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Manga!

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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HVK

Music fans will remember July of 1989 for one reason: the historic concert of Pink Floyd, one of the greatest rock bands of all time, in Venice for the Feast of the Redeemer. Nearly two hundred thousand people, including Tom Cruise and Woody Allen rushed to the feet of the lagoon to listen to free the authors of "Wish You Were Here" and "The Wall". Not lacking, as you recall, the controversy over the "massacre" as defined by Panorama of one of the most beautiful cities in the world, reduced to misery in the open ward, worse: a dunghill .

There is a minority of purists, or perhaps simply fans, who remember with a state of mind than July 16, 1989, the day after Feast of the Redeemer. That day in Anif near Salzburg was leaving forever Herbert von Karajan, probably the greatest conductor never lived in any case one of the greatest personalities of the twentieth century Europe. The master was 81 years old, was in fact born on April 5, 1908 in Salzburg.

Who and what was Karajan? How to explain it to those who love the rhythms Americans, the little voices of Pooh and the stories of Jovanotti? How to explain it to those who have never visited an opera (or has never heard a symphony orchestra), and barely know the existence of symphonies by Beethoven and one or two works by Giuseppe Verdi? How to explain it to those who believe that much on TV that tell us about "Greatness" of this or that market phenomenon? We'll try and in a few words. Karajan was an artist with an extraordinary charisma, was what is known as a quiet man, not prone to the word, the spell of the mountain landscape and yoga. Even the media were the architects of his fame (especially in the last period), but he knew how to speak the facts. And how .

The Private Life of the Master for most of the fans remains a mystery. Neither his autobiography dictated to Franz Endler (editions in Italy for Pantheon, 1994); né il recente libro della vedova, la provenzale Eliette Mouret , peraltro carico di aneddoti ( Mein Leben auf seiner Seite ), sono riusciti a colmare alcune lacune “esistenziali”. Rilevanti o meno che siano. Non è il caso, però, della sua appartenenza al partito Nazionalsocialista ai tempi di Hitler, del quale anzi si dibatte da anni. Karajan si iscrisse alla Nsdap perché (era bravo ergo ) voleva far carriera. In un regime totalitario stare dalla parte del Partito unico produce dei vantaggi, è come scoprire l’acqua calda. Ma è il caso semmai delle conseguenze maturate proprio in seguito all’adesione al Nazionalsocialismo .

image and her attention, Karajan became the first postwar years after the protagonist of a book of philosophy (or fiction). Karajan seemed unreal, like a man. It was the clipping of a good volume of Nietzsche (or perhaps Jünger, or simply a novel by Maugham). Unlike a common theory, however, had the ability to create, and to experience music like few others. The most beautiful orchestral sounds of the twentieth century would have been plucked from his wand. The greatest emotions were governed by this Salzburg of just over one meter and seventy. A man of indescribable perfectionism, always pragmatic and continuous search for new readings, was fitted with a common memory (ran without score, eyes closed), and was capable of moments of concentration and pace of work is difficult to beat .

of missing anything to be number one. And he (deservedly) a success unprecedented in the history of so-called directory of "classical" in music and theater. Karajan's conducting with Nureyev as the ballet, and a few other Kubrick film directing .

His career began in 1929 with the task of chief conductor at the theater of Ulm. Continues to Aachen from 1935 to 1942. Years of effective stay in Hitler's Party (its original inscription dating back to 1933, is considered a mere formality). After the war worked in London with the Philharmonia Orchestra founded by Walter Legge, in 1955, after the death of rival Furtwängler became director for life of the Berlin Philharmonic one of the greatest orchestras in the world, who will conduct up to three months before his death ( April 1989) .

