恐怖漫画日本恐怖漫画的主题和风格

Humanities Pub Date : 2023-12-28 DOI:10.3390/h13010008
Paolo La Marca
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摘要

这篇论文的目的是为 "一类 "漫画绘制第一张理想的地图,这类漫画已经并仍在经历一个非常成功的季节。尽管这些漫画被笼统地称为 "恐怖漫画 "或 "恐怖漫画",但它们应被置于一个神奇的叙事世界中,以逃避任何单一的表述。事实上,当我们谈及日本的恐怖作品时,我们往往会想象出一些明确的场景和刻板印象,这些场景和印象通常由一些小说、漫画,甚至是一些令西方人着迷的电影(如《指环王》(1998 年)和《少年派》(2000 年))所传达。尽管梅津和夫(楳图かずお,1936 年生)、日野日出志(日野日出志,1946 年生)和伊藤润二(伊藤润二,1963 年生)等作家在意大利也取得了成功,但人们对恐怖漫画的了解却很少。1963年),人们对恐怖漫画的了解仅限于一些作品和作者,而这些作品和作者仅仅代表了多色多面的叙事世界中的一小部分。换句话说,他们只是冰山一角,正等待着我们去揭开它的神秘面纱。这篇初步的论文旨在从主题/叙事的本质上追溯一条道路,从这条道路上,"恐怖 "漫画可以从非同步的、动态的和进化的角度出现。不言而喻,面对近七十年的恐怖漫画出版史,我们不可能进行详尽无遗的研究,将所有大大小小的出版现实都考虑在内。因此,我们将缩小研究范围,只关注特定的历史时期,从 1958 年开始到 20 世纪 80 年代的繁荣时期,研究这一时期最经常出现的主题和风格特征。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Horror Manga: Themes and Stylistics of Japanese Horror Comics
The objective of this contribution is to create a first, ideal mapping of a “category” of manga that has experienced and is still experiencing a very successful season. Although they are generically identified with the term “horror manga” or “horror comics,” these manga should be placed within a narrative universe so magmatic as to escape, however, any univocal representation. When we speak of Japanese horror, in fact, we tend to imagine well-defined scenarios and stereotypes, often conveyed by some novels, manga and, perhaps even more so, some films that have bewitched the West, such as The Ring (1998) and Ju-on (2000). Despite the success in Italy, too, of authors such as Umezu Kazuo (楳図かずお, b. 1936), Hino Hideshi (日野日出志, b. 1946) and Itō Junji (伊藤潤二, b. 1963), knowledge of horror manga is limited to a number of works and authors who represent, however, only a small percentage of a far more polychrome and multifaceted narrative universe. In other words, the tip of an iceberg just waiting to be brought to light. This preliminary contribution is intended to trace a path, thematic/narrative in nature, from which the route of “horror” manga can emerge in a diachronic, dynamic and evolutionary perspective. It goes without saying that, dealing with nearly seventy years of horror comic book publications, it will be impossible to make an exhaustive examination that takes into account all publishing realities, large and small. That is why the field of investigation will be narrowed down and focus exclusively on a specific historical period, from its beginnings in 1958 to the boom of the 1980s, examining the most recurrent themes and stylistic features of this time segment.
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