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Cheng Chua, Karl Ian Uy: "Pinoy Manga in Philippine Komiks." In: Global Manga. “Japanese” Comics without Japan? Hrsg. v. Casey E. Brienza. 2. Aufl. London, New York: Routledge, 2016, S. 185–197.
|Resource type: Book Article
BibTeX citation key: ChengChua2015
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Keywords: Interkulturalität, Kolonialismus, Philippinen
Creators: Brienza, Cheng Chua
Publisher: Routledge (London, New York)
Collection: Global Manga. “Japanese” Comics without Japan?
To a degree, Philippine komiks has always been highly associated with American culture since it began during the American occupation of the Philippines. There is an inherent understanding that komiks is a byproduct of American colonial life. The ease in which komiks became an integral form of entertainment during post-war Philippines reflects the willingness of local society to accept and absorb American culture. In fact, the cultural historians consider the post-war success of local komiks as the Golden Age of Philippine komiks. This eagerness to learn and succeed in all things American takes its roots in Philippine society’s drive to be considered equals by their former colonizers. This too is seen in the locally noted successes of particular komik artists in the American comic industry such as Alfredo P. Alcala who illustrated for Conan the Barbarian (1982–89), Whilce Portacio who became a co-founder of Image Comics (1992), and Gerry Alanguilan who is known as an inker for Marvel comics since 1996.
This paper examines the development of Pinoy manga as a komik aesthetic in the Philippines, the challenges this comic movement has faced within the local komik community, the space it is trying to generate for fans whose tastes and interests are shifting, and how Pinoy manga reflects the comic culture of the Philippines.
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