019 Book Prize - Best
Art Publication In the most comprehensive and authoritative source
on this subject, Comics Art in China covers almost all comics art
forms in mainland China, providing the history from the nineteenth
century to the present as well as perspectives on both the industry
and the art form. This volume encompasses political, social, and
gag cartoons, lianhuanhua (picture books), comic books, humorous
drawings, cartoon and humor periodicals, and donghua (animation)
while exploring topics ranging from the earliest Western-influenced
cartoons and the popular, often salacious, 1930s humor magazines to
cartoons as wartime propaganda and comics art in the reform.
Coupling a comprehensive review of secondary materials (histories,
anthologies, biographies, memoirs, and more) in English and Chinese
with the artists' actual works, the result spans more than two
centuries of Chinese animation. Structured chronologically, the
study begins with precursors in early China and proceeds through
the Republican, wartime, Communist, and market economy periods.
Based primarily on interviews senior scholar John A. Lent and Xu
Ying conducted with over one hundred cartoonists, animators, and
other comics art figures, Comics Art in China sheds light on tumult
and triumphs. Meticulously, Lent and Xu describe the evolution of
Chinese comics within a global context, probing the often-tense
relationship between expression and government, as well as proving
that art can be a powerful force for revolution. Indeed, the
authors explore Chinese comics art as it continues to grow and
adapt in the twenty-first century. Enhanced with over one hundred
black-and-white and color illustrations, this book stands out as
not only the first such survey in English, but perhaps the most
complete one in any language.
A worldwide classification system of comic art, including comic
books, comic strips, animation, caricature, political &
editorial cartoons, and gag cartoons based on John A. Lent's
pioneering bibliographic work. Created in honor of Lent's 80th
birthday.
University Of Nebraska Studies, No. 24, January, 1961. A Discussion
And Comparison For The Western Musician Of The Basic Tones And
Intervals Of The Hindu Classical Music.
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