Как пишется манхва на корейском

From Wikipedia, the free encyclopedia

For Chinese comics, see Manhua.

Manhwa
Hangul	만화
Hanja	漫畵
Revised Romanization	manhwa
McCune–Reischauer	manhwa

Manhwa (Korean: 만화; Hanja: 漫畵; Korean pronunciation: [manhwa]) is the general Korean term for comics and print cartoons. Outside Korea, the term usually refers to South Korean comics.^[1] Manhwa is greatly influenced by Japanese Manga comics. Modern Manhwa has extended its reach to many other countries. These comics have branched outside of Korea by access of Webtoons and have created an impact that has resulted in many movie and television show adaptations.

Characteristics[edit]

The author or artist of a manhwa is called a manhwaga (만화가; 漫畵家). They take on the task of creating a comic that fits a certain format. Manhwa is read in the same direction as English books, horizontally and from left to right, because Korean is normally written and read horizontally. It can also be written and read vertically from right to left, top to bottom.^[2] Webtoons tend to be structured differently in the way they are meant for scrolling where manga is meant to be looked at page by page. Manhwa, unlike their manga counterpart, is often in color when posted on the internet, but in black & white when in a printed format.^[3]

Manhwa art differs from manga and manhua as well with its distinct features. The bodies of characters are often realistically proportioned, while the faces remain unrealistic. Manhwas also often have very detailed clothing on their characters as well as intricate backgrounds. Webtoons use vertical scrolling to their advantage to demonstrate movement or the passage of time. Manhwa webtoons are also recognized for having simplified dialogue compared to print.^[4]

Etymology and influence[edit]

Linguistically, manhwa, manga (漫画) and manhua (漫画) all mean ‘comics’ in Korean, Japanese and Chinese respectively. According to its Wikipedia article, «manga comes from the Japanese word 漫画,^[5] (katakana: マンガ; hiragana: まんが) which is composed of two kanji 漫 (man) meaning ‘whimsical or impromptu’ and 画 (ga) meaning ‘pictures.’^[6][7] The same term is the root of the Korean word for comics, ‘manhwa,’ and the Chinese word ‘manhua.'»^[8] The Korean manhwa, the Japanese manga and the Chinese phrase manhua are cognates (transl. »impromptu sketches»)^[9] and their histories and influences intertwine with each other.

Originally the term manhua in Chinese vocabulary was an 18th-century term used in Chinese literati painting. The term  manga was used in Japan to mean «comics» in the late 19th century, when it became popular. Since then, accordingly  manhwa, manga (漫画) and manhua (漫画) are all became to mean ‘comics’ in Korean, Japanese and Chinese.^{[citation needed]}

The current usage of the terms manhwa and manhua in English is largely explained by the international success of Japanese manga. Although in a traditional sense, the terms manga/manhua/manhwa had a similar meaning of comical drawing in a broad way, in English the terms manhwa and manhua generally designate the manga-inspired comic strips. Manga influenced manhwa from the medium’s beginnings during the Japanese occupation of Korea and continued to exert a powerful influence as the manga industry became a major force within Japanese culture and began to export comics abroad. Manhwaga were not culturally isolated, and the influx of manga into the Korean comics market had a strong effect on the art and content of many artists’ manhwa.^[10]

History[edit]

Korea was under Japanese occupation from 1910 to 1945 and during this time elements of Japanese language and culture were incorporated into Korean society.^[11] The term manhwa came into popular use in Korea during the 1920s,^[12] when it was applied to cartoons. By the mid 1920s, most newspapers were shut down,^[13] and political and social cartoons were abandoned, replaced by humorous illustrations and cartoons geared towards children.

Political cartoon slowly reemerged following the establishment of the Republic of Korea (commonly known as South Korea) in 1948.^[14] During the early years of Japanese occupation, newspaper comics featured a great deal of social criticism. Popular artist Kim Yong-hwan started Korea’s first comic magazine, Manhwa Haengjin, in 1948,^[15] but it was quickly shut down because the authorities disapproved of the cover.

During the Korean war, Manhwa was used with the aim of boosting the morale of the public.^[16]The popularity of comics rose during the 1950s and 1960s,^[17] creating diversity of styles and subject matter which led to the construction of new genres such as sunjeong (or soonjung),^[18] stories containing romance that are aimed at young women (equivalent to the Japanese genre shoujo). Also around this time another more humorous genre, myeongnyang or happy comics had become popular in order to counteract gritty ones.^[16] Manhwabang (lit. comics room), comics cafés and stores that allowed readers to pay a set rate to sit and read comics were also introduced to the public, creating a positive atmosphere around the comics.^[19] In response to the increasing publication of comics, as well as social and political changes within South Korea, the government began to enforce censorship laws and, by the mid-1960s, created a comics distribution monopoly that further censored manhwa.^[20]

In the 1990s, the ban on Japanese media was lifted, which helped to influence the present-day art and styles of contemporary Manhwa. Around this time was when Manhwa had come up in North Korea as well. Then in the early 2000s, the majority of Manhwa was transferred to online sources due to economic collapse that South Korea had experienced at the end of the millennium. because of its transfer to online sources, its popularity overseas has risen. This led to the South Korean search portal to launch LINE Webtoon, a platform for distributing online Manhwa.^[16]

Webtoons[edit]

The term «Webtoon» (웹툰) is a portmanteau of the Korean words 웹 meaning web and 카툰 meaning cartoon. The term was first coined on 8 August 2000, by Chollian, one of South Korea’s oldest and now discontinued internet service engines.^[21] Webtoons are the digital form of manhwa that first came into popularity in the early 2000s due to their free access and availability on the internet.^[22] It was also beneficial to creators because it helped them get around strict South Korean censorship laws. ^[23] Webtoons encourage amateur writers to publish their own stories for others to read.^[21] Since their creation, webtoons have gained popularity around the globe and have even been adopted outside of Korea as another form of comic publication.^[24] This is credited to their unique format and pay model.

In 2014 WEBTOON’s global website and mobile app were launched, revolutionizing the comic world’s way of reading for entertainment. Also, around this time JunKoo Kim, the person that started LINE Webtoon, had reported that Webtoon was used in 60 countries, had 55 million monthly users, and 100 billion annual views.^{[citation needed]}

Manhwa outside of Korea[edit]

Manhwa has reached all over the world now. With websites such as TopToon, a webtoon company from Korea that also has a global service in TopToonPlus, people are able to access a wide variety of comics from their phones. ^[25] There are also places like WEBTOON that not only allow people to read original comics, but make them as well, opening up this aspect of Korean culture for everyone to take part in.

But despite that, the relative obscurity of Korean culture in the Western world has caused the word manhwa to remain somewhat unknown in the English-speaking countries.^{[citation needed]} English translations of manhwa have achieved success by targeting the manga and anime community, to the extent that manhwa were marketed as manga by the American publisher Tokyopop. ^[26]

United States[edit]

Sanho Kim was the first manhwa artist working in the States. During the 1960s and 1970s, he worked for publishers Charlton Comics, Warren Publishing, Iron Horse Publishing, Skywald Publications, DC Comics, and Marvel Comics.^[27]

According to journalist Paul Gravett, in 1987 Eastern Comics published the first original manhwas in the United States.^[28]

Due to the explosion of manga’s popularity in the Americas, many of the licensed titles acquired for the American market seek to emulate the popular elements of other successful series.^[29] Recently, long-running webtoons serialized via Internet portal sites (e.g. by Daum Media),^[30] like Lezhin Comics and personal homepages have become both the creative and popular destination among the younger generation in Korea.^{[citation needed]}
With manga proving to be both popular and commercially successful in Europe and the United States, a number of publishers imported and translated manhwa titles in the hope of reaching the same audience. The readability and left-to-right orientation of manhwa contributed to its growing popularity, as did the realism of the characters and the combination of Eastern and Western styles and mythologies.

