Traditional Monster Imagery in Manga, Anime and Japanese Cinema

273 Pages·2010·135.15 MB·English

by  Zilia Papp

TRADITIONAL MONSTER IMAGERY
IN
MANGA, ANIME AND JAPANESE CINEMA
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Traditional Monster Imagery
in
Manga, Anime
and
Japanese Cinema
by
Zília Papp
HOSEI UNIVERSITY
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TRADITIONAL MONSTER IMAGERY IN MANGA, ANIME
AND JAPANESE CINEMA
By Zília Papp
First published 2011 by
GLOBAL ORIENTAL
PO Box 219
Folkestone
Kent CT20 2WP
UK
www.globaloriental.co.uk
Global Oriental is an imprint of Koninklijke Brill NV, Leiden, The Netherlands.
Koninklijke Brill NV incorporates the imprints BRILL, Global Oriental
Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers, and VSP.
© Zília Papp 2011
ISBN 978-1-906876-52-4
All rights reserved. No part of this publication
may be reproduced or transmitted in any form or by any
electronic, mechanical or other means, now known
or hereafter invented, including photocopying and
recording, or in any information storage or retrieval
system, without prior permission in writing from
the publishers.
British Library Cataloguing in Publication Data
A CIP catalogue entry for this book is available
from the British Library
Publication of this book was supported by the
Hosei University Academic Book Publication Award.
Set in Plantin 10 on 11.5 point by Servis Filmsetting, Cheshire
Printed and bound in England by CPI Antony Rowe Ltd., Chippenham, Wilts
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For my family
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Contents
∞
Acknowledgements viii
List of Figures xi
List of Tables xxiii
1 Introduction: Context and Contemporary Scene 1
2 Geisha and Robot 8
How About Monsters? 17
Manga in the Museum 18
3 New Vienna School Approach 22
Case Study – Ubume 28
4 Yo¯kai Art from Prehistory to Modernity 38
Mountain Yo¯kai 42
Water Yo¯kai 44
Yo¯kai of the Village and the Home 46
Art and the Supernatural in the Jomon Period
((cid:10646)(cid:6757)(cid:6892)(cid:3046), cca. 13,000 – 300 BCE) 48
Heian Period ((cid:5561)(cid:5107)(cid:6892)(cid:3046), 794 CE – 1185 CE) 55
Muromachi Period ((cid:5130)(cid:9195)(cid:6892)(cid:3046), 1333 CE – 1573 CE) 63
Edo Period ((cid:7908)(cid:6238)(cid:6892)(cid:3046), 1603 CE – 1868 CE) 68
Meiji Period ((cid:6850)(cid:7966)(cid:6892)(cid:3046), 1868 – 1912) 78
Post- war Monsters – Mizuki Shigeru, Professor of Monsters 93
5 Multitude of Monsters in Multimedia 107
Animals and Plants 107
Water Monsters 107
Mountain Monsters 127
Utensils and Natural Phenomena 134
Human Monstrosities 145
6 Yo¯kai in Cinema, 1968 – 2008 161
Great Yo¯kai Wars, 1966 – 2005 161
Kitaro on Film, 2007 173
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viii TRADITIONAL MONSTER IMAGERY
Dororo, 2007 175
Lurking in the Shadows: The Artists Responsible for the
Visual World of Yo¯kai in Japanese Contemporary Cinema 180
From Ghostbusters to Yo¯kai Monsters – Etsuko Egawa,
Special Make-u p Effects and Modelling Artist 180
Monster Fashion – Hibino Kodue, Costume Design Artist 186
Monsters in Kimono – Chiyoda Keisuke, Costume Design Artist 190
Monsters of Game Arcades – Inoue Junya, Game Designer and
Computer Graphics Artist 193
Monster Amusement Park - Inagaki Hisao, Art Director and
Set Design Artist 200
7 Monster Landscapes 207
Harakiri and Bloodshed in the Countryside: Ekin, the
Vagabond Painter 215
Bibliography 226
Glossary of Terms 234
Glossary of Persons 237
Index 239
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Acknowledgements
∞
For the publication of this book, I would like to convey my gratitude for the won-
derful work of my publishers Paul Norbury and David Blakeley, without whose
support and help this volume could not have been produced.
I would also like to thank Dr Kawanabe Kusumi, director of the Kawanabe
Kyo¯sai Memorial Museum; my honorary doctorate supervisor Professor John Clark,
Director of the Australian Centre for Asian Art and Archeology, The University
of Sydney; Timothy Clark, Head of Japanese Section, The British Museum; my
research supervisor Professor Sakai Shigekazu at the Graduate School of Global
Information and Telecommunication Studies, Waseda University; animator and
creative artist Rachel Walls as well as animation director Jankovics Marcell, DLA,
Hungarian Academy of Fine Arts, Director of Pannónia Filmstudió 1996-2007
and the curatorial staff of the Fukuoka Asian Art Museum for their kind help and
guidance I received during my work.
ZÍLIA PAPP
Budapest
Summer 2010
NOTE ON TRANSLITERATION AND ROMANIZATION
For Japanese words the Hepburn transliteration system is employed. Exceptions to
the rule are familiar place names that are commonly written without the macrons
indicating long vowels (e.g. Tokyo rather than To¯kyo¯). Similarly, because of the
extensive use of Japanese words throughout the text, the usual convention of itali-
cizing Japanese those words that have not yet entered the English language has not
been followed. for presentational reasons
As regards names, the Japanese convention of putting family names fi rst has been
followed throughout.
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