Books by Lisa Maya Quaianni Manuzzato
by Ana Asión Suñer, Julio Gracia Lana, Lisa Maya Quaianni Manuzzato, José Manuel Trabado Cabado, Óscar Gual, María del Mar Díaz González, José Julio García Arranz, Eduard Baile López, Marta Garcia-Caro, Alejandro M. Sanz Guillén, Carlos Miranda Mas, and Margarita Molina Fernández Prensas de la Universidad de Zaragoza, 2021
El cómic es uno de los medios más ricos y, sin embargo, menos explorados de la contemporaneidad. ... more El cómic es uno de los medios más ricos y, sin embargo, menos explorados de la contemporaneidad. El presente libro da voz a algunos de los especialistas e investigadores internacionales más destacados en el estudio de esta manifestación artística, constituyendo uno de los mayores esfuerzos por abordar el estudio de la historieta desde la interdisciplinariedad. El enriquecimiento que supone el contraste de diferentes metodologías permite abordar la capacidad del cómic para reflejar nuestro presente, su fuerza como instrumento pedagógico o los vínculos, siempre existentes pero cada vez mayores, entre el cómic y las artes plásticas, la literatura, el diseño o, por supuesto, el cine.
El libro se encuentra disponible en la página web de la editorial: http://puz.unizar.es/detalle/1997/Nuevas+visiones+sobre+el+c%F3mic%3A+un+enfoque+interdisciplinar-0.html
Animazione. Una storia globale, 2017
Giannalberto Bendazzi ricostruisce la storia dell’animazione a partire dalle origini – flipbook (... more Giannalberto Bendazzi ricostruisce la storia dell’animazione a partire dalle origini – flipbook (i popolari libretti che si animavano sfogliandoli), lanterne magiche, teatro d’ombre, fuochi d’artificio… – fino alle ultime evoluzioni, digitali e di massa; ci guida alla scoperta del cinema d’animazione in tutto il mondo, dalla Russia all’America Latina, dall’Africa all’Asia, dal Giappone agli Stati Uniti; e presenta al grande pubblico tutta una schiera di artisti finora poco conosciuti, che meritano un posto a fianco dei celeberrimi Walt Disney, Miyazaki Hayao, Bruno Bozzetto, Osvaldo Cavandoli, Tex Avery, Hanna & Barbera, John Lasseter.
Nel primo volume viene tracciata l’avventura di una cinematografia che, accanto ai successi americani ed europei, contò già opere notevoli in Argentina, Sudafrica e Giappone, e che concluse la sua fase storica con la caduta dell’impero sovietico nel 1991.
Nel secondo volume il lettore troverà un giro del mondo contemporaneo, un reportage sull’animazione dei paesi meno immaginabili, dalla Mongolia all’isola caraibica di Saint Lucia.
Animation: A World History. Volume III: Contemporary Times, 2015
A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World Hist... more A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries.
Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market and is essential reading for all serious students of animation history.
Animation: A World History. Volume II: The Birth of a Style - The Three Markets, 2015
A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World Hist... more A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries.
Volume II delves into the decades following the Golden Age, an uncertain time when television series were overshadowing feature films, art was heavily influenced by the Cold War, and new technologies began to emerge that threatened the traditional methods of animation. Take part in the turmoil of the 1950s through 90s as American animation began to lose its momentum and the advent of television created a global interest in the art form. With a wealth of new research, hundreds of photographs and film stills, and an easy-to-navigate organization, this book is essential reading for all serious students of animation history.
Animation: A World History. Volume I: Foundations - The Golden Age, 2015
A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World Hist... more A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries.
Volume I traces the roots and predecessors of modern animation, the history behind Émile Cohl's Fantasmagorie, and twenty years of silent animated films. Encompassing the formative years of the art form through its Golden Age, this book accounts for animation history through 1950 and covers everything from well-known classics like Steamboat Willie to animation in Egypt and Nazi Germany. With a wealth of new research, hundreds of photographs and film stills, and an easy-to-navigate organization, this book is essential reading for all serious students of animation history.