Media franchise[edit]

Animations based on Korean comics are still relatively rare (though there were several major hits in the late 1980s and early 90s with titles such as Dooly the Little Dinosaur and Fly! Superboard). However, live-action drama series and movie adaptations of manhwa have occurred more frequently in recent years. Full House in 2004 and Goong («Palace» or «Princess Hours») in 2006 are prominent examples. Below is a list of manhwa titles adapted into television series, web series, and films. Not to be confused to another adapted works of adapted from Webtoons.

Title	Author	Format	Premiere	Notes	Reference
Meongteong-guli Heotmulkyeogi (멍텅구리 헛물켜기)	Lee Sang-hyeop and Ahn Jae-hong and Noh Soo-hyun	Film	1926		[31]
Gobau (고바우)	Kim Seonghwan	Film	1958		[31]
Walsun Ajimae (왈순 아지매)	Jeong Woon-kyung	Film	1963		[31]
Geokkuligungwa Jangdaligun (거꾸리군과 장다리군)	Kim Seonghwan	Film	1977		[31]
Bridal Mask (각시탈)	Huh Young-man	Film	1978		[32]
Animated film	1986		[33]
TV series	30 May 2012	Bridal Mask SPC Pan Entertainment KBS N	[34]
Space Black Knight (우주 흑기사)	Huh Young-man	Animated film	1979		[35]
Alien Baseball Team (외인구단)	Lee Hyun-se	Film	2 August 1986		[36][37]
The Last Station (퇴역전선)	Huh Young-man	TV series	14 September 1987	Broadcast on MBC	[38]
Dooly the Little Dinosaur (아기공룡 둘리)	Kim Soo-jung	Animation	7 October 1987 — 1989	Daewon Media Broadcast on KBS	[39]
OVA	1995	Tooniverse	[40]
Animated film	24 July 1996	Dooly Nara (Dooly Nation), Seoul Movie	[41]
Animation	8 January 2009	Broadcast on SBS, Tooniverse	[42]
The Chameleon’s Poem (카멜레온의 시)	Huh Young-man	TV series	14 May 1988		[43]
Mr. Sohn (미스터손) Fly! Superboard (날아라 슈퍼보드)	Huh Young-man	Animation	15 August 1990, 1991, 1992, 1998, 2001	Hanho Heung-Up Co., Ltd. Broadcast on KBS1	[44]
Asphalt Man (아스팔트 사나이)	Huh Young-man	TV series	17 May 1995	Broadcast on SBS	[45]
48+1	Huh Young-man	Film	4 November 1995		[46]
Beat (비트)	Huh Young-man	Film	3 May 1997		[47]
Mr. Q (미스터 Q)	Huh Young-man	TV series	20 May 1998	Broadcast on SBS	[48]
Nudlnude (누들누드)	Yang Young-soon	OVA	October 1998, 1999	Seoul Movie	[49]
We Saw the Bird Lost in the Middle of the Road (우리는 길 잃은 작은 새를 보았다)	Hwang Mi-na	TV series	19 April 1999	Broadcast on KBS2	[50][51]
Blade of the Phantom Master (신암행어사)	Youn In-wan and Yang Kyung-il	Animated film	4 December 2004	Oriental Light and Magic and Character Plan	[52]
Full House (풀하우스)	Won Soo-yeon	TV series	14 July 2004	Kim Jong-hak Production	[51]
Hammerboy (망치)	Huh Young-man	Animated film	6 August 2004		[53]
Goong («Palace» or «Princess Hours») (궁)	Park So-hee	TV series	11 January 2006	Eight Peaks	[54]
Tajja (타짜)	Kim Se-yeong and Huh Young-man	Film	28 September 2006	Sidus FNH	[55]
TV series	16 September 2008	Olive9 and Dong-ah Institute of Media and Arts	[55]
War of Money (쩐의 전쟁)	Park In-kwon	TV series	16 May 2007	Victory Production Broadcast on SBS	[56]
TV series	7 March 2008	Broadcast on tvN	[57]
TV series	6 January 2015	Kansai Television Co. Ltd.	[58]
Sikgaek Le Grand Chef Gourmet (식객)	Huh Young-man	Film	1 November 2007	ShowEast Co Ltd	[59]
TV series	17 June 2008	Broadcast on SBS	[60]
Film	28 January 2010	IROOM Pictures	[61]
Saranghae (사랑해)	Huh Young-man	TV series	7 April 2008	Broadcast on SBS	[62]
Priest (프리스트)	Hyung Min-woo	Film	13 May 2011	Screen Gems	[63]
The 7th Team (제7구단) Mr. Go (미스터 고)	Huh Young-man	Film	17 July 2013 (South Korea) 18 July 2013 (China)	Showbox/Mediaplex (South Korea) Huayi Brothers (China)	[64]
Would You Like a Cup of Coffee? (허영만의 커피 한잔 할까요?)	Huh Young-man	Web series	24 October 2021	Broadcast on KakaoTV	[65]

Korean manhwa publishers[edit]

Note: select publishers only

• Daewon C.I.
• Haksan Culture Company
• Seoul Culture Corporation
• Shinwon Agency Corporation

North American manhwa imprints[edit]

• ADV Manga
• Dark Horse Manhwa
• DramaQueen
• DrMaster Publications
• Media Blasters
• Netcomics
• NBM ComicsLit
• Seven Seas Entertainment
• SuperAni
• Manta
• UDON’s Korean Manhwa
• Yen Press

See also[edit]

• List of manhwa
• Myeongnang manhwa
• Manhwabang
• Culture of South Korea
• Korean Wave
• Korean animation
• Webtoon
• Video gaming in South Korea

Citations[edit]

Sources[edit]

• Fukushima, Yoshiko (2013). Manga Discourse in Japan Theatre. Routledge. p. 19. ISBN 978-1-136-77273-3.
• Son Sang-ik (1999). 한국만화통사 1 (General History of Manwha 1) (in Korean). Sigongsa. ISBN 89-7259-890-9.
• Hart, Christopher (2004). Manhwa mania: how to draw Korean comics. New York: Watson-Guptill Publications. ISBN 0-8230-2976-X.
• Kim Jinsu (2 June 2007). «개화기 일제의 시사만화 탄압 (The Japanese oppression on Sisa manhwa)» (in Korean). Chammalo.
• 만화 (in Korean). Empas/ Encyclopædia Britannica.
• Rousmaniere, Nicole (2001). Births and Rebirths in Japanese Art : Essays Celebrating the Inauguration of the Sainsbury Institute for the Study of Japanese Arts and Cultures. Hotei Publishing. ISBN 978-90-74822-44-2.
• «Manhwa» (in Korean). Empas/ EncyKorea.
• Sim Ji-hoon. «Korea Manhwa Museum». INISteel Webzine (in Korean).
• Onoda, Natsu (2009). God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga. University Press of Mississippi. p. 10. ISBN 978-1-60473-478-2.
• Petersen, Robert S. (2011). Comics, Manga, and Graphic Novels: A History of Graphic Narratives. ABC-CLIO. ISBN 978-0-313-36330-6.
• Prohl, Inken; Nelson, John K (2012). Handbook of Contemporary Japanese Religions. BRILL. p. 596. ISBN 978-90-04-23435-2.
• Sugiyama, Rika (2004). Comic artists — Asia : manga, manhwa, manhua. New York: Harper Design International. ISBN 0-06-058924-8.
• Thompson, Jason (2007). Manga: The Complete Guide. New York: Ballantine Books. ISBN 978-0-345-48590-8.
• Webb, Martin (28 May 2006). «Manga by any other name is…» The Japan Times. Retrieved 5 April 2008.

