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Archive for the ‘Conventions’ Category

Let’s take a brief look at the influence of The Rose of Versailles had on two popular shojo series of the 1990s! Mild spoilers for Sailor Moon and Revolutionary Girl Utena.

Part 1: Introduction
Part 2: Origins of Shojo Manga
Part 3: Riyoko Ikeda (Part 1)
Part 4: Moto Hagio
Part 5: Keiko Takemiya
Part 6: Interlude: The Rose of Versailles Franchise
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Princess_Knight-1

Image: Princess Knight (リボンの騎士) manga cover. Tink, dressed in a green tunic and cap, whispers in Princess Sapphrie’s ear. Sapphire has short black hair and is wearing a big hat with feathers in it and a puffy-sleeved tunic.

Part 1: Introduction

Origins of Shojo Manga

Manga historians tend to identify the prolific and influential artist Osamu Tezuka as the creator of shojo manga, but the true origins of the genre are somewhat more complicated – and interesting!

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My co-panelist and friend Dr. Kathryn Hemmann of Contemporary Japanese Literature and I teamed up again at Geek Girl Con 2015 to give an improved version of our “Crossdressing in Anime and Manga” panel as well as a brand-new panel, “The Sparkling World of 1970s Shojo Manga,” originally presented Oct. 11, 2015. We are pleased to present a multi-part series based on the latter panel on this blog. We’d also like to thank not just our readers and panel attendees but the awesome section of teens who sat in the front row and squeed at all our pictures, especially Oscar’s.

Panel description

Shojo manga, or manga for young women, is at the center of a thriving comics publishing industry in both Japan and the United States. The legacy of shojo manga is readily apparent in contemporary media from Sailor Moon to Steven Universe, but where did it all begin? This panel offers a glimpse into the classic works that shaped the genre and still inform international fan cultures. Join us to learn more about graphic novels filled with romance, political intrigue, and tons of gender trouble. We’ll introduce you to the work of legendary artists such as Riyoko Ikeda, Moto Hagio, and Keiko Takemiya while celebrating the appeal of illustrated explosions of flowers that rival the flowery speeches given by fascinating characters.

Kyoto Manga Museum

Kyoto International Manga Museum [image: ceiling-to-floor shelves of 1980s manga, with each shelf labeled by year at the Kyoto International Manga Museum]

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I’ve been thinking a lot lately about how the ways in which marginalized geeks (women/nonbinary people, queer individuals, people of color, people with disabilities, et al.) interact with fandom. In particular, I’ve been thinking about how creative expressions of love (such as fanworks and cosplay) for media are treated poorly by society in general as well as individuals in their lives. (Specifically, of how individual straight male geeks fear that others’–particularly their female partners’–interests in shipping, crossplay, etc., somehow invalidates their delicate grasp on cultural masculinity.)

At Geek Girl Con, I attended an amazing panel of “Geek Elders” who told us all about female Star Trek fandom and making Kirk/Spock ‘zines in the 1960s and 70s–how many of these women’s husbands felt their participation in fandom detracted from their care of the home and children. How one of their colleague’s husband’s tried to have her committed. 

What I’ve learned, not just from this panel, but from years of reading about our geek forbears, is that we’ve always been here. We’re not going anywhere. On that note, I present a gender reader of geekery, with a very special Christmas song at the end!

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My co-panelist Kathryn over at Contemporary Japanese Literature took the time out of her summer of research and writing to do a summary post of the essay version of our panel on cross-dressing, which I am reblogging here.

Some final notes: I have wanted to write about this topic for a long time, and Kathryn has been an incredible resource, motivator, sounding-board, supporter, and editor. It’s been a treat being her co-panelist and collaborator on this project. Since my own research lies in performing masculinities, I’ve enjoyed learning about performing femininities from her, and I hope we’ve been able to discuss effectively the pitfalls and triumphs of series that feature cross-dressing.

Kathryn’s own work in the field of gender and media studies is incredibly important, and her blog about Japanese literature in translation is a wonderful resource. Check it out here: http://japaneselit.net/

Contemporary Japanese Literature

This past April, the ever-amazing Leah of The Lobster Dance and I gave a panel on cross-dressing in anime and manga at Sakura-Con in Seattle. Because we had an enormous turnout and not enough time to say everything we wanted to say, we decided to expand our talk and post it online.

Our essay is meant to be friendly and welcoming to newcomers to the fascinating field of Gender Studies, but readers should be advised that some portions of this essay contain mild spoilers for the series under discussion. For those of you who are looking for recommendations for anime, manga, and formal academic scholarship, feel free to jump ahead to our conclusion in Part Seven.

Dan Savage Drawn by Ellen Forney

Part One
The Superpositionality of Gender

Gender plays a strong role in the life of each and every human individual from the moment of birth, even despite our difficulties in defining what “gender”…

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Part Three: Humor(?)

In Part 3 of this series, Kathryn and I will be examining cross-dressing in comedies and comedic tropes about cross-dressing. Can cross-dressing be treated as more than the butt of a joke? Yes!

Part 2 here. All images safe for work. Mild spoilers for the works discussed; some larger spoilers for Ouran.

Via Gagging on Sexism.

Haruhi Fujioka has no time for your gender nonsense. Via Gagging on Sexism.

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Part Two: The Theatre

A novel by Rosalie Lamorlière. (Joyce Farmer discovers Ingrid Bergman's Joan of Arc in No Straight Lines, p. 25.

How can she be a girl if I love her so much?: A novel by Rosalie Lamorlière.
(Joyce Farmer discovers Ingrid Bergman’s Joan of Arc in No Straight Lines, p. 25.)

In this section, my co-author and I explore cross-dressing in the theatre, specifically all-male kabuki and all-female Takarazuka Revue, how these productions queer our views of the gender binary, and how the main character of The Rose of Versailles disrupts tropes about women cross-dressing as men. Part 1 here.

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