Si chiama “Manga Impact” la mostra allestita all’interno della Mole Antonelliana di Torino dal 16 settembre al 10 gennaio del 2010, a celebrare quello che è oramai considerato “proprietà” specifica di una generazione: il cartone animato giapponese. La “generazione Manga ", in fact. What is now forty years old or something more or less. Historical origins, legends, characters, content and posters, all this was and still is manga phenomenon, by Charles Chatrian, Olmo Giovannini and Fabrizio Modina. And then there are particular toys (amazing quantity and quality) from Versailles to Dragon ball, Jeeg robot from the Knights of the Zodiac to witness a close relationship between the world of animation and other sectors of the market for young people; Today, however, become a pop universe undeniable charm. All with the exposure of materials needed for the creation of a box (the cel or cels, that is an acetate sheet cellulose transparent housing a single design of a cutscene), with a few screenshots and a film retrospective, which is considered by professionals simply historical .
begin with a few caveats though, because it is good to clarify the meaning of words commonly used in Japan. The term "manga", used since the late eighteenth century was practically invented in the nineteenth century by the renowned artist Hokusai, who used it as the title of his collection of drawings. The word comes from the combination of two ideograms "man" (eseguito in modo rapido) e “ga” (disegno); così in parole semplici, il termine “manga” indica i fumetti nella loro generalità, pure se di provenienza straniera. Anche per questo è bene tenere separati – come peraltro si farebbe da noi - il fumetto (manga appunto), dal mondo dell’animazione giapponese (universalmente conosciuto come “anime”, forma contratta dell’inglese animation ); ed è quest’ultimo che, negli ultimi trent’anni, ha subito un vero e proprio boom con quei disegni che hanno popolato di robot e personaggi carismatici il nostro immaginario di adolescenti .
Gli umani dei “manga” giapponesi sembrano a prima vista irreali (in primo luogo nei tratti somatici), come “irreali”, per gli occidentali, appaiono l’impaginazione del fumetto, la sua strutturazione interna e i dialoghi fra i personaggi; essi riproducono una “filosofia” della composizione ben diversa da quella a cui siamo abituati in Occidente, che è riuscita tuttavia a influenzare il nostro stile dagli anni Novanta in poi. Si badi però che lo scambio, o per meglio dire il dialogo fra le due culture – orientale e occidentale – in termini di idee e di grafica, sarà una delle costanti che caratterizzeranno the world of manga and animation in general. To inspire Japanese cartoons were in fact too big themes "our" as the Odyssey, but also sports, romance and adventure in the fantastic, the paranormal and reality. Even Walt Disney has looked to Japan, after objectively influenced much of the cartoon of the Rising Sun. Many publishing houses in Italy (Granata Press, Star comics, manga and Planet) have specialized in the publication of the most significant stories of the warrior Ken to Dragon ball . Entered fully into the language and substance of the heroes of the young people of the third millennium .
Il mondo dell’animazione giapponese, invece, nasce nel 1917. Agli albori delle tecniche di animazione stanno artisti noti solo a un pubblico ristretto, parliamo di Seitaro Kitayama, Oten Shimokawa, Jun ichi Kochi e soprattutto Moburo Ofuji. Essa diventa una realtà produttiva negli anni Cinquanta, dopo un intervallo abbastanza fruttuoso di produzioni nazionaliste, grazie soprattutto allo studio di produzione Toei Doga. Negli anni Sessanta arriva la diffusione televisiva dell’ormai mitico Astro boy di Osamu Tezuka fra i primi super robot dell’animazione giapponese (sta all’animazione nipponica Mickey Mouse as the American one!), whose author was able to be very modern values \u200b\u200bsuch as pacifism and tolerance, parallel to the European Mitsuteru Yokoyama inspired Frankenstein and the Golem of Prague will create the first giant robot animation history: Tetsujin 28 . We are still a few years later in 1963, also born Kimba the white lion of years after Tezuka which will draw on the highly successful Disney "Lion King". Then the boom thanks to a few names now "legend." Mazinger Z (1972), Great Mazinger (1974) and Ufo Robot Grandizer - that Grendizer - (1975). Since 1972 it has on the scene that the great Go Nagai Devilman has signed with its entry into the world of animation (even if it will suffer the complaints, however, very widespread practice, especially in the West), his most successful will Mazinger Z, the founder of the interminable race of robots that "conquered" Europe, changing the ordinary perception of the animation (a place of honor in this respect will be up to two studies Gainax and Sunrise) .