Papers by Lisa Maya Quaianni Manuzzato
Studies in comics, Jul 1, 2023
Dibujando historias. El cómic más allá de la imagen, 2021, ISBN 978-84-1340-264-2, págs. 87-96, 2021
Universidad de León/Grafikalismos, Dec 1, 2022
Studies in Comics
This article will analyse some noteworthy Italian specialty comic publishers that are combining a... more This article will analyse some noteworthy Italian specialty comic publishers that are combining artistic independence with a ‘new approach’ in production. After an examination of self-publishing, alternative and independent comic publishing and its greatest challenges, the focus will be on three entities that accompanied us through two decades of comics in Italy: the publishing Canicola Edizioni, established in 2004, the self-publishing collective Associazione Mammaiuto, formed in 2011, and the editorial line Progetto Stigma, founded in 2017. We will focus on their different production approaches – use of pre-order, crowdfunding, pre-publication in webcomics, cooperation with other publishing for the distribution, cultural projects around their books – by which they are building their own identity and communities of readers.
Routledge eBooks, Aug 4, 2022
LIJ Ibero Revista de Literatura Infantil y Juvenil Contemporánea, 2018
An interesting phenomenon is happening in contemporary comics: authors, in various countries, are... more An interesting phenomenon is happening in contemporary comics: authors, in various countries, are emerging that, as migrants among different comic cultures, take inspiration from mangas aesthetic and narration, handling it with their proper styles and mixing it with stories and subjects from their own cultures. The word gaijin manga-probably a flawed label-identifies comic artists that have in common an underground and avant-garde production, often connected with the DIY comics scene. This paper explains the meaning of graphic narrative inspired by manga, and specifically what is understood by gaijin manga, performing a fast analysis on its authors' characteristics, such as the Argentinian Berliac. Then the text will focus on Vincenzo Filosa, who brings together gekiga tradition, self-publishing and independent Italian comics, and gaijin manga.
Despite the editorial crisis and webcomic surge in popularity, Italian self-published comics are ... more Despite the editorial crisis and webcomic surge in popularity, Italian self-published comics are in an incredibly prolific period. Various comic artists are opting for intensive production and incorporating practices such as crowdfunding and online promotion. DIY comics are more likely to have a first digital life, then later "falling for the charm of the paper" (to quote Sara Pavan). Among the most interesting authors we find the artistic collective Associazione Mammaiuto, whose works are first serialized, free of charge on their website; later their comics are printed on paper through self-published volumes (monographic or anthological) and sold at comic fairs or on their online shop. For some of these comics, to a second edition (on paper) is added a third edition (always on paper), thanks to the acquisition by national publishing in Italy or abroad. In this paper, we will investigate the potential of intersections between digital and DIY comics, by focusing on Mammaiut...
Diablotexto Digital, 2016
Dibujar la crisis: comparación entre la producción de cómic española y la italiana desde 2011 Dra... more Dibujar la crisis: comparación entre la producción de cómic española y la italiana desde 2011 Drawing the crisis: a comparison between Spanish and Italian current production in comics since 2011 LISA MAYA QUAIANNI MANUZZATO UNIVERSITÀ DEGLI STUDI DI MILANO / WOW SPAZIO FUMETTO Resumen: En España un buen número de obras del noveno arte publicadas en los últimos años comentaron impulsos provenientes desde la sociedad civil, focalizándose sobre la crisis económica y sus consecuencias. Autores como Marcos Prior y Danide, Aleix Saló y otros trazaron hechos, circunstancias y distorsiones vividas en España a través de cómics realizados para el formato libro. Al revés, en Italia-en una coyuntura bastante similar-no se encuentra una producción de cómic tan importante sobre este tema.