• «Korean Comics in the U.S., Part 1, Comic-Con International 2004,» Jade Magazine.com, Sep. 2004
• «Korean Comics in the U.S., Part 2, Manhwa Sampler,» Jade Magazine.com, Sep. 2004
• «Sang-Sun Park, Les Bijoux Comic Artist,» Sequential Tart.com, Aug. 2004
• Manhwa site for «Demon Diary» (마왕일기)
• «Infinity Studios and Manhwa,» Anime Tourist.com, 16 June 2004
• Our Toys, Our Selves: Robot Taekwon V and South Korean Identity
• Cain, Geoffrey. «Will the Internet Kill the Manhwa Star?» The Far Eastern Economic Review, 6 November 2009

From Wikipedia, the free encyclopedia

For Chinese comics, see Manhua.

Manhwa
Hangul	만화
Hanja	漫畵
Revised Romanization	manhwa
McCune–Reischauer	manhwa

Manhwa (Korean: 만화; Hanja: 漫畵; Korean pronunciation: [manhwa]) is the general Korean term for comics and print cartoons. Outside Korea, the term usually refers to South Korean comics.^[1] Manhwa is greatly influenced by Japanese Manga comics. Modern Manhwa has extended its reach to many other countries. These comics have branched outside of Korea by access of Webtoons and have created an impact that has resulted in many movie and television show adaptations.

Characteristics[edit]

The author or artist of a manhwa is called a manhwaga (만화가; 漫畵家). They take on the task of creating a comic that fits a certain format. Manhwa is read in the same direction as English books, horizontally and from left to right, because Korean is normally written and read horizontally. It can also be written and read vertically from right to left, top to bottom.^[2] Webtoons tend to be structured differently in the way they are meant for scrolling where manga is meant to be looked at page by page. Manhwa, unlike their manga counterpart, is often in color when posted on the internet, but in black & white when in a printed format.^[3]

Manhwa art differs from manga and manhua as well with its distinct features. The bodies of characters are often realistically proportioned, while the faces remain unrealistic. Manhwas also often have very detailed clothing on their characters as well as intricate backgrounds. Webtoons use vertical scrolling to their advantage to demonstrate movement or the passage of time. Manhwa webtoons are also recognized for having simplified dialogue compared to print.^[4]

Etymology and influence[edit]

Linguistically, manhwa, manga (漫画) and manhua (漫画) all mean ‘comics’ in Korean, Japanese and Chinese respectively. According to its Wikipedia article, «manga comes from the Japanese word 漫画,^[5] (katakana: マンガ; hiragana: まんが) which is composed of two kanji 漫 (man) meaning ‘whimsical or impromptu’ and 画 (ga) meaning ‘pictures.’^[6][7] The same term is the root of the Korean word for comics, ‘manhwa,’ and the Chinese word ‘manhua.'»^[8] The Korean manhwa, the Japanese manga and the Chinese phrase manhua are cognates (transl. »impromptu sketches»)^[9] and their histories and influences intertwine with each other.

Originally the term manhua in Chinese vocabulary was an 18th-century term used in Chinese literati painting. The term  manga was used in Japan to mean «comics» in the late 19th century, when it became popular. Since then, accordingly  manhwa, manga (漫画) and manhua (漫画) are all became to mean ‘comics’ in Korean, Japanese and Chinese.^{[citation needed]}

The current usage of the terms manhwa and manhua in English is largely explained by the international success of Japanese manga. Although in a traditional sense, the terms manga/manhua/manhwa had a similar meaning of comical drawing in a broad way, in English the terms manhwa and manhua generally designate the manga-inspired comic strips. Manga influenced manhwa from the medium’s beginnings during the Japanese occupation of Korea and continued to exert a powerful influence as the manga industry became a major force within Japanese culture and began to export comics abroad. Manhwaga were not culturally isolated, and the influx of manga into the Korean comics market had a strong effect on the art and content of many artists’ manhwa.^[10]

History[edit]

Korea was under Japanese occupation from 1910 to 1945 and during this time elements of Japanese language and culture were incorporated into Korean society.^[11] The term manhwa came into popular use in Korea during the 1920s,^[12] when it was applied to cartoons. By the mid 1920s, most newspapers were shut down,^[13] and political and social cartoons were abandoned, replaced by humorous illustrations and cartoons geared towards children.

Political cartoon slowly reemerged following the establishment of the Republic of Korea (commonly known as South Korea) in 1948.^[14] During the early years of Japanese occupation, newspaper comics featured a great deal of social criticism. Popular artist Kim Yong-hwan started Korea’s first comic magazine, Manhwa Haengjin, in 1948,^[15] but it was quickly shut down because the authorities disapproved of the cover.

During the Korean war, Manhwa was used with the aim of boosting the morale of the public.^[16]The popularity of comics rose during the 1950s and 1960s,^[17] creating diversity of styles and subject matter which led to the construction of new genres such as sunjeong (or soonjung),^[18] stories containing romance that are aimed at young women (equivalent to the Japanese genre shoujo). Also around this time another more humorous genre, myeongnyang or happy comics had become popular in order to counteract gritty ones.^[16] Manhwabang (lit. comics room), comics cafés and stores that allowed readers to pay a set rate to sit and read comics were also introduced to the public, creating a positive atmosphere around the comics.^[19] In response to the increasing publication of comics, as well as social and political changes within South Korea, the government began to enforce censorship laws and, by the mid-1960s, created a comics distribution monopoly that further censored manhwa.^[20]

In the 1990s, the ban on Japanese media was lifted, which helped to influence the present-day art and styles of contemporary Manhwa. Around this time was when Manhwa had come up in North Korea as well. Then in the early 2000s, the majority of Manhwa was transferred to online sources due to economic collapse that South Korea had experienced at the end of the millennium. because of its transfer to online sources, its popularity overseas has risen. This led to the South Korean search portal to launch LINE Webtoon, a platform for distributing online Manhwa.^[16]

Webtoons[edit]

The term «Webtoon» (웹툰) is a portmanteau of the Korean words 웹 meaning web and 카툰 meaning cartoon. The term was first coined on 8 August 2000, by Chollian, one of South Korea’s oldest and now discontinued internet service engines.^[21] Webtoons are the digital form of manhwa that first came into popularity in the early 2000s due to their free access and availability on the internet.^[22] It was also beneficial to creators because it helped them get around strict South Korean censorship laws. ^[23] Webtoons encourage amateur writers to publish their own stories for others to read.^[21] Since their creation, webtoons have gained popularity around the globe and have even been adopted outside of Korea as another form of comic publication.^[24] This is credited to their unique format and pay model.

