![]() ![]() Kinko Ito also roots manga historically in aesthetic continuity with pre-Meiji art, but she sees its post-WWII history as driven in part by consumer enthusiasm for the rich imagery and narrative of the newly developing manga tradition. Torrance has pointed to similarities between modern manga and the Osaka popular novel between the 1890s and 1940 and argues that the development of widespread literacy in Meiji and post-Meiji Japan helped create audiences for stories told in words and pictures. Schodt and Nash also see a particularly significant role for kamishibai, a form of street theater where itinerant artists displayed pictures in a lightbox while narrating the story to audiences in the street. However, others like Isao Takahata, Studio Ghibli co-founder and director, contends there is no linkage with the scrolls and modern manga. ![]() While there are disputes over whether Chōjū-jinbutsu-giga or Shigisan-engi was the first manga, both scrolls date back to about the same time period. Schodt also stresses continuities of aesthetic style and vision between ukiyo-e and shunga woodblock prints and modern manga (all three fulfill Eisner's criteria for sequential art). Schodt points to the existence in the 13th century of illustrated picture scrolls like Chōjū-jinbutsu-giga that told stories in sequential images with humor and wit. Writers stress continuity of Japanese cultural and aesthetic traditions as central to the history of manga. Japanese wood block illustration from 19th century Another example of the first half of the 19th century might be "Dehōdai mucharon" of 1822 with prints of Hiroshige, who illustrated several books of this kind between 18. ![]() Rakuten Kitazawa (1876–1955) first used the word "manga" in the modern sense. The word first came into common usage in the late 18th century with the publication of such works as Santō Kyōden's picturebook Shiji no yukikai (1798), and in the early 19th century with such works as Aikawa Minwa's Manga hyakujo (1814) and the celebrated Hokusai Manga books (1814–1834) containing assorted drawings from the sketchbooks of the famous ukiyo-e artist Hokusai who lived from 1760–1849. During the Edo period (1603-1867), another book of drawings, Toba Ehon, embedded the concept of manga. Manga is said to originate from emakimono (scrolls), Chōjū-jinbutsu-giga, dating back to the 12th and 13th centuries. According to Sharon Kinsella, the booming Japanese publishing industry helped create a consumer-oriented society in which publishing giants like Kodansha could shape popular taste. Kern stresses continuity of Japanese cultural and aesthetic traditions, including pre-war, Meiji, and pre-Meiji The other view states that, during and after the occupation of Japan by the allies (1945–1952), manga was strongly shaped by the Americans' cultural influences, including comics brought to Japan by the GIs, and by images and themes from US television, film, and cartoons (especially Disney). Their views differ in the relative importance they attribute to the role of cultural and historical events following World War II versus the role of pre-war, Meiji, and pre-Meiji Japanese culture and art: One view, represented by other writers such as Frederik L. Historians and writers on manga history have described two broad and complementary processes shaping modern manga. The word manga first came into usage in the late 18th century, though it only came to refer to various forms of cartooning in the 1890s and did not become a common word until around 1920. The form of manga as speech-balloon-based comics more specifically originated from translations of American comic strips in the 1920s, with several early such manga read left-to-right and the longest-running pre-1945 manga being the Japanese translation of the American comic strip Bringing Up Father. Manga, in the sense of narrative multi-panel cartoons made in Japan, originated from Euro-American-style cartoons featured in late 19th-century Japanese publications.
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