Osamu Tezuka and His Works: A Bibliography of English-Language Scholarly/Academic Publications

By type:
BooksCollectionsBook ChaptersJournal Articles

[switch to: By year of publication]

Books
(Total published: 4)

Collections
(T0tal published: 2)

Each annual volume of Mechademia is centered around a common theme. The 2013 volume contains 18 original essays on Tezuka’s life, comics, anime, and other projects, a translation of two chapters originally published in 1992 in a Japanese book on Tezuka, an original short manga that Tezuka created, and two other manga that use him as an inspiration.

Book Chapters
(Total published: 23)

  • Chow, Kenny K.N. From haiku and handscroll to Tezuka: Refocusing space and camera in the narrative of animation.
    In Masao Yokota and Tzu-yue G. Hu (Eds.), Japanese animation: East Asian perspectives (pp. 183-195). Jackson, MS: University Press of Mississippi.
  • Kon, Dong-Yeon. Growing up with Astro Boy and Mazinger Z: Industrialization, “high-tech world”, and Japanese animation in the art and culture of South Korea.
    In Masao Yokota and Tzu-yue G. Hu (Eds.), Japanese animation: East Asian Perspectives (pp. 155-182). Jackson, MS: University Press of Mississippi.
  • MacWilliams Mark, Revisioning Japanese religiosity: Osamu Tezuka’s Hi no Tori (The Phoenix) (revised and expanded)
    In Timothy J. Craig & Richard King (Eds.), Global goes local: Popular culture in Asia (pp. 177-208). Vancouver: UBC Press. pp. 177-208.
  • Riley, Yoko. Faust through the eyes of a Japanese cartoonist.
    In Osman Durrani (Ed.), Icons of modern culture: Faust (pp. 409-416). Westfield, UK: Helm Information.
  • Theisen, Nicholas. Declassicizing the classical in Japanese comics: Osamu Tezuka’s Apollo’s Song.
    In George Kovacs and C. W. Marshall (Eds.), Classics and comics (pp. 59-72). New York: Oxford University Press.
  • Yamanashi, Makiko. Tezuka and takarazuka. Intertwined roots of Japanese popular culture.
    In Masao Yokota and Tzu-yue G. Hu (Eds.), Japanese animation: East Asian Perspectives (pp. 135-154). Jackson, MS: University Press of Mississippi.

Journal articles
(Total published: 29)

  • Brophy, Philip. Australia: The Osamu Tezuka exhibition: Ten years in the making. Wochi Kochi Magazine13, 32-36.
  • Ito, Kinko. Osamu Tezuka: His life, works, and contributions to the history of modern Japanese comics. International Journal of Comic Art, 13(2), 679-699.
  • Lopez Rodriguez, Francisco Javier. Recreating the fantasy world of Dororo: Transcoding manga into cinema. Ol3Media: e-journal of Cinema, Television and Media Studies, 10.
    *** OPEN ACCESS *** [complete issue]
  • MacWilliams, Mark. Revisioning Japanese religiousity: Tezuka Osamu’s Hi no Tori (The Phoenix). Japanese Religions24(1), 79-100.
  • Onoda, Natsu. Drag prince in spotlight: Theatrical cross-dressing in Osamu Tezuka’s early shojo manga. International Journal of Comic Art, 4(2), 124-138.
  • Onoda, Natsu. Tezuka Osamu and the Star System. International Journal of Comic Art5(1), 141-194.
  • Otsuka, Eiji. Disarming Atom: Tezuka Osamu’s manga at war and peace. Mechademia: An Annual Forum for Anime, Manga, and Fan Arts, 3, 111-125.
    [Translated by Thomas Lamarre. Originally published as Nichibei kõwa to ‘Tetsuwan Atomu: Tezuka Osamu wa naze ‘Atomu o busõ kaijo shita ka (The U.S. -Japan Peace Treaty and Tetsuwan Atomu: Why did Tezuka Osamu disarm ‘Atom’?), Kan, 22, 178-189 (2005)]
  • Rosenbaum, Roman. Tezuka Osamu: Adolf – Towards a historio-graphic novel. International Journal of Comic Art, 415-434.
  • Schaub, Joseph. Mecha-topia: Imagining a posthuman paradise in Osamu Tezuka’s Metropolis. Interdisciplinary Humanities, 27(2), 94-110.
  • Sunder, Madhavi. Bollywood/Hollywood. Theoretical Inquiries in Law, 12(1), 275-308.
    *** OPEN ACCESS ***

“Japan’s first weekly, 30-minute animated TV series, Tetsuwan Atomu (Astro Boy), is not only commonly regarded as the first instance of what is now known as `anime’; it is also regarded as the point of emergence of the commercial phenomenon of character-based merchandizing. Interesting enough, it is not so much Tetsuwan Atomu the TV series as the practice of including Atomu stickers as premiums in the candy maker Meiji Seika’s chocolate packages that really ignited the character merchandizing boom. The key to the success of the stickers — along with the use of the already popular figure of Atomu — was their ability to be stuck anywhere, and seen anytime. This anytime-anywhere potential of the stickers arguably led to the new communicational media environment and the cross-media connections that characterize the anime system and the force which drives it: the character. Part historical, part theoretical, this article will explore the thesis that it was the `medium’ of stickers that led to the development of the character-based multimedia environment that is a key example of — and perhaps even a precursor to — the ubiquity of media that is the theme of this journal issue.”

“This article contrasts the different economies of motion found in cinema and animation, and explores the particular economy of movement and libidinal investment that accompanies Japanese anime, paying close attention to the first anime TV series, Astroboy (Tetsuwan Atomu). Metz and Lyotard argue that cinema generates an impression of reality through its particular economy of motion. Cel animation, in contrast, relies on a different economy of motion. This is especially the case in the specific kind of limited animation found in Japanese anime. This article focuses on the specificities of this kind of animated movement (particularly its emphasis on stillness), and the way Astroboy relied on commodity serialization to generate a particularly immersive image environment – one that set the stage for what is now known as ‘anime’.”

  • Uehara, Kuniko. The robot fantasy – The case of Osamu Tezuka. Fastitocalon: Studies in Fantasticism Ancient to Modern, 2(1 & 2), 113-132.
  • Yomota, Inuhiko. Stigmata in Osamu Tezuka’s works. Mechademia: An Annual Forum for Anime, Manga, and Fan Arts, 3, 97-109.
    [translated and introduced by Hajime Nakatani]