In 2014 WEBTOON’s global website and mobile app were launched, revolutionizing the comic world’s way of reading for entertainment. Also, around this time JunKoo Kim, the person that started LINE Webtoon, had reported that Webtoon was used in 60 countries, had 55 million monthly users, and 100 billion annual views.^{[citation needed]}

Manhwa outside of Korea[edit]

Manhwa has reached all over the world now. With websites such as TopToon, a webtoon company from Korea that also has a global service in TopToonPlus, people are able to access a wide variety of comics from their phones. ^[25] There are also places like WEBTOON that not only allow people to read original comics, but make them as well, opening up this aspect of Korean culture for everyone to take part in.

But despite that, the relative obscurity of Korean culture in the Western world has caused the word manhwa to remain somewhat unknown in the English-speaking countries.^{[citation needed]} English translations of manhwa have achieved success by targeting the manga and anime community, to the extent that manhwa were marketed as manga by the American publisher Tokyopop. ^[26]

United States[edit]

Sanho Kim was the first manhwa artist working in the States. During the 1960s and 1970s, he worked for publishers Charlton Comics, Warren Publishing, Iron Horse Publishing, Skywald Publications, DC Comics, and Marvel Comics.^[27]

According to journalist Paul Gravett, in 1987 Eastern Comics published the first original manhwas in the United States.^[28]

Due to the explosion of manga’s popularity in the Americas, many of the licensed titles acquired for the American market seek to emulate the popular elements of other successful series.^[29] Recently, long-running webtoons serialized via Internet portal sites (e.g. by Daum Media),^[30] like Lezhin Comics and personal homepages have become both the creative and popular destination among the younger generation in Korea.^{[citation needed]}
With manga proving to be both popular and commercially successful in Europe and the United States, a number of publishers imported and translated manhwa titles in the hope of reaching the same audience. The readability and left-to-right orientation of manhwa contributed to its growing popularity, as did the realism of the characters and the combination of Eastern and Western styles and mythologies.

Media franchise[edit]

Animations based on Korean comics are still relatively rare (though there were several major hits in the late 1980s and early 90s with titles such as Dooly the Little Dinosaur and Fly! Superboard). However, live-action drama series and movie adaptations of manhwa have occurred more frequently in recent years. Full House in 2004 and Goong («Palace» or «Princess Hours») in 2006 are prominent examples. Below is a list of manhwa titles adapted into television series, web series, and films. Not to be confused to another adapted works of adapted from Webtoons.

Title	Author	Format	Premiere	Notes	Reference
Meongteong-guli Heotmulkyeogi (멍텅구리 헛물켜기)	Lee Sang-hyeop and Ahn Jae-hong and Noh Soo-hyun	Film	1926		[31]
Gobau (고바우)	Kim Seonghwan	Film	1958		[31]
Walsun Ajimae (왈순 아지매)	Jeong Woon-kyung	Film	1963		[31]
Geokkuligungwa Jangdaligun (거꾸리군과 장다리군)	Kim Seonghwan	Film	1977		[31]
Bridal Mask (각시탈)	Huh Young-man	Film	1978		[32]
Animated film	1986		[33]
TV series	30 May 2012	Bridal Mask SPC Pan Entertainment KBS N	[34]
Space Black Knight (우주 흑기사)	Huh Young-man	Animated film	1979		[35]
Alien Baseball Team (외인구단)	Lee Hyun-se	Film	2 August 1986		[36][37]
The Last Station (퇴역전선)	Huh Young-man	TV series	14 September 1987	Broadcast on MBC	[38]
Dooly the Little Dinosaur (아기공룡 둘리)	Kim Soo-jung	Animation	7 October 1987 — 1989	Daewon Media Broadcast on KBS	[39]
OVA	1995	Tooniverse	[40]
Animated film	24 July 1996	Dooly Nara (Dooly Nation), Seoul Movie	[41]
Animation	8 January 2009	Broadcast on SBS, Tooniverse	[42]
The Chameleon’s Poem (카멜레온의 시)	Huh Young-man	TV series	14 May 1988		[43]
Mr. Sohn (미스터손) Fly! Superboard (날아라 슈퍼보드)	Huh Young-man	Animation	15 August 1990, 1991, 1992, 1998, 2001	Hanho Heung-Up Co., Ltd. Broadcast on KBS1	[44]
Asphalt Man (아스팔트 사나이)	Huh Young-man	TV series	17 May 1995	Broadcast on SBS	[45]
48+1	Huh Young-man	Film	4 November 1995		[46]
Beat (비트)	Huh Young-man	Film	3 May 1997		[47]
Mr. Q (미스터 Q)	Huh Young-man	TV series	20 May 1998	Broadcast on SBS	[48]
Nudlnude (누들누드)	Yang Young-soon	OVA	October 1998, 1999	Seoul Movie	[49]
We Saw the Bird Lost in the Middle of the Road (우리는 길 잃은 작은 새를 보았다)	Hwang Mi-na	TV series	19 April 1999	Broadcast on KBS2	[50][51]
Blade of the Phantom Master (신암행어사)	Youn In-wan and Yang Kyung-il	Animated film	4 December 2004	Oriental Light and Magic and Character Plan	[52]
Full House (풀하우스)	Won Soo-yeon	TV series	14 July 2004	Kim Jong-hak Production	[51]
Hammerboy (망치)	Huh Young-man	Animated film	6 August 2004		[53]
Goong («Palace» or «Princess Hours») (궁)	Park So-hee	TV series	11 January 2006	Eight Peaks	[54]
Tajja (타짜)	Kim Se-yeong and Huh Young-man	Film	28 September 2006	Sidus FNH	[55]
TV series	16 September 2008	Olive9 and Dong-ah Institute of Media and Arts	[55]
War of Money (쩐의 전쟁)	Park In-kwon	TV series	16 May 2007	Victory Production Broadcast on SBS	[56]
TV series	7 March 2008	Broadcast on tvN	[57]
TV series	6 January 2015	Kansai Television Co. Ltd.	[58]
Sikgaek Le Grand Chef Gourmet (식객)	Huh Young-man	Film	1 November 2007	ShowEast Co Ltd	[59]
TV series	17 June 2008	Broadcast on SBS	[60]
Film	28 January 2010	IROOM Pictures	[61]
Saranghae (사랑해)	Huh Young-man	TV series	7 April 2008	Broadcast on SBS	[62]
Priest (프리스트)	Hyung Min-woo	Film	13 May 2011	Screen Gems	[63]
The 7th Team (제7구단) Mr. Go (미스터 고)	Huh Young-man	Film	17 July 2013 (South Korea) 18 July 2013 (China)	Showbox/Mediaplex (South Korea) Huayi Brothers (China)	[64]
Would You Like a Cup of Coffee? (허영만의 커피 한잔 할까요?)	Huh Young-man	Web series	24 October 2021	Broadcast on KakaoTV	[65]

Korean manhwa publishers[edit]

Note: select publishers only

• Daewon C.I.
• Haksan Culture Company
• Seoul Culture Corporation
• Shinwon Agency Corporation

North American manhwa imprints[edit]

• ADV Manga
• Dark Horse Manhwa
• DramaQueen
• DrMaster Publications
• Media Blasters
• Netcomics
• NBM ComicsLit
• Seven Seas Entertainment
• SuperAni
• Manta
• UDON’s Korean Manhwa
• Yen Press

