일본소녀만화에 등장한 혁신적인 내면세계 표현에 대하여 -［칸의 모험］과 ［양성구유(兩性具有)］적 표상의 확산-

Abstract

The percentage of Japanese who read cartoons reaches 90% of elementary school and middle school students, 80% of high school students, and 60% of the general public. Among the abundant supply of cartoons in Japan, there is a category called "girls' cartoons." These "girls' cartoons" became popular during the 1960s and have become an established influence on the entire publishing industry since the 1970s. The revolutionary group of works categorized as "the Transcendentalists" was created by aspiring female cartoon writers including Oshima Yumiko, Hakiyo Moto, Yamagishi Ryoko, Dakemia Keiko. These members were young ladies in their twenties, who were born around 1949, the Japanese year of Shoa 24; thus, they were called the "Flower Girls of 24." They were characterized not only by their refusal to limit their works to the traditional close-ups of characters' faces, but also by their adventurous attempts to delineate the inner world of their characters through new and various layouts and panel structures. The curious deconstruction of the panel was a direct challenge to the heretofore conservative panel divisions found in boys' cartoons.Slowly, the intricately sophisticated structure of girls' magazines became popular with males, and Rumiko played the critical role of arbitrating between the two different worlds and making girls' cartoons accessible to males. As a result, a major change took place in the world of boys' cartoons. Correspondingly, girls'cartoons had a great influence on boys' cartoons and focused on producing cartoons which depended heavily on psychological depiction; eventually girls'cartoons exerted a great influence on the entire cartoon industry.