I spent quite some time this week reading the “mook” マンガを描くために必要な12の掟, or “The 12 rules of drawing manga”. Such a great mook! Obviously aimed at children or young adults, the mook was written in a simple way that made it enjoyable for me to read.
I also read another chapter in the Try N2 book that I bought in October.
About that. It’s so easy for me to stock up on Japanese books when I’m in Japan (because when will you have the chance next?), but a whole different matter to actually put in the time and try to read them. So reading (and enjoying!) the manga rules mook really meant a lot. I bought it not on my last Japan trip, but on the one in October 2017.
More Japanese: I did a slow reading/translation of a shota section in Ero-manga studies, which I managed to buy second hand on my last Japan trip. And I did the same with an extremely detailed web summary (by way of collected tweets) on the etymology of shotacon. This was after the author contacted me and sent me the link – he will be a great resource for me.
In general I’ve corresponded a bit with research participants and friends in Japan this week, yes even a couple of academics in my research area. I booked an airbnb and will continue planning the latter half of our trip – which starts on Friday!
Otherwise I felt a bit weak healthwise this week. Even so I biked to the Transmediale at HKW to watch the talk “Autonomous Pirate Machinery” by Jan Gerber and Sebastian Lütgert (thereby skipping Artistic practices). It sounded interesting but was basically just a redundant demonstration of their website, which I had already checked out anyway. No passion, no showmanship. Just boring and a waste of time, so I left.
On Friday I attended the packed Audimax hall of Technische Universität to watch Judith Butler’s talk “Gender: Whose fantasy?”. As expected, the superstar delivered. Afterwards I had dinner at the vegan restaurant Vaust with my classmates. Pricey but not especially tasty, and super tiny portions – I had to eat again as soon as I came home.
- Nagayama, Kaoru. 2006. Ero manga sutadīzu: “Kairaku sōchi” to shite no manga nyūmon. Tokyo: Īsuto Puresu.
- 「ショタ、女性作家の台頭」(“Shota and the rise of female authors”), 83–86.
- 玄光社MOOK編集部. 2016. マンガを描くために必要な12の掟. 東京：玄光社。
- Budō’uru Kasuko. 2017. 「ショタコンの語源について（セルフまとめ）」
- Marks, Laura U. 2000. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham: Duke University Press.
- “Introduction”, 1–23.
- Sharma, Aparna. 2018. “Practices of Making as Forms of Knowledge: Creative Practice Research as a Mode of Documentary Making in Northeast India.” In Screen Production Research: Creative Practice as a Mode of Enquiry, edited by Craig Batty and Susan Kerrigan, 161–76. Cham: Palgrave Macmillan.
- Try N2
- Chapter 2.1, 30–37 (grammar points 9–15, no test).
- 1988: Mashin Eiyuuden Wataru. E17–18.
- Jan Gerber & Sebastian Lütgert (Transmediale): “Autonomous Pirate Machinery.”
- Judith Butler (Techniche Universität/Fachgesellschaft Geschlechterstudien): “Gender: Whose fantasy?”
- Los Angeles Plays Itself (Thom Andersen, 2003, 169 min)
- Ronja Rövardotter (Tage Danielsson, 1984, 120 min)
- Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, 1988, 100 min)