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Istenek alkonya. A szuperhősképregény változó paradigmái

Author(s): Zoltán János Tóth / Language(s): Hungarian Issue: 02/2011

Superhero comics are the only comics genre to be successful for eighty years. In this article the author discusses the short history of superhero comics, from Superman, who used to fight in the American Civil War, to Kick-Ass, who is an unimportant and realistic figure. The superhero comics’ genre has merely one common point, that is the superhero’s existence (but the superhero’s character and the comics’ genre change). At the beginning, the superhero was the mirror of the ancient archetype, the psyche and its desires. In addition, it was incredibly adaptive, which made the market orientation concrete. The mass culture offered a modern figure of ancient archetype, but currently the deconstruction of genres impresses on superhero comics. It will be a new beginning and a new gods’ dawn.

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Művészet (?), a kilencedik

Author(s): Szidónia Madaras / Language(s): Hungarian Issue: 02/2011

This article is a review about Gyula Maksa’s volume of studies entitled Változatok képregényre (Variations for Comics). The volume analyzes comics’ cultural changes and hybridization.

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A kortárs japán vizuális kultúra

Author(s): Mark W. Macwilliams / Language(s): Hungarian Issue: 02/2011

Reading manga and watching anime is a significant part of daily life for millions of Japanese. Japan’s literacy, newspaper, circulation and TV viewing rates are among the world’s highest, and its mass media creates an environment that is replete with stories. Manga and anime are perhaps the most important contemporary examples of mass art. Calling these „popular culture” is misleading, because it is ahistorical; mass art refers to forms of art that have emerged recently in urban, industrial, capitalistic society. This art, which is reproduced and distributed by mechanical and digital reproduction technologies, is intentionally designed to attract a mass audience. As such, it is different from avant-garde art since the key to its success is accessibility which is exoteric rather than esoteric, for the average consumer rather than the connoisseur, and often reflects rather than transgresses conventional tastes.

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Cigányok síkban

Author(s): Kinga Kali / Language(s): Hungarian Issue: 02/2011

This review discusses the volume (edited 2009) of the Hungarian Romano Kher (Gipsy House) institution. The volume contains 74 fine art works by gipsy artists. The book is a minority political act, because the editors did not situate the works in a cultural context, or did not establish hierarchy between the artists. The main properties are the ethnocentrism, tontinuity (representation of the past and the future), vivid colours. The most interesting motives are the representations in depth and in flat. When they illustrate the environment, the trees and the houses in depth, they represent the gipsy people in flat in the same time. According to the author, this is a metaphor which reflects their social status. We find distress and discomfort in all the pictures, but the gipsy artists make us believe that the sun is always shining.

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Miért vált kulturális világtermékké a manga?

Author(s): Jean-Marie Bouissou / Language(s): Hungarian Issue: 02/2011

In the West, manga has become a key part of cultural accopaniment to economic globalization. No mere side effect of Japan’s economic power, manga is ideally suited to the cultural obsessions of the early twenty-first century. It may be cheaply mass-produced, but manga is also a high quality, it brings pleasure by satisfying fundamental psychological needs. Manga’s success in this respect is due to the exceptional freedom allowed to it since the end of the Second World War, in conjunction with a number of peculiarities of Japanese culture, such as its (almost) uncensored exuberance and its aesthetic of dynamic disillusionment that it proposes for global post-industrial youth.

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Mi a neved? Identitáskeresés a kolozsvári graffitikultúrában

Author(s): Orsolya Szilágyi / Language(s): Hungarian Issue: 02/2011

Language and the written word have become a legitimate medium of conceptual art since the early seventies at the latest. Words, especially the name of the artist, also represent the raw material of modern graffiti, the birth of which dates to this same period. The study offers arguments based on the graffiti culture of Kolozsvár/Cluj in support of the thesis that the graffiti representation of the writer’s name (the tag) is, essentially, a self-portrait, though without any reference to the body. The lack of any physical manifestation of the author’s body further confirms the idea that portraits must not be conceived as exclusively based on external characteristic, but rather objectify inner experiences, which are considered essential. However, the graffiti production Graff Zoo on the walls of the Romanian Academy Library of Cluj can be interpreted as an ironic deconstruction of the graffiti tag as a means of self-representation.

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Közelítések, elmozdulások, lehetőségek. Magyar képregény a bande dessinée újabb tapasztalatai felől

Author(s): Gyula Maksa / Language(s): Hungarian Issue: 02/2011

The currently evolving institutional system, means of circulation and characteristic media of Hungarian comics are vastly influenced by the global centers of comics culture. What possibilities arise for Hungarian comics and the critical-scientific study of comics in Hungarian culture, considered in their European context? In order to provide an answer, it appears to be useful to take into account the recent experience of the French, Belgian and Swiss bande dessinée, and its critical study, with the longest and perhaps most illustrious tradition in Europe. Several Hungarian cultural journals are currently beginning to include regular reviews of comics, and to publish theoretical texts on the subject. What are the ways in which comics seem to become interesting recently? Whichsubjects and fields of study draw most attention?

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Street art, kommunikáció és Szeged. A Magyar Kétfarkú Kutya Párt tevékenységéről

Author(s): Bernadett Bucs / Language(s): Hungarian Issue: 02/2011

The author presents the works and the functions of „Magyar Kétfarkú Kutya Párt” (Hungarian Two Tailed Dog Party). The Party is a street art team established during the Hungarian municipal elections. The Party parodied the election campaign of political parties with stickers and posters, with texts like: „Free Beer!”, „Eternal Life!”. The author focuses on folkloric and communicational viewpoints, and states that the subculture’s ideology (from morality and values) and their social criticism materialize in these posters and graffiti. When a street art group conquers a public square aggressively, their unexpressed purposes are stirring up public attention for social effects and questions. The Party has an innovation: we can watch pictures from their works on the internet, and this is a communication innovation as well, because hitherto the viewer could just watch them, but now we have a chance to react.

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