Animation: A World History. Volume III: Contemporary Times, 2015
A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World Hist... more A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: A World History is the largest, deepest, most comprehensive text of its kind, based on the idea that animation is an art form that deserves its own place in scholarship. Bendazzi delves beyond just Disney, offering readers glimpses into the animation of Russia, Africa, Latin America, and other often-neglected areas and introducing over fifty previously undiscovered artists. Full of first-hand, never before investigated, and elsewhere unavailable information, Animation: A World History encompasses the history of animation production on every continent over the span of three centuries. Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market and is essential reading for all serious students of animation history.
As in many other countries, Italian comics market is living a transitional period. Struggling wit... more As in many other countries, Italian comics market is living a transitional period. Struggling with an unstable industry and an erratic economic scenario, independent publishing companies are finding it necessary to change their production system. In this panorama, hybrid publishers are emerging with structures, modalities and ideologies taken from the self-publishing movement. Often established by the same comics artists, in these entities similarities between DIY comics and independent publishers go beyond a similar artistic network: creative issues, collective management and ethics of art coexist with a typical publishing business. The idea is finding an "organized" way of self-publishing, giving more creative and economical power to the artists and conducting stronger demands about fair salaries and equal contracts. But how this way could be viable? The paper will investigate some Italian alternative publishers that are combining artistic independence with a "new a...
Prensas Universitarias de Zaragoza, 2021
Il rinchiudersi in sé stessi e in stanze private è un problema divenuto attuale, a causa dell'... more Il rinchiudersi in sé stessi e in stanze private è un problema divenuto attuale, a causa dell'insorgere dei fenomeni hikikomori e NEET. Nella nona arte questi ambienti si sono trasformati in spunto narrativo per molte opere. È il caso di manga quali Welcome to the NHK, Mēteru no kimochi o i lavori di Asano Inio; ma anche, nella produzione italiana, dei lavori di Zerocalcare o di Habitat di Raffaele Sorrentino. Dopo un'analisi di questi due fenomeni sociali, analizzeremo come questo spazio venga rappresentato, riflettendo i cambiamenti del contesto sociale.
Para algunos necesidad, para otros una elección, la autoedición en el cómic ha encontrado en los ... more Para algunos necesidad, para otros una elección, la autoedición en el cómic ha encontrado en los últimos años un verdadero éxito entre autores y público. Como en todo el mundo, también en Italia nacieron en los últimos años numerosas entidades, en su mayoría agrupadas en colectivos y colaboraciones profesionales, mostrando lo que podemos llamar una primavera del sector.
LIJ · Ibero Revista de Literatura Infantil y Juvenil Contemporánea, 2018
An interesting phenomenon is happening in contemporary comics: authors, in various countries, are... more An interesting phenomenon is happening in contemporary comics: authors, in various countries, are emerging that, as migrants among different comic cultures, take inspiration from mangas aesthetic and narration, handling it with their proper styles and mixing it with stories and subjects from their own cultures. The word gaijin manga –probably a flawed label– identifies comic artists that have in common an underground and avant-garde production, often connected with the DIY comics scene.
This paper explains the meaning of graphic narrative inspired by manga, and specifically what is understood by gaijin manga, performing a fast analysis on its authors’ characteristics, such as the Argentinian Berliac. Then the text will focus on Vincenzo Filosa, who brings together gekiga tradition, self-publishing and independent Italian comics, and gaijin manga.
https://issuu.com/lijibero/docs/revista_lij_ibero_06
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Books by Lisa Maya Quaianni Manuzzato
El libro se encuentra disponible en la página web de la editorial: http://puz.unizar.es/detalle/1997/Nuevas+visiones+sobre+el+c%F3mic%3A+un+enfoque+interdisciplinar-0.html
Nel primo volume viene tracciata l’avventura di una cinematografia che, accanto ai successi americani ed europei, contò già opere notevoli in Argentina, Sudafrica e Giappone, e che concluse la sua fase storica con la caduta dell’impero sovietico nel 1991.
