{"id":1556,"date":"2014-04-22T02:52:53","date_gmt":"2014-04-22T02:52:53","guid":{"rendered":"https:\/\/tezuka.strobez.ca\/wp\/?page_id=1556"},"modified":"2014-04-22T02:52:53","modified_gmt":"2014-04-22T02:52:53","slug":"bibliography","status":"publish","type":"page","link":"https:\/\/tezuka.strobez.ca\/wp\/?page_id=1556","title":{"rendered":"Bibliography"},"content":{"rendered":"

of Scholarly works on Osamu Tezuka<\/h3>\n
Books Focusing on Tezuka:<\/strong><\/center>Osamu Tezuka<\/em> (exhibition catalogue). Tokyo, National Museum of Modern Art, 1990.<\/p>\n

Philip Brophy ed., Tezuka, the Marvel of Manga<\/em> (exhibition catalogue). Melbourne, National Gallery of Victoria, 2007.<\/p>\n

Herv\u00e9 Brient ed., Osamu Tezuka: dissection d\u2019un mythe<\/em>. Versailles: \u00c9ditions H (Manga 10,000 images), 2009.<\/p>\n

Fred Ladd and Harvey Deneroff, Astro Boy and Anime Come to the Americas<\/em>. Jefferson, McFarland & Company, 2009.<\/p>\n

Helen McCarthy, The Art of Osamu Tezuka: God of Manga<\/em>. New York, Abrams ComicArts, 2009.<\/p>\n

Susanne Phillips, Tezuka Osamu. Figuren, Themen und Erz\u00e4hlstrukturen im Manga-Gesamtwerk<\/em>. Munich: Iudicium, 2000.<\/p>\n

Susanne Phillips, Erz\u00e4hlform Manga. Eine Analyse der Zeitstrukturen in Tezuka Osamus Hi no tori<\/em>. (Ph\u00f6nix.) Munich: Iudicium, 1996.<\/p>\n

Natsu Onoda Power, God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga<\/em>. Jackson, University Press of Missisippi, 2009.<\/p>\n

Frederik L. Schodt, The Astro Boy Essays<\/em>. Berkeley, Stone Bridge Press, 2007.<\/p>\n<\/div>\n

Relevant Books on Manga and Animation History:<\/strong><\/center>Yoshihiro Tatsumi, A Drifting Life<\/em>. New York, Drawn and Quarterly, 2009.<\/p>\n

Anne Allison, Millennial Monsters: Japanese Toys and the Global Imagination<\/em>. Berkeley, University of California Press, 2006. See Especially \u201cFrom Ashes to Cyborgs: the Era of Reconstruction (1945-1960),\u201d pp. 35-65.<\/p>\n

Paul Gravett, Manga: 60 Years of Japanese Comics<\/em>. New York: Collins Design, 2004.<\/p>\n

Adam Kern, Manga from the Floating World: Comicbook Culture and the Kibyoshi of Edo Japan<\/em>. Cambridge, Harvard University Asia Center, 2006.<\/p>\n

Brigitte Koyama-Richard, One Thousand Years of Manga<\/em>. Paris, Flammarion, 2008.<\/p>\n

Mark MacWilliams ed., Japanese Visual Culture: Explorations in the World of Manga and Anime<\/em>. Armonk NY, M. E. Sharp, 2008.<\/p>\n

Eric P. Nash, Manga Kamishibai, The Art of Japanese Paper Theater<\/em>. New York, Abrams ComicArts, 2009.<\/p>\n

Frederik L. Schodt, Dreamland Japan: Writings on Modern Manga<\/em>. Berkeley, Stone Bridge Press, 1996.<\/p>\n

Frederik L. Schodt, Inside the Robot Kingdom<\/em>. New York, Kodansha International, 1988.<\/p>\n

Frederik L. Schodt, Manga! Manga! The World of Japanese Comics<\/em>. New York: Kodansha America, 1983.<\/p>\n<\/div>\n

