By Mark W. MacWilliams
Explorations on the planet of Manga and Anime
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Extra resources for Japanese Visual Culture: Explorations in the World of Manga and Anime
Sample text
Kiby÷oshi, which mocked conventional mores through humor, jokes, satire, and cartoons, were often published as a series of monochrome paintings with captions. Kinkin sensei eiga no yume (Mr. Kinkin’s Dream of Prosperity), written by the humorous poet and ukiyo-e painter Harumachi Koikawa (1744–1789), was a groundbreaking work. In the story, Mr. Kinbei (his nickname in the story is Kinkin), standing before the store front of Awamochiya, daydreams that he gets adopted by the rich Izumiya family and attains the height of prosperity.
S. occupation provided an abundance of topics for satire. The Allied Powers, nevertheless, gave Japanese political artists more freedom than ever before. Although the headquarters of General Douglas MacArthur’s allied occupation censored some manga to ensure that they did not satirize the general, royal family members were caricatured in many manga magazines such as Shins÷o (The Truth) and the leftist Kumanbati. This was the only time, aside from the nineteenth-century “Freedom and People’s Rights Movement,” in which the emperor and the royal family were openly satirized (Shimizu 1991).
Hokusai published his fifteen-volume Hokusai manga between 1814 and 1878. While this work did not use the Toba-e style, it did use caricature to criticize social conditions after the Temp÷o period (1830–1844), which was characterized by famine, a rise in prices, and peasants’ riots. Hokusai was the first to coin the term manga, and his book became a bestseller. Manga started to permeate people’s everyday lives along with giga ukiyo-e (funny or playful picture ukiyo-e) and illustrated newspapers.
