NEWS

虫ん坊
Link
宝塚記念館企画展「ブッダ展」 潮出版ブッダ特集 手塚治虫文庫全集 JVA 手塚治虫マガジン AJA 日本動画協会

TezukaOsamu.net/en > NEWS > Tezuka Osamu Manga Museum > TOMM the 12th Exhibition: First Tezuka Osamu Cultural Prize – Award Winners Memorial Event

Tezuka Osamu Manga Museum

TOMM the 12th Exhibition: First Tezuka Osamu Cultural Prize – Award Winners Memorial Event

(1997/09/04)

Manga Grand Prix : Fujiko F. Fujio “Doraemon” Exhibition

 

Simultaneous opening :

 

Manga Award for Excellence : Hagio Moto “Zankoku na kami ga shihai suru” (A savage god dominates) Exhibition

 

Special Prize : Naiki Toshio “For the Establishment and Operation of the Contemporary Manga Library”

 

The first Manga works to be awarded the “Tezuka Osamu Cultural Prize” (sponsored by the Asahi News Paper) were announced in June 1997. All single-volume Manga published in the preceding year are eligible for the “Tezuka Osamu Cultural Prize”; the awards being decided according to a vote-ranking system by a selection committee comprising 25 members.

The Manga Grand Prix was awarded to Fujiko F. Fujio for “Doraemon”, with the Manga Award for Excellence going to Hagio Moto for “Zankoku na kami ga shihai suru” (A savage god dominates). The Special Prize for work or achievements contributing to the development of Manga went to Naiki Toshio who operates the Contemporary Manga Library in Waseda, Tokyo.

 

Tezuka Osamu, who debuted in the years following World War II, continued to draw story-based Manga throughout his career. These stories Manga redefined the notions of Manga as humorous tales of daily life and political satires, and he garnered support from numerous people for his incorporation of psychological descriptions, philosophical concepts, sci-fi and gags. The story-telling Manga created by Tezuka Osamu are in large part credited for the fact that contemporary Japanese Manga has developed to such an extent that it is now internationally recognized as a representative aspect of Japanese culture.

The “Tezuka Osamu Cultural Prize” was established with the desire that the spirit of Tezuka Osamu be carried on in Manga culture and further developed toward the 21st century. The selection of Fujiko F. Fujio and Hagio Moto to receive the first awards is fully in line with this intention. Fujiko F. Fujio created Shonen Manga (comics for young boys) throughout his career after debuting in 1951, whilst Hagio Moto revolutionized the genre of Shojo Manga (comics for young girls) formerly seen as reading materials aimed to turn young girls into good brides and wives. Moreover, her drawings, which turned the spotlight on the interior workings and details of the human psyche, widened the scope of Manga to include the literary category. In addition, the achievements of Naiki Toshio, who by opening his extensive collection of Manga books (which are apt to become scattered) and related materials to the public, provided a communal space for anyone wanting to trace the history of Japanese Manga, are set to become the cornerstone for the development of Manga in the 21st century.

This exhibition features chronological exhibits of the activities of Fujiko F. Fujio and Hagio Moto, together with representative works by the two artists, which reveal the circumstances and background of the age in which the award winning works were created. We hope that the original manuscripts for “Doraemon” and “Zankoku na kami ga shihai suru”, together with the explanatory panels will facilitate further appreciation of the fascination of these works. The unique activities being undertaken at the Contemporary Manga Library are introduced by way of a video installation.

 

 

Manga Grand Prix: Fujiko F. Fujio “Doraemon” Exhibition

Simultaneous serialization of “Doraemon” began in 1970 in Shogakukan publications for elementary school grade one through six, separately targeting students in each of the grades. “Doraemon” came into being during an age of comic books with realistic narratives. Manga for young adults had started to gain popularity as the baby boom generation grew up and the brilliance of comic books for young children had begun to fade. Single-volume sales of “Doraemon” (Tentomushi Comics) have exceeded 80 million, the Manga has twice been turned into a TV animation series, 18 feature-length animations have been made for cinema and “Doraemon” is something of a national hero, but all this would take sometime. “Doraemon” becoming a national hero was not just a matter of time, however, it was also due to the fact that the writing activities of Fujiko F. Fujio never moved away from the standards of Manga for young children, his unobtrusive faith in the dream that he wanted to create and his unremitting efforts to continue drawing.

 

(C) Fujiko F. Fujio/Shogakukan/TV Asahi

Part 1: The Artist ~ Fujiko F. Fujio

 

Fujiko F. Fujio (real name Fujimoto Hiroshi) has brought numerous national heroes into being, including “Doraemon”, “Obake-no-Qtaro”, “Paa-man” and “21emon”. Born on December 1, 1933 in Takaoka-shi, Toyama, Fujiko F. Fujio took his first steps along the long Manga road in 1944 when he met Abiko Moto-o at elementary school. The works that he created during his 45-year career, from his debut in 1951 to his last writings in 1996, revolved around Manga for young children, and he continuously to bestow dreams and aspirations on many, many readers. Part 1 of the exhibition is a chronological display including original manuscripts of representative works, panel reproductions and photographs from throughout Fujiko F. Fujio’s career. The showcases contain various precious items such as “Shotaiyo” (Little Sun), a pre-debut circular magazine in Fujiko F. Fujio’s own hand and his first single-volume Manga, “UTOPIA Saigo no sekai senso” (UTOPIA The Final World War).