Articles treating Tezuka:<\/strong><\/center>Jeff Adams, \u201cOf mice and manga: Comics and graphic novels in art education,\u201d Journal of Art & Design Education<\/em>, 18, 1 (1999), pp. 69-75.<\/p>\n

William Benzon, \u201cThe song at the end of the world: Personal apocalypse in Rintaro’s Metropolis,\u201d Mechademia<\/em> 1 (2006), pp. 171-173.<\/p>\n

Lawrence Bird, \u201cStates of Emergency: Urban Space and the Robotic Body in the Metropolis Tales,\u201d Mechademia<\/em> 3 (2008), pp. 127-149.<\/p>\n

Philip Brophy, \u201cOsamu Tezuka: Glimpses of a Fantastic Imagination,\u201d 44th Melbourne International Film Festival Catalogue<\/em>. Melbourne: Melbourne International Film Festival (1995). http:\/\/www.philipbrophy.com\/projects\/tez\/overview.html<\/p>\n

Otsuka Eiji, \u201cDisarming Atom: Tezuka Osamu\u201fs Manga at War and Peace,\u201d Mechademia<\/em> 3 (2008), pp. 111-126.<\/p>\n

Sheuo Hui Gan. (2006), \u201cTezuka Osamu\u201fs adult animation and its influence on later animation in Japan,\u201d in Joel David ed., Proceedings of the \u2018Whither the Orient: Asians in Asian and Non-Asian Cinema\u2019 Conference<\/em>. Gwangju, South Korea: Asia Culture Forum (2006), pp. 178-191.<\/p>\n

Bettina Gildenhard, \u201cHistory as fiction: Historiography within Japanese comics as seen through Tezuka Osamu’s manga Adolf<\/em>.\u201d Reading Manga: Local and Global Perceptions of Japanese Comics<\/em>. Leipzig: Leipzig University Press (2006), pp. 95-106.<\/p>\n

Mark Gilson, \u201cA Brief History of Japanese Robophilia,\u201d Leonardo<\/em>, vol. 31 no. 5 (1998) pp. 367-369.<\/p>\n

Yomota Inuhiko, \u201cStigmata in Tezuka Osamu\u201fs Works,\u201d Mechademia<\/em> 3 (2008), pp. 97-110.<\/p>\n

Agnieszka Kamrowska, \u201cChildren of the Apocalypse: The Atom Bomb Trauma as a Theme in Japanese Anime,\u201d abstract in English, article in Polish (Dzieci Apokalipsy: Atomowa Trauma Jako Motyw Japo\u0144skiej Animacji), Kwartalnik Filmowy<\/em> no. 61 (Spring 2008), pp. 111-122.<\/p>\n

Stefan Krebs, \u201cOn the anticipation of ethical conflicts between humans and robots in Japanese manga,\u201d International Review of Information Ethics<\/em>, vol. 6 (2006), pp. 63-68.<\/p>\n

Yasue Kuwahara, \u201cJapanese Culture and Popular Consciousness: Disney’s The Lion King vs. Tezuka\u201fs Jungle Emperor,\u201d The Journal of Popular Culture<\/em>, vol. 31, no. 1 (Summer 1997), pp. 37-48.<\/p>\n

Antonia Levi, \u201cThe vampire in the crested kimono: The wolf-human dynamic in anime and manga,\u201d Mechademia<\/em> 1 (2006), pp. 145-160.<\/p>\n

Mark MacWilliams, \u201cRevisioning Japanese Religiosity: Osamu Tezuka\u201fs Hi no Tori (The Phoenix)\u201d in T. Craig and R. King eds., Global Goes Local: Popular Culture in Asia<\/em>. Vancouver: University of British Columbia Press (2002), pp. 177-210.<\/p>\n

Mark MacWilliams, \u201cJapanese Comic Books and Religion: Osamu Tezuka’s Story of the Buddha,\u201d in T. Craig ed., Japan Pop: Inside the World of Japanese Pop Culture<\/em>. Armonk, NY: M.E. Sharpe (2000), pp. 109-136.<\/p>\n

