@article{oai:kobe-du.repo.nii.ac.jp:00000019.1,
 author = {OHTSUKA, Eiji and SAIKI, Takahito and IZUMI, Masafumi and YUN, Seongcheol and 大塚, 英志 and 齊木, 崇人 and 泉, 政文 and 尹, 性喆},
 journal = {芸術工学2012},
 month = {Nov},
 note = {本研究は、近代史を通じて日本の植民地統治下にあった台湾・朝鮮半島・旧満州を中心とする東アジアを、一つのまんが・アニメーションの文化圏として仮説的に考え、2 つの研究の視座を提示する。
一つは「植民地まんが研究」である。現在の日本まんが史の戦前の記述は、いわゆる「内地」で出版・発行されたまんがに限定され、「植民地」における出版物は対象とされず、他方、東アジア地域でも日本統治時代の日本まんがはまんが史の対象とはなりにくい。
もう一つの視点は、大塚が日本におけるディズニーの受容を日本まんが史の中に位置づけたことを踏まえ、各地域のディズニー受容のあり方を検証することで各地域のまんが・アニメーション表現の地域差を描き出せるのではないか、というものである。同一の指標に基づき、その受容の偏差を検証するという手法は「映画的手法の受容」においても可能であろう。, The aim of this study is to suggest two points of time of research by hypothesizing East Asia centering on Taiwan Korea and Manchuria which were under the Japanese colonial rule as a cultural area of a comic or animation through modern history. One is “Research on Comics in the Colonial Era”. At present, the description of Pre-World War Two in the Japanese comic history is limited to the comics which were printed and published in so-called “NAICHI” and the publications which were printed and published in “a colonial area” are excluded from the research subject. In addition, it's difficult to be raised as the research subject even in East Asian regions.
The other point of time is when Otsuka Eiji included the Japanese comic's acceptance of Disney in Japanese comic history. If each region's method of accepting Disney should be verified on the basis of Otsuka record, it might be possible to describe the region-specific difference in expression of comics and animations. The method of verifying the deviations in acceptance of Disney on the basis of the same index could be also applied to the verification of “acceptance of cinematic technique”.},
 title = {東アジアまんが構想の基礎研究/― 「植民地まんが」という視点 ―},
 year = {2012}
}