Nel secondo volume il lettore troverà un giro del mondo contemporaneo, un reportage sull’animazione dei paesi meno immaginabili, dalla Mongolia all’isola caraibica di Saint Lucia.
Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market and is essential reading for all serious students of animation history.
Volume II delves into the decades following the Golden Age, an uncertain time when television series were overshadowing feature films, art was heavily influenced by the Cold War, and new technologies began to emerge that threatened the traditional methods of animation. Take part in the turmoil of the 1950s through 90s as American animation began to lose its momentum and the advent of television created a global interest in the art form. With a wealth of new research, hundreds of photographs and film stills, and an easy-to-navigate organization, this book is essential reading for all serious students of animation history.
Volume I traces the roots and predecessors of modern animation, the history behind Émile Cohl's Fantasmagorie, and twenty years of silent animated films. Encompassing the formative years of the art form through its Golden Age, this book accounts for animation history through 1950 and covers everything from well-known classics like Steamboat Willie to animation in Egypt and Nazi Germany. With a wealth of new research, hundreds of photographs and film stills, and an easy-to-navigate organization, this book is essential reading for all serious students of animation history.
Papers by Lisa Maya Quaianni Manuzzato
This paper explains the meaning of graphic narrative inspired by manga, and specifically what is understood by gaijin manga, performing a fast analysis on its authors’ characteristics, such as the Argentinian Berliac. Then the text will focus on Vincenzo Filosa, who brings together gekiga tradition, self-publishing and independent Italian comics, and gaijin manga.
https://issuu.com/lijibero/docs/revista_lij_ibero_06
El libro se encuentra disponible en la página web de la editorial: http://puz.unizar.es/detalle/1997/Nuevas+visiones+sobre+el+c%F3mic%3A+un+enfoque+interdisciplinar-0.html
Nel primo volume viene tracciata l’avventura di una cinematografia che, accanto ai successi americani ed europei, contò già opere notevoli in Argentina, Sudafrica e Giappone, e che concluse la sua fase storica con la caduta dell’impero sovietico nel 1991.
Nel secondo volume il lettore troverà un giro del mondo contemporaneo, un reportage sull’animazione dei paesi meno immaginabili, dalla Mongolia all’isola caraibica di Saint Lucia.
Volume III catches you up to speed on the state of animation from 1991 to present. Although characterized by such trends as economic globalization, the expansion of television series, emerging markets in countries like China and India, and the consolidation of elitist auteur animation, the story of contemporary animation is still open to interpretation. With an abundance of first-hand research and topics ranging from Nickelodeon and Pixar to modern Estonian animation, this book is the most complete record of modern animation on the market and is essential reading for all serious students of animation history.
Volume II delves into the decades following the Golden Age, an uncertain time when television series were overshadowing feature films, art was heavily influenced by the Cold War, and new technologies began to emerge that threatened the traditional methods of animation. Take part in the turmoil of the 1950s through 90s as American animation began to lose its momentum and the advent of television created a global interest in the art form. With a wealth of new research, hundreds of photographs and film stills, and an easy-to-navigate organization, this book is essential reading for all serious students of animation history.
Volume I traces the roots and predecessors of modern animation, the history behind Émile Cohl's Fantasmagorie, and twenty years of silent animated films. Encompassing the formative years of the art form through its Golden Age, this book accounts for animation history through 1950 and covers everything from well-known classics like Steamboat Willie to animation in Egypt and Nazi Germany. With a wealth of new research, hundreds of photographs and film stills, and an easy-to-navigate organization, this book is essential reading for all serious students of animation history.