  Nel 1933 Karajan debutta al Festival estivo di Salisburgo, rinato nel 1919 grazie all’impegno fra gli altri di Richard Strauss e Hugo von Hofmannsthal. Negli anni Cinquanta ne diventerà il direttore artistico. Nel 1967 ancora a Salisburgo fonda il Festival di Pasqua che curerà fino all’ultimo dei suoi giorni. Frattanto sarà direttore artistico della prestigiosissima Opera di Vienna. Alla fine degli anni Cinquanta si farà in quattro (anzi cinque) per onorare gli incarichi di cui gode a Vienna, Berlino, Salisburgo, Milano e Londra. Eccezionale !

Armed with white tie rod and turn the world, including the Temple of Wagner's Bayreuth, will ascend above the podium at La Scala from 1950 to 1968. The 1954 is the "Lucia di Lammermoor" in Berlin (Orchestra della Scala) with Maria Callas and Giuseppe Di Stefano (who will conduct only in "Lucia", "Butterfly" and "Trovatore"): Master of the attack on the house in queue to "Soon to shelter me" content is missing from chills. Karajan directing in Rai. In the golden years, the company took care of the state symphony orchestras, as today shows that care go beyond the boundaries of voyeurism. A Viale Mazzini has passed directly from the fifth of the Sibelius Fifth bra.

productions of the Master who made their mark in world culture are those of the "Ring" by Richard Wagner, but Karajan was able to successfully engage ' French and Italian opera (Verdi and Puccini). Unsurpassed in the direction of the Romantic repertoire, his favorite composers were also Mahler, Richard Strauss, Dvorak and Shostakovich. The official anthem of the European Union adopted (taken from Beethoven's Ninth Symphony) was arranged and recorded by Master .

Karajan was a magician of the art. Not just a manager "tradition" (as indeed there are large and very large), not just a "philologist" concentrate on the written sign, but much more. Unsettling. Able to create images like the end of Beethoven's Eroica and plunge to the depths of the symbol; able to say "everything" for orchestra and singers in a few notes or bars (as in "Bohème" of the couple Freni-Pavarotti or in "Salome" with the Welitsch ), capable of amazing sound, light, sunny hours and hours arrembanti hard, almost torturing. And then capable of normal (often the greatest obstacle to the common conductors): fidelity to the text, harmony between the actors on stage. Never a gesture, phrase or simple word out of place, even when they will be responsible for directing, even though the Master was known for his litigiousness .

Is that all? No, why Karajan was also a talent scout, a discoverer of voices. He opted not poteva essere diversamente per la qualità dei cantanti. Nell’ultima fase della carriera, fu schiavo della propria immagine di demiurgo, e venne catturato   da quel lungo declino dell’opera lirica cominciato negli anni Settanta: la resa e soprattutto la scelta dei “suoi” interpreti non furono dunque all’altezza delle aspettative e delle esperienze precedenti .

  Karajan non fu un comune conservatore innamorato della tradizione musicale austro-germanica, di partiture ingiallite e di velluti rossi. Ma fu un rivoluzionario: credeva nel futuro, nella qualità e nella perfezione dei supporti tecnologici (venne per questo, a lungo, criticato). Fu un cultore delle scienze ingegneristiche. Affascinato dall’incisione su disco (al contrario di altri noti colleghi), delle sue performance sono stati venduti più di cento milioni di video e dischi, dai 78 giri ai compact disc. Il giorno della morte si calcolò che esistessero n-o-v-e-c-e-n-t-o diverse incisioni del Maestro in giro per il mondo (parliamo di vent’anni fa!). Vogliamo scherzare coi numeri? Potremmo dire anche per questo che Karajan è stato un uomo, anzi l‘uomo, del Novecento .

One of his last public appearances, perhaps the most famous of all time (adored by collectors) is for the New Year Concert 1987. The master is ill. At the Musikverein the scene is the swan song of Western civilization: the decline of the West - Part II. The Maestro would direct the Strauss' Voices of Spring "but in a few years would explode the winter musical, perhaps forever. Karajan one of the last symbols of the European cultural universe, had been an example for all: the heart of old Europe, the future mind.