Mark MacWilliams, \u201cRevisioning Japanese Religiosity: Osamu Tezuka\u201fs Hi no Tori (The Phoenix),\u201d Japanese Religions<\/em>, vol. 24 no. 1 (1999), pp. 79-100.<\/p>\n

Lee Makela, \u201cFrom Metropolis to Metoroporisu: The changing role of the robot in Japanese and Western cinema,\u201d in Mark MacWilliams ed., Japanese Visual Culture<\/em>. Armonk, NY: M.E. Sharpe (2008), pp. 91-113.<\/p>\n

Sharalyn Orbaugh, \u201cFrankenstein and the cyborg metropolis: The evolution of body and city in science fiction narratives,\u201d in Steven T. Brown ed., Cinema Anime: Critical Engagements with Japanese Animation<\/em>. New York: Palgrave Macmillan (2006), pp. 81-112.<\/p>\n

Ada Palmer, \u201cAll Life is Genocide: the Philosophical Pessimism of Osamu Tezuka,\u201d in Josef Steiff ed. Manga and Philosophy<\/em>, Chicago, Open Court (upcoming 2010).<\/p>\n

Ada Palmer, \u201cBlack Jack: the Excluded Issues, and Osamu Tezuka\u201fs \u201eStar System\u201f,\u201d in Black Jack<\/em>, vol. 3 (hardcover edition). New York: Vertical Inc. (2009) pp. 343-351.<\/p>\n

Fred Patten, \u201cSimba versus Kimba: the pride of lions,\u201d in Alan Cholodenko ed., The Illusion of Life 2: More Essays on Animation<\/em>. Sydney: Power Publications (2007), pp. 275-313.<\/p>\n

Marc Steinberg, \u201cAnytime, anywhere: Tetsuwan Atomu stickers and the emergence of character merchandizing,\u201d Theory, Culture & Society<\/em>, vol. 26 no. 2-3 (2009), pp. 113-138.<\/p>\n

Marc Steinberg, \u201cImmobile sections and trans-series moviement: Astroboy and the emergence of anime,\u201d Animation: An Interdisciplinary Journal<\/em>, vol. 1 no. 2 (2006), pp. 190-206.<\/p>\n

Susanne Phillips, \u201cCharacters, themes and narrative patterns in the manga of Osamu Tezuka,\u201d in Mark MacWilliams ed., Japanese Visual Culture<\/em>, Armonk, NY: M.E. Sharpe (2008), pp. 58-90.<\/p>\n

Natsu Onoda Power, \u201cTezuka Osamu and the Star System,\u201d International Journal of Comic Art<\/em>, vol. 5, no. 1 (Spring 2003), pp. 161-194.<\/p>\n

Natsu Onoda Power, \u201cDrag Prince in Spotlight: Theatrical Cross-Dressing in Osamu Tezuka’s Early Shojo Manga,\u201d International Journal of Comic Art<\/em>, vol. 4, no. 2 (Fall 2002), pp. 124-138.<\/p>\n

Brian Ruh, \u201cEarly Japanese animation in the United States: Changing Tetsuwan Atomu to Astro Boy,\u201d in Mark West ed., The Japanification of Children’s Popular Culture: From Godzilla to Miyazaki<\/em>. Lanham, MD: Scarecrow Press (2008), pp. 209-226.<\/p>\n

Hideaki Sena, \u201cAstro Boy was Born on April 7, 2003,\u201d Japan Echo<\/em> (August 2003), pp. 9-12.<\/p>\n

Ferenec Szasz And Issei Takechi, \u201cAtomic Heroes and Atomic Monsters: American and Japanese Cartoonists Confront the Onset of the Nuclear Age, 1945\u201380,\u201d The Historian<\/em>, vol. 69, no. 4 (Winter 2007), pp. 728-752.<\/p>\n

Ron Tanner, \u201cToy Robots in America, 1955-75: How Japan Really Won the War,\u201d Journal of Popular Culture<\/em>, vol. 28 no. 3 (Winter 1994), pp. 125-54.<\/p>\n