See also[edit]

• List of manhwa
• Myeongnang manhwa
• Manhwabang
• Culture of South Korea
• Korean Wave
• Korean animation
• Webtoon
• Video gaming in South Korea

Citations[edit]

Sources[edit]

• Fukushima, Yoshiko (2013). Manga Discourse in Japan Theatre. Routledge. p. 19. ISBN 978-1-136-77273-3.
• Son Sang-ik (1999). 한국만화통사 1 (General History of Manwha 1) (in Korean). Sigongsa. ISBN 89-7259-890-9.
• Hart, Christopher (2004). Manhwa mania: how to draw Korean comics. New York: Watson-Guptill Publications. ISBN 0-8230-2976-X.
• Kim Jinsu (2 June 2007). «개화기 일제의 시사만화 탄압 (The Japanese oppression on Sisa manhwa)» (in Korean). Chammalo.
• 만화 (in Korean). Empas/ Encyclopædia Britannica.
• Rousmaniere, Nicole (2001). Births and Rebirths in Japanese Art : Essays Celebrating the Inauguration of the Sainsbury Institute for the Study of Japanese Arts and Cultures. Hotei Publishing. ISBN 978-90-74822-44-2.
• «Manhwa» (in Korean). Empas/ EncyKorea.
• Sim Ji-hoon. «Korea Manhwa Museum». INISteel Webzine (in Korean).
• Onoda, Natsu (2009). God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga. University Press of Mississippi. p. 10. ISBN 978-1-60473-478-2.
• Petersen, Robert S. (2011). Comics, Manga, and Graphic Novels: A History of Graphic Narratives. ABC-CLIO. ISBN 978-0-313-36330-6.
• Prohl, Inken; Nelson, John K (2012). Handbook of Contemporary Japanese Religions. BRILL. p. 596. ISBN 978-90-04-23435-2.
• Sugiyama, Rika (2004). Comic artists — Asia : manga, manhwa, manhua. New York: Harper Design International. ISBN 0-06-058924-8.
• Thompson, Jason (2007). Manga: The Complete Guide. New York: Ballantine Books. ISBN 978-0-345-48590-8.
• Webb, Martin (28 May 2006). «Manga by any other name is…» The Japan Times. Retrieved 5 April 2008.

• «Korean Comics in the U.S., Part 1, Comic-Con International 2004,» Jade Magazine.com, Sep. 2004
• «Korean Comics in the U.S., Part 2, Manhwa Sampler,» Jade Magazine.com, Sep. 2004
• «Sang-Sun Park, Les Bijoux Comic Artist,» Sequential Tart.com, Aug. 2004
• Manhwa site for «Demon Diary» (마왕일기)
• «Infinity Studios and Manhwa,» Anime Tourist.com, 16 June 2004
• Our Toys, Our Selves: Robot Taekwon V and South Korean Identity
• Cain, Geoffrey. «Will the Internet Kill the Manhwa Star?» The Far Eastern Economic Review, 6 November 2009

From Wikipedia, the free encyclopedia

For Chinese comics, see Manhua.

Manhwa
Hangul	만화
Hanja	漫畵
Revised Romanization	manhwa
McCune–Reischauer	manhwa

Manhwa (Korean: 만화; Hanja: 漫畵; Korean pronunciation: [manhwa]) is the general Korean term for comics and print cartoons. Outside Korea, the term usually refers to South Korean comics.^[1] Manhwa is greatly influenced by Japanese Manga comics. Modern Manhwa has extended its reach to many other countries. These comics have branched outside of Korea by access of Webtoons and have created an impact that has resulted in many movie and television show adaptations.

Characteristics[edit]

The author or artist of a manhwa is called a manhwaga (만화가; 漫畵家). They take on the task of creating a comic that fits a certain format. Manhwa is read in the same direction as English books, horizontally and from left to right, because Korean is normally written and read horizontally. It can also be written and read vertically from right to left, top to bottom.^[2] Webtoons tend to be structured differently in the way they are meant for scrolling where manga is meant to be looked at page by page. Manhwa, unlike their manga counterpart, is often in color when posted on the internet, but in black & white when in a printed format.^[3]

Manhwa art differs from manga and manhua as well with its distinct features. The bodies of characters are often realistically proportioned, while the faces remain unrealistic. Manhwas also often have very detailed clothing on their characters as well as intricate backgrounds. Webtoons use vertical scrolling to their advantage to demonstrate movement or the passage of time. Manhwa webtoons are also recognized for having simplified dialogue compared to print.^[4]

Etymology and influence[edit]

Linguistically, manhwa, manga (漫画) and manhua (漫画) all mean ‘comics’ in Korean, Japanese and Chinese respectively. According to its Wikipedia article, «manga comes from the Japanese word 漫画,^[5] (katakana: マンガ; hiragana: まんが) which is composed of two kanji 漫 (man) meaning ‘whimsical or impromptu’ and 画 (ga) meaning ‘pictures.’^[6][7] The same term is the root of the Korean word for comics, ‘manhwa,’ and the Chinese word ‘manhua.'»^[8] The Korean manhwa, the Japanese manga and the Chinese phrase manhua are cognates (transl. »impromptu sketches»)^[9] and their histories and influences intertwine with each other.

Originally the term manhua in Chinese vocabulary was an 18th-century term used in Chinese literati painting. The term  manga was used in Japan to mean «comics» in the late 19th century, when it became popular. Since then, accordingly  manhwa, manga (漫画) and manhua (漫画) are all became to mean ‘comics’ in Korean, Japanese and Chinese.^{[citation needed]}

The current usage of the terms manhwa and manhua in English is largely explained by the international success of Japanese manga. Although in a traditional sense, the terms manga/manhua/manhwa had a similar meaning of comical drawing in a broad way, in English the terms manhwa and manhua generally designate the manga-inspired comic strips. Manga influenced manhwa from the medium’s beginnings during the Japanese occupation of Korea and continued to exert a powerful influence as the manga industry became a major force within Japanese culture and began to export comics abroad. Manhwaga were not culturally isolated, and the influx of manga into the Korean comics market had a strong effect on the art and content of many artists’ manhwa.^[10]

History[edit]

Korea was under Japanese occupation from 1910 to 1945 and during this time elements of Japanese language and culture were incorporated into Korean society.^[11] The term manhwa came into popular use in Korea during the 1920s,^[12] when it was applied to cartoons. By the mid 1920s, most newspapers were shut down,^[13] and political and social cartoons were abandoned, replaced by humorous illustrations and cartoons geared towards children.

Political cartoon slowly reemerged following the establishment of the Republic of Korea (commonly known as South Korea) in 1948.^[14] During the early years of Japanese occupation, newspaper comics featured a great deal of social criticism. Popular artist Kim Yong-hwan started Korea’s first comic magazine, Manhwa Haengjin, in 1948,^[15] but it was quickly shut down because the authorities disapproved of the cover.