however, deserve a chapter of the cartoons that target is decidedly feminine (perfectly classified and broken down by themes, such as Candy Candy for example), even if there is to say that unlike many European productions, the female figure will be of great importance in the Japanese manga, do you want for the role Pin-up (whose boundaries are the hentai for adults), or as a doll-boy wizard by winning smile and incredible hair. But even the great Captain Harlock, the space pirate yet devised in the seventies by Leiji Matsumoto, deserves a place in itself. This is how his many fans will no longer purely romantic icon of childhood as the curators of the exhibition in Turin have put bene in evidenza: «Harlock ha traghettato più di uno di noi in quell’età irrequieta che è l’adolescenza, preparandoci agli urti della vita e facendoci intuire che sempre un altro orizzonte è possibile». Matsumoto è riuscito a creare una miscela intrigante fra il racconto epico e la vicenda malinconica, affascinando i giovani italiani degli anni Ottanta con le sue storie della terra del futuro (un pianeta divenuto orribile), minacciata dalle bellissime mazoniane (ancora donne!). Harlock è un anarchico, un pessimista, ma è convinto che fra la distruzione e il nulla, un mondo migliore sia possibile. E difende a denti stretti quello che ritiene il valore massimo: la libertà .
Discorso ancora a sé, nell’infinito universo manga e anime è da farsi poi per la Tatsunoko production che ha prediletto tematiche ora profondamente drammatiche, ora esasperatamente comiche, da humor di tipo demenziale, per intenderci (tutti ricorderanno il cartone Yatterman ). In definitiva, si può dire che la “generazione Manga” in Italia sia nata proprio negli anni Settanta e però si sia presto rinnovata, anche se i cartoni giapponesi – distribuiti al cinema – sono arrivati nel nostro Paese fin dagli anni Sessanta. Ma è la tv (cosa sarebbe stata this generation without TV?), to transmit the anime since the second half of the seventies. Beginning with Barbapapa , Vicky the Viking, the unforgettable and the legendary Heidi Grendizer icon of freedom. To support the success of cardboard in Italy was also the parallel spread of color television that made magical images, animated pictures and sound, also entered in the annals of cult objects of the generations to follow. But then more than ten years later, there was an inevitable crisis, also due to the bad reputation that the souls in the meantime had obtained (violent and sometimes obscene). The recovery - the so-called "Second Impact" - has occurred through commercial channels and home video (which, however, had kept alive the manga-mania for all the nineties), at the end of the last millennium, and thanks especially to MTV. At this point, then, comes into play the strength of the Internet. Manifesto of the new Japanese cartoon series was the creation of Hideaki Anno and Gainax of the sci-fi Neon Genesis Evangelion .
The issue that you mentioned about the complaints and the lack of consideration "educational" enjoyed manga, is quite intricate to finish. Upstream is the idea that Japan has in the comic, not a product specifically for kids, but a work of art rather complicated, by genre and target audience. To this must be added the fact that, often, cuts, censorship, voiceovers, errors, and so on, taken to protect the minor bands, took place with little expertise or over-zealous moralizing. So much to change or quash the story. One problem that many students saw the rise of manga and that seems to have been partially solved with programming in different bands for adults. It must be said, however, that the scenes of violence in manga and anime have not been provided as an end in themselves but - especially in cartoons with robots - a representative of the contemporary world in which evil can not and should not be hypocritically concealed. It is always up to the imagination to enliven the party that the hidden reality even to their children better, no?
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