 

Part 2: The Appeal of “Doraemon”

 

“Doraemon” has been serialized for more than twenty-odd years since he came into being in 1970, but what is the reason for his “appeal”, an appeal that has maintained the abiding popularity of this character to the present day? One reason is the lasting wonder of the union between Doraemon’s sci-fi mind and his run-of-the-mill gags. The stories also contain elements of the fairy tales that formed the basis for children’s comic books and are written with an unobtrusive intellect and dignity; there is also the appeal of the works themselves, which can even be enjoyed by “adults”. The endless succession of secret gadgets that “Doraemon” pulls out of his fourth dimensional pocket is another source of fascination. The hopes and dreams afforded by secret gadgets like the “Dokodemo-doa” (everywhere door), that when opened allows characters to go anywhere they want to, and the “Takekoputa” (small propellers), that enable the characters to fly freely, have captivated countless people.

 

Category 1: Original Manuscripts Reveal the Appeal of the Work

The exhibition comprises a mounted display of a selection of several of the original “Doraemon” manuscripts.

 

Category 2: 100 Secret Tools

 

A series of panels featuring a selection of 100 of the numerous tools that appeared in the “Doraemon” Manga. The exhibition also features 3D models of some of the tools.

 

 

 

 

 

 

      (C) Fujiko F. Fujio/Shogakukan/TV Asahi

 

 

Special Prize: Naiki Toshio “For the Establishment and Operation of the Contemporary Manga Library”

The Contemporary Manga Library, which opened in November 1978 in Tsurumaki-cho, Waseda, Shinjuku, Tokyo, originally contained some 27,000 volumes from the private collection of the chief librarian, Naiki Toshio, who began lending books at around 18, and 3,000 volumes gathered from collaborators around the country. It was the first full-fledged library of Manga materials in Japan. The library contains an exhaustive collection of valuable works from the late 1940s and early 1950s (the Showa 20s), single-volume Manga, Manga theories and magazines. The collection currently contains in excess of 140,000 titles, making this a valuable and unprecedented facility. Some 6,000 people use the library annually. Manga is identified as part of pop culture, but no organizations were attempting to collect, analyze, classify and archive related materials. The need for the Contemporary Manga Library, which was established with the cooperation of a group of enthusiasts who recognized the inherent dangers of this and the need to preserve Manga, and who were fired by a sense of mission, will become more apparent with passing time.

 

This exhibit includes video footage explaining the activities of the library and an interview with Naiki Toshio, together with panels offering views of the library and related explanations.

 

 

 

Manga Award for Excellence: Hagio Moto

“Zankoku na kami ga shihai suru” (A savage god dominates) Exhibition “Zankoku na kami ga shihai suru”, which started to be serialized in 1992 in Shogakukan’s bimonthly “Petite Flower” magazine, is still running today. The origin for the title is said to have been inspired by a phrase in the autobiography of the Irish poet and dramatist, W.B. Yeats. The Manga takes a modern theme of sexual abuse between same-sex partners as its opening premise and through the anxieties and traumas of a young boy, simultaneously depicts the sufferings of its protagonist through the humanistic relationships he seeks.

The Artist: Hagio Moto

Born on May 12, 1949 in Omuta-shi, Fukuoka. Hagio Moto, who read Tezuka Osamu’s “Shinsen-gumi” during high school, was shocked by the story’s portrayal of the unanswerable mental conflict of its protagonist and by the tensions in the work, and so began her dream of becoming a Manga artist. She made her debut as a Manga artist in 1969 with “Ruru to Mimi”. Part of the group known as “The flowers of ‘49″, Hagio Moto, together with Takemiya Keiko and Yamagishi Ryoko, who debuted at the same time, created a new sensation in the world of Shojo Manga (comics for young girls).

 

The fascination of “Zankoku na kami ga shihai suru” – original manuscript

 

The setting for “Zankoku na kami ga shihai suru” covers the late 19th and early 20th centuries, and the work is infused by the art deco drawing style, and is built on the royal road, with the foreign-oriented Boston or London stage setting characteristic of Shojo Manga. However, the story does not develop along the hackneyed lines of Shojo Manga and is no mere depiction of the yearnings and dreams of young girls, it progresses in a complicated manner, having its roots in the high standards of the story Manga of Tezuka Osamu. The tale has a dark, anti-social theme of the “sexual abuse of a young boy”. However, it does not deal with the selling of sex, sex is handled as one of the motifs supporting the story line. The fact that we enter the inner psyche of the story’s protagonist, Jeremy and become one with him as we become involved with the story, is in all probability due to our admiration for the reality of Hagio Moto’s portrayals and our enslavement to the perspicuity of her powers of observation of the human condition.

 

(C) Hagio Moto





News