This paper explains the meaning of graphic narrative inspired by manga, and specifically what is understood by gaijin manga, performing a fast analysis on its authors’ characteristics, such as the Argentinian Berliac. Then the text will focus on Vincenzo Filosa, who brings together gekiga tradition, self-publishing and independent Italian comics, and gaijin manga.
https://issuu.com/lijibero/docs/revista_lij_ibero_06
(Text in Italian)
http://ojs.unica.it/index.php/between/article/view/3254/3038
https://ojs.uv.es/index.php/diablotexto/article/view/8856/8603
University of Oxford - The Oxford Research Centre in the Humanities (TORCH), 5 luglio 2019
My proposal will focus on the Italian Vincenzo Filosa (Crotone, 1980), a perfect example of the influence of manga in contemporary visual narrative. As the focal point between gekiga tradition and the self-publishing independent Italian comics, Filosa – also a Japanese translator and editor for Canicola and Coconino Press – drew the attention of readers and critics with his books Viaggio a Tokyo (Journey to Tokyo, 2015) and Figlio Unico (Only Son, 2017). In particular, Viaggio a Tokyo is based on the author’s experience as a foreigner living in the Asian capital: a private journey into Japanese society and the artist’s personal anxieties, with special attention to explore alternative manga and comic masters such as Tezuka Osamu or Tsuge Tadao. Analyzing his work, we will understand how he is turning his travel experience through a personal narrative and visual grammar, expressing the very essence of living between two cultures.
Universidad de Zaragoza - Dpto. de Historia del Arte de la Facultad de Filosofía y Letras, 15-17 maggio 2019
En los últimos años ha surgido una zona fronteriza: un lugar donde se sitúan realidades editoriales híbridas, que asumen formas, modalidades e ideologías de la autoedición.
Se trata de encontrar una vía de autoedición “organizada”, que pueda garantir mayor libertad y remuneraciones más justas que en las clásicas editoriales. Mi investigación se enfocará en algunos ejemplos innovadores en el panorama del cómic italiano: la editorial Canicola, la asociación cultural Mammaiuto y Progetto Stigma.
Universitat d’Alacant, 27-29 settembre 2018
En el número monográfico de Kuš! de julio de 2016 titulado Gaijin Mangaka, Paul Gravett escribía en su introducción: “Something extraordinary is happening right now in the wider global manga movement outside Japan […] an exciting crop of contemporary ‘gaijin mangaka’, so-called ‘foreign comics creators’, predominantly young writer-artists from Europe and North and South America. All of them evidence in their practice the widely differing access and exposure to Japanese comics, and pop culture in general, which they grew up with and have subsequently discovered”.
Estamos hablando de uno de los fenómenos más interesantes en el cómic reciente: el surgir en países diferentes de autores que remontan a la producción manga en estética y narración, manejándola con su propio estilo y mezclándola a historias y temáticas de sus culturas.
Después de una explicación de esta corriente y de una panorámica sobre algunos autores, mi investigación se enfocará en el italiano Vincenzo Filosa (Crotone, 1980), personalidad ejemplar de esta influencia manga. Punto de convergencia entre la tradición gekiga (cómic japonés de temática más realista), el cómic autoeditado e independiente italiano y el gaijin manga, Filosa ha llamado la atención de público y crítica con sus libros Viaggio a Tokyo (2015, sobre su experiencia en Japón) y Figlio unico (2017, ambientado en Calabria).
A través de una análisis de su obra, trataremos profundizar su forma narrativa y su universo semántico, para entender cómo ha hecho suya la gramática visual y el lenguaje del gekiga, desarrollando un estilo que une el cómic contemporáneo italiano independiente a los otros autores de gaijin manga.
Università degli Studi di Cagliari, 26-28 ottobre 2017
Universidad de Zaragoza - Dpto. de Historia del Arte de la Facultad de Filosofía y Letras, 4-6 aprile 2017
Universitat de Valencia - Dpto. De Filología Española, 18-20 novembre 2015
Tesi di laurea specialistica in Storia del Cinema d’Animazione, relatore Giannalberto Bendazzi - Università degli Studi di Milano.
Tesi di laurea triennale in Storia del Cinema d’Animazione, relatore Giannalberto Bendazzi - Università degli Studi di Milano.