David Vernal, \u201cWar and Peace in Japanese Science Fiction Animation,\u201d Animation Journal<\/em> (Fall 1995), pp. 56-83.<\/p>\n

Yasue Kuwahara, \u201cJapanese culture and popular consciousness: Disney’s The Lion King vs. Tezuka’s Jungle Emperor,\u201d Journal of Popular Culture<\/em>, vol. 31 no. 1 (1997), pp. 37-48.<\/p>\n

Seiko Yasumoto, \u201cFrom whence does popular culture emanate and how is it re-made? Junguru Taitei or Lion King,\u201d in Marika Vicziany & Robert Cribb eds., Proceedings of the 17th Biennial Conference of the ASAA<\/em>. Victoria, Australia: Monash Asia Institute (2008). http:\/\/arts.monash.edu.au\/mai\/asaa<\/p>\n<\/div>\n

Notable Japanese language sources:<\/strong><\/center>Akira Maruyama, Manga no kanzume: Tezuka Osamu to Tokiwaso no nakama-tachi (Canned Manga: Tezuka Osamu and the Occupants of the Tokiso Apartments)<\/em>. Tokyo, Horupu Shuppan, 1993.<\/p>\n

Haruyaki Nakuno, Tezuka Osamu no Takarazuk<\/em>a. Tokyo, Chikuma Shobo, 1994.<\/p>\n

Tetsuo Sakurai, Tezuka Osamu: jidai to kirimusubu hyogen-sha (Tezuka Osamu: An Artist Who Crossed Swords With an Age)<\/em>. Tokyo, Kodansha Gendai Shinsho, 1990.<\/p>\n

Osamu Tezuka, Boku wa manga-ka: Tezuka Osamu jiden. (I am a Manga Artist: The Autobiography of Tezuka Osamu)<\/em>. Tokyo: Yamato Shobo, 1979.<\/p>\n

Osamu Tezuka, Manga no kokoro: hasso to tekunikku (The Heart of Manga: Conception and Technique)<\/em>. Tokyo, Kobunsha, 1977.<\/p>\n

Tezuka Productions and Tomohiko Marukami ed., Tezuka Osamu ga inaku natta hi (The Day Tezuka Osamu Went Away)<\/em>. Tokyo: Shio Shuppan, 1995.<\/p>\n

Tezuka Productions, Tezuka Osamu Monogatari (The Osamu Tezuka Story)<\/em>. 4 vols. Tokyo, Asahi Shinbunsha, 1992. (Italian edition, Osamu Tezuka \u2013 Una biografia manga, Coconino; French edition, Osamu Tezuka Biographie, Casterman).<\/p>\n

Tezuka Productions, Osamu Tezuka Kyarakutaa Zukan (Osamu Tezuka Character Encyclopedia)<\/em>. 6 vols. Tokyo, Asahi Shimbun, 1998.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

of Scholarly works on Osamu Tezuka Books Focusing on Tezuka:Osamu Tezuka (exhibition catalogue). Tokyo, National Museum of Modern Art, 1990. Philip Brophy ed., Tezuka, the Marvel of Manga (exhibition catalogue). Melbourne, National Gallery of Victoria, 2007. Herv\u00e9 Brient ed., Osamu Tezuka: dissection d\u2019un mythe. Versailles: \u00c9ditions H (Manga 10,000 images), …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":917,"menu_order":0,"comment_status":"open","ping_status":"open","template":"page-template-halfwidth.php","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-1556","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P6vZWu-p6","_links":{"self":[{"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1556","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1556"}],"version-history":[{"count":1,"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1556\/revisions"}],"predecessor-version":[{"id":1557,"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=\/wp\/v2\/pages\/1556\/revisions\/1557"}],"up":[{"embeddable":true,"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=\/wp\/v2\/pages\/917"}],"wp:attachment":[{"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1556"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1556"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tezuka.strobez.ca\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1556"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}