During the Korean war, Manhwa was used with the aim of boosting the morale of the public.^[16]The popularity of comics rose during the 1950s and 1960s,^[17] creating diversity of styles and subject matter which led to the construction of new genres such as sunjeong (or soonjung),^[18] stories containing romance that are aimed at young women (equivalent to the Japanese genre shoujo). Also around this time another more humorous genre, myeongnyang or happy comics had become popular in order to counteract gritty ones.^[16] Manhwabang (lit. comics room), comics cafés and stores that allowed readers to pay a set rate to sit and read comics were also introduced to the public, creating a positive atmosphere around the comics.^[19] In response to the increasing publication of comics, as well as social and political changes within South Korea, the government began to enforce censorship laws and, by the mid-1960s, created a comics distribution monopoly that further censored manhwa.^[20]

In the 1990s, the ban on Japanese media was lifted, which helped to influence the present-day art and styles of contemporary Manhwa. Around this time was when Manhwa had come up in North Korea as well. Then in the early 2000s, the majority of Manhwa was transferred to online sources due to economic collapse that South Korea had experienced at the end of the millennium. because of its transfer to online sources, its popularity overseas has risen. This led to the South Korean search portal to launch LINE Webtoon, a platform for distributing online Manhwa.^[16]

Webtoons[edit]

The term «Webtoon» (웹툰) is a portmanteau of the Korean words 웹 meaning web and 카툰 meaning cartoon. The term was first coined on 8 August 2000, by Chollian, one of South Korea’s oldest and now discontinued internet service engines.^[21] Webtoons are the digital form of manhwa that first came into popularity in the early 2000s due to their free access and availability on the internet.^[22] It was also beneficial to creators because it helped them get around strict South Korean censorship laws. ^[23] Webtoons encourage amateur writers to publish their own stories for others to read.^[21] Since their creation, webtoons have gained popularity around the globe and have even been adopted outside of Korea as another form of comic publication.^[24] This is credited to their unique format and pay model.

In 2014 WEBTOON’s global website and mobile app were launched, revolutionizing the comic world’s way of reading for entertainment. Also, around this time JunKoo Kim, the person that started LINE Webtoon, had reported that Webtoon was used in 60 countries, had 55 million monthly users, and 100 billion annual views.^{[citation needed]}

Manhwa outside of Korea[edit]

Manhwa has reached all over the world now. With websites such as TopToon, a webtoon company from Korea that also has a global service in TopToonPlus, people are able to access a wide variety of comics from their phones. ^[25] There are also places like WEBTOON that not only allow people to read original comics, but make them as well, opening up this aspect of Korean culture for everyone to take part in.

But despite that, the relative obscurity of Korean culture in the Western world has caused the word manhwa to remain somewhat unknown in the English-speaking countries.^{[citation needed]} English translations of manhwa have achieved success by targeting the manga and anime community, to the extent that manhwa were marketed as manga by the American publisher Tokyopop. ^[26]

United States[edit]

Sanho Kim was the first manhwa artist working in the States. During the 1960s and 1970s, he worked for publishers Charlton Comics, Warren Publishing, Iron Horse Publishing, Skywald Publications, DC Comics, and Marvel Comics.^[27]

According to journalist Paul Gravett, in 1987 Eastern Comics published the first original manhwas in the United States.^[28]

Due to the explosion of manga’s popularity in the Americas, many of the licensed titles acquired for the American market seek to emulate the popular elements of other successful series.^[29] Recently, long-running webtoons serialized via Internet portal sites (e.g. by Daum Media),^[30] like Lezhin Comics and personal homepages have become both the creative and popular destination among the younger generation in Korea.^{[citation needed]}
With manga proving to be both popular and commercially successful in Europe and the United States, a number of publishers imported and translated manhwa titles in the hope of reaching the same audience. The readability and left-to-right orientation of manhwa contributed to its growing popularity, as did the realism of the characters and the combination of Eastern and Western styles and mythologies.

Media franchise[edit]

Animations based on Korean comics are still relatively rare (though there were several major hits in the late 1980s and early 90s with titles such as Dooly the Little Dinosaur and Fly! Superboard). However, live-action drama series and movie adaptations of manhwa have occurred more frequently in recent years. Full House in 2004 and Goong («Palace» or «Princess Hours») in 2006 are prominent examples. Below is a list of manhwa titles adapted into television series, web series, and films. Not to be confused to another adapted works of adapted from Webtoons.

Title	Author	Format	Premiere	Notes	Reference
Meongteong-guli Heotmulkyeogi (멍텅구리 헛물켜기)	Lee Sang-hyeop and Ahn Jae-hong and Noh Soo-hyun	Film	1926		[31]
Gobau (고바우)	Kim Seonghwan	Film	1958		[31]
Walsun Ajimae (왈순 아지매)	Jeong Woon-kyung	Film	1963		[31]
Geokkuligungwa Jangdaligun (거꾸리군과 장다리군)	Kim Seonghwan	Film	1977		[31]
Bridal Mask (각시탈)	Huh Young-man	Film	1978		[32]
Animated film	1986		[33]
TV series	30 May 2012	Bridal Mask SPC Pan Entertainment KBS N	[34]
Space Black Knight (우주 흑기사)	Huh Young-man	Animated film	1979		[35]
Alien Baseball Team (외인구단)	Lee Hyun-se	Film	2 August 1986		[36][37]
The Last Station (퇴역전선)	Huh Young-man	TV series	14 September 1987	Broadcast on MBC	[38]
Dooly the Little Dinosaur (아기공룡 둘리)	Kim Soo-jung	Animation	7 October 1987 — 1989	Daewon Media Broadcast on KBS	[39]
OVA	1995	Tooniverse	[40]
Animated film	24 July 1996	Dooly Nara (Dooly Nation), Seoul Movie	[41]
Animation	8 January 2009	Broadcast on SBS, Tooniverse	[42]
The Chameleon’s Poem (카멜레온의 시)	Huh Young-man	TV series	14 May 1988		[43]
Mr. Sohn (미스터손) Fly! Superboard (날아라 슈퍼보드)	Huh Young-man	Animation	15 August 1990, 1991, 1992, 1998, 2001	Hanho Heung-Up Co., Ltd. Broadcast on KBS1	[44]
Asphalt Man (아스팔트 사나이)	Huh Young-man	TV series	17 May 1995	Broadcast on SBS	[45]
48+1	Huh Young-man	Film	4 November 1995		[46]
Beat (비트)	Huh Young-man	Film	3 May 1997		[47]
Mr. Q (미스터 Q)	Huh Young-man	TV series	20 May 1998	Broadcast on SBS	[48]
Nudlnude (누들누드)	Yang Young-soon	OVA	October 1998, 1999	Seoul Movie	[49]
We Saw the Bird Lost in the Middle of the Road (우리는 길 잃은 작은 새를 보았다)	Hwang Mi-na	TV series	19 April 1999	Broadcast on KBS2	[50][51]
Blade of the Phantom Master (신암행어사)	Youn In-wan and Yang Kyung-il	Animated film	4 December 2004	Oriental Light and Magic and Character Plan	[52]
Full House (풀하우스)	Won Soo-yeon	TV series	14 July 2004	Kim Jong-hak Production	[51]
Hammerboy (망치)	Huh Young-man	Animated film	6 August 2004		[53]
Goong («Palace» or «Princess Hours») (궁)	Park So-hee	TV series	11 January 2006	Eight Peaks	[54]
Tajja (타짜)	Kim Se-yeong and Huh Young-man	Film	28 September 2006	Sidus FNH	[55]
TV series	16 September 2008	Olive9 and Dong-ah Institute of Media and Arts	[55]
War of Money (쩐의 전쟁)	Park In-kwon	TV series	16 May 2007	Victory Production Broadcast on SBS	[56]
TV series	7 March 2008	Broadcast on tvN	[57]
TV series	6 January 2015	Kansai Television Co. Ltd.	[58]
Sikgaek Le Grand Chef Gourmet (식객)	Huh Young-man	Film	1 November 2007	ShowEast Co Ltd	[59]
TV series	17 June 2008	Broadcast on SBS	[60]
Film	28 January 2010	IROOM Pictures	[61]
Saranghae (사랑해)	Huh Young-man	TV series	7 April 2008	Broadcast on SBS	[62]
Priest (프리스트)	Hyung Min-woo	Film	13 May 2011	Screen Gems	[63]
The 7th Team (제7구단) Mr. Go (미스터 고)	Huh Young-man	Film	17 July 2013 (South Korea) 18 July 2013 (China)	Showbox/Mediaplex (South Korea) Huayi Brothers (China)	[64]
Would You Like a Cup of Coffee? (허영만의 커피 한잔 할까요?)	Huh Young-man	Web series	24 October 2021	Broadcast on KakaoTV	[65]

