By Rosalind Krauss
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Extra resources for Antivision
Kinkin’s Dream of Prosperity), written by the humorous poet and ukiyo-e painter Harumachi Koikawa (1744–1789), was a groundbreaking work. In the story, Mr. Kinbei (his nickname in the story is Kinkin), standing before the store front of Awamochiya, daydreams that he gets adopted by the rich Izumiya family and attains the height of prosperity. He leads a fast life but eventually gets kicked out of his adopted family (Shinmura 1991, 701, 843). Ukiyo-e (pictures of the floating world) is a genre of folk illustrations that were especially popular among the urban merchant class during the Tokugawa period.
The 1960s and On In The Economic White Paper of 1956, the Japanese government declared that the country was no longer in a postwar period. Japanese economic and industrial growth started to burst forth, and the people became very optimistic as the country began to catch up with the West. The 1960s saw an astonishing growth in the gross domestic product, the annual rate of which was over 10 percent over a period of ten years, and in 1964 the Olympic Games were held in Tokyo (Otsuka and Sasakibara 2001; Reischauer 1990).
To the terror and coercion of states and their competitors” (1996, 31). The key topic of the next three chapters is the tie between manga, anime, and religion in Japan. Manga and anime can transform reality as well as simply reflecting it. As Stuart Hoover has recently observed, the complex interplay between mass media and religion is particularly important in this regard since “religion operates in the integration of experience, identity and meaning” just as media does, shaping a sense of self and community in everyday life (2001, 147).
Antivision by Rosalind Krauss