Korean manhwa publishers[edit]

Note: select publishers only

• Daewon C.I.
• Haksan Culture Company
• Seoul Culture Corporation
• Shinwon Agency Corporation

North American manhwa imprints[edit]

• ADV Manga
• Dark Horse Manhwa
• DramaQueen
• DrMaster Publications
• Media Blasters
• Netcomics
• NBM ComicsLit
• Seven Seas Entertainment
• SuperAni
• Manta
• UDON’s Korean Manhwa
• Yen Press

See also[edit]

• List of manhwa
• Myeongnang manhwa
• Manhwabang
• Culture of South Korea
• Korean Wave
• Korean animation
• Webtoon
• Video gaming in South Korea

Citations[edit]

Sources[edit]

• Fukushima, Yoshiko (2013). Manga Discourse in Japan Theatre. Routledge. p. 19. ISBN 978-1-136-77273-3.
• Son Sang-ik (1999). 한국만화통사 1 (General History of Manwha 1) (in Korean). Sigongsa. ISBN 89-7259-890-9.
• Hart, Christopher (2004). Manhwa mania: how to draw Korean comics. New York: Watson-Guptill Publications. ISBN 0-8230-2976-X.
• Kim Jinsu (2 June 2007). «개화기 일제의 시사만화 탄압 (The Japanese oppression on Sisa manhwa)» (in Korean). Chammalo.
• 만화 (in Korean). Empas/ Encyclopædia Britannica.
• Rousmaniere, Nicole (2001). Births and Rebirths in Japanese Art : Essays Celebrating the Inauguration of the Sainsbury Institute for the Study of Japanese Arts and Cultures. Hotei Publishing. ISBN 978-90-74822-44-2.
• «Manhwa» (in Korean). Empas/ EncyKorea.
• Sim Ji-hoon. «Korea Manhwa Museum». INISteel Webzine (in Korean).
• Onoda, Natsu (2009). God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga. University Press of Mississippi. p. 10. ISBN 978-1-60473-478-2.
• Petersen, Robert S. (2011). Comics, Manga, and Graphic Novels: A History of Graphic Narratives. ABC-CLIO. ISBN 978-0-313-36330-6.
• Prohl, Inken; Nelson, John K (2012). Handbook of Contemporary Japanese Religions. BRILL. p. 596. ISBN 978-90-04-23435-2.
• Sugiyama, Rika (2004). Comic artists — Asia : manga, manhwa, manhua. New York: Harper Design International. ISBN 0-06-058924-8.
• Thompson, Jason (2007). Manga: The Complete Guide. New York: Ballantine Books. ISBN 978-0-345-48590-8.
• Webb, Martin (28 May 2006). «Manga by any other name is…» The Japan Times. Retrieved 5 April 2008.

• «Korean Comics in the U.S., Part 1, Comic-Con International 2004,» Jade Magazine.com, Sep. 2004
• «Korean Comics in the U.S., Part 2, Manhwa Sampler,» Jade Magazine.com, Sep. 2004
• «Sang-Sun Park, Les Bijoux Comic Artist,» Sequential Tart.com, Aug. 2004
• Manhwa site for «Demon Diary» (마왕일기)
• «Infinity Studios and Manhwa,» Anime Tourist.com, 16 June 2004
• Our Toys, Our Selves: Robot Taekwon V and South Korean Identity
• Cain, Geoffrey. «Will the Internet Kill the Manhwa Star?» The Far Eastern Economic Review, 6 November 2009

From Wikipedia, the free encyclopedia

For Chinese comics, see Manhua.

Manhwa
Hangul	만화
Hanja	漫畵
Revised Romanization	manhwa
McCune–Reischauer	manhwa

Manhwa (Korean: 만화; Hanja: 漫畵; Korean pronunciation: [manhwa]) is the general Korean term for comics and print cartoons. Outside Korea, the term usually refers to South Korean comics.^[1] Manhwa is greatly influenced by Japanese Manga comics. Modern Manhwa has extended its reach to many other countries. These comics have branched outside of Korea by access of Webtoons and have created an impact that has resulted in many movie and television show adaptations.

Characteristics[edit]

The author or artist of a manhwa is called a manhwaga (만화가; 漫畵家). They take on the task of creating a comic that fits a certain format. Manhwa is read in the same direction as English books, horizontally and from left to right, because Korean is normally written and read horizontally. It can also be written and read vertically from right to left, top to bottom.^[2] Webtoons tend to be structured differently in the way they are meant for scrolling where manga is meant to be looked at page by page. Manhwa, unlike their manga counterpart, is often in color when posted on the internet, but in black & white when in a printed format.^[3]

Manhwa art differs from manga and manhua as well with its distinct features. The bodies of characters are often realistically proportioned, while the faces remain unrealistic. Manhwas also often have very detailed clothing on their characters as well as intricate backgrounds. Webtoons use vertical scrolling to their advantage to demonstrate movement or the passage of time. Manhwa webtoons are also recognized for having simplified dialogue compared to print.^[4]

Etymology and influence[edit]

Linguistically, manhwa, manga (漫画) and manhua (漫画) all mean ‘comics’ in Korean, Japanese and Chinese respectively. According to its Wikipedia article, «manga comes from the Japanese word 漫画,^[5] (katakana: マンガ; hiragana: まんが) which is composed of two kanji 漫 (man) meaning ‘whimsical or impromptu’ and 画 (ga) meaning ‘pictures.’^[6][7] The same term is the root of the Korean word for comics, ‘manhwa,’ and the Chinese word ‘manhua.'»^[8] The Korean manhwa, the Japanese manga and the Chinese phrase manhua are cognates (transl. »impromptu sketches»)^[9] and their histories and influences intertwine with each other.

Originally the term manhua in Chinese vocabulary was an 18th-century term used in Chinese literati painting. The term  manga was used in Japan to mean «comics» in the late 19th century, when it became popular. Since then, accordingly  manhwa, manga (漫画) and manhua (漫画) are all became to mean ‘comics’ in Korean, Japanese and Chinese.^{[citation needed]}

The current usage of the terms manhwa and manhua in English is largely explained by the international success of Japanese manga. Although in a traditional sense, the terms manga/manhua/manhwa had a similar meaning of comical drawing in a broad way, in English the terms manhwa and manhua generally designate the manga-inspired comic strips. Manga influenced manhwa from the medium’s beginnings during the Japanese occupation of Korea and continued to exert a powerful influence as the manga industry became a major force within Japanese culture and began to export comics abroad. Manhwaga were not culturally isolated, and the influx of manga into the Korean comics market had a strong effect on the art and content of many artists’ manhwa.^[10]

History[edit]

Korea was under Japanese occupation from 1910 to 1945 and during this time elements of Japanese language and culture were incorporated into Korean society.^[11] The term manhwa came into popular use in Korea during the 1920s,^[12] when it was applied to cartoons. By the mid 1920s, most newspapers were shut down,^[13] and political and social cartoons were abandoned, replaced by humorous illustrations and cartoons geared towards children.

Political cartoon slowly reemerged following the establishment of the Republic of Korea (commonly known as South Korea) in 1948.^[14] During the early years of Japanese occupation, newspaper comics featured a great deal of social criticism. Popular artist Kim Yong-hwan started Korea’s first comic magazine, Manhwa Haengjin, in 1948,^[15] but it was quickly shut down because the authorities disapproved of the cover.

During the Korean war, Manhwa was used with the aim of boosting the morale of the public.^[16]The popularity of comics rose during the 1950s and 1960s,^[17] creating diversity of styles and subject matter which led to the construction of new genres such as sunjeong (or soonjung),^[18] stories containing romance that are aimed at young women (equivalent to the Japanese genre shoujo). Also around this time another more humorous genre, myeongnyang or happy comics had become popular in order to counteract gritty ones.^[16] Manhwabang (lit. comics room), comics cafés and stores that allowed readers to pay a set rate to sit and read comics were also introduced to the public, creating a positive atmosphere around the comics.^[19] In response to the increasing publication of comics, as well as social and political changes within South Korea, the government began to enforce censorship laws and, by the mid-1960s, created a comics distribution monopoly that further censored manhwa.^[20]

In the 1990s, the ban on Japanese media was lifted, which helped to influence the present-day art and styles of contemporary Manhwa. Around this time was when Manhwa had come up in North Korea as well. Then in the early 2000s, the majority of Manhwa was transferred to online sources due to economic collapse that South Korea had experienced at the end of the millennium. because of its transfer to online sources, its popularity overseas has risen. This led to the South Korean search portal to launch LINE Webtoon, a platform for distributing online Manhwa.^[16]

Webtoons[edit]

The term «Webtoon» (웹툰) is a portmanteau of the Korean words 웹 meaning web and 카툰 meaning cartoon. The term was first coined on 8 August 2000, by Chollian, one of South Korea’s oldest and now discontinued internet service engines.^[21] Webtoons are the digital form of manhwa that first came into popularity in the early 2000s due to their free access and availability on the internet.^[22] It was also beneficial to creators because it helped them get around strict South Korean censorship laws. ^[23] Webtoons encourage amateur writers to publish their own stories for others to read.^[21] Since their creation, webtoons have gained popularity around the globe and have even been adopted outside of Korea as another form of comic publication.^[24] This is credited to their unique format and pay model.

In 2014 WEBTOON’s global website and mobile app were launched, revolutionizing the comic world’s way of reading for entertainment. Also, around this time JunKoo Kim, the person that started LINE Webtoon, had reported that Webtoon was used in 60 countries, had 55 million monthly users, and 100 billion annual views.^{[citation needed]}

Manhwa outside of Korea[edit]

Manhwa has reached all over the world now. With websites such as TopToon, a webtoon company from Korea that also has a global service in TopToonPlus, people are able to access a wide variety of comics from their phones. ^[25] There are also places like WEBTOON that not only allow people to read original comics, but make them as well, opening up this aspect of Korean culture for everyone to take part in.

But despite that, the relative obscurity of Korean culture in the Western world has caused the word manhwa to remain somewhat unknown in the English-speaking countries.^{[citation needed]} English translations of manhwa have achieved success by targeting the manga and anime community, to the extent that manhwa were marketed as manga by the American publisher Tokyopop. ^[26]

United States[edit]

Sanho Kim was the first manhwa artist working in the States. During the 1960s and 1970s, he worked for publishers Charlton Comics, Warren Publishing, Iron Horse Publishing, Skywald Publications, DC Comics, and Marvel Comics.^[27]

According to journalist Paul Gravett, in 1987 Eastern Comics published the first original manhwas in the United States.^[28]

Due to the explosion of manga’s popularity in the Americas, many of the licensed titles acquired for the American market seek to emulate the popular elements of other successful series.^[29] Recently, long-running webtoons serialized via Internet portal sites (e.g. by Daum Media),^[30] like Lezhin Comics and personal homepages have become both the creative and popular destination among the younger generation in Korea.^{[citation needed]}
With manga proving to be both popular and commercially successful in Europe and the United States, a number of publishers imported and translated manhwa titles in the hope of reaching the same audience. The readability and left-to-right orientation of manhwa contributed to its growing popularity, as did the realism of the characters and the combination of Eastern and Western styles and mythologies.

Media franchise[edit]

Animations based on Korean comics are still relatively rare (though there were several major hits in the late 1980s and early 90s with titles such as Dooly the Little Dinosaur and Fly! Superboard). However, live-action drama series and movie adaptations of manhwa have occurred more frequently in recent years. Full House in 2004 and Goong («Palace» or «Princess Hours») in 2006 are prominent examples. Below is a list of manhwa titles adapted into television series, web series, and films. Not to be confused to another adapted works of adapted from Webtoons.

Title	Author	Format	Premiere	Notes	Reference
Meongteong-guli Heotmulkyeogi (멍텅구리 헛물켜기)	Lee Sang-hyeop and Ahn Jae-hong and Noh Soo-hyun	Film	1926		[31]
Gobau (고바우)	Kim Seonghwan	Film	1958		[31]
Walsun Ajimae (왈순 아지매)	Jeong Woon-kyung	Film	1963		[31]
Geokkuligungwa Jangdaligun (거꾸리군과 장다리군)	Kim Seonghwan	Film	1977		[31]
Bridal Mask (각시탈)	Huh Young-man	Film	1978		[32]
Animated film	1986		[33]
TV series	30 May 2012	Bridal Mask SPC Pan Entertainment KBS N	[34]
Space Black Knight (우주 흑기사)	Huh Young-man	Animated film	1979		[35]
Alien Baseball Team (외인구단)	Lee Hyun-se	Film	2 August 1986		[36][37]
The Last Station (퇴역전선)	Huh Young-man	TV series	14 September 1987	Broadcast on MBC	[38]
Dooly the Little Dinosaur (아기공룡 둘리)	Kim Soo-jung	Animation	7 October 1987 — 1989	Daewon Media Broadcast on KBS	[39]
OVA	1995	Tooniverse	[40]
Animated film	24 July 1996	Dooly Nara (Dooly Nation), Seoul Movie	[41]
Animation	8 January 2009	Broadcast on SBS, Tooniverse	[42]
The Chameleon’s Poem (카멜레온의 시)	Huh Young-man	TV series	14 May 1988		[43]
Mr. Sohn (미스터손) Fly! Superboard (날아라 슈퍼보드)	Huh Young-man	Animation	15 August 1990, 1991, 1992, 1998, 2001	Hanho Heung-Up Co., Ltd. Broadcast on KBS1	[44]
Asphalt Man (아스팔트 사나이)	Huh Young-man	TV series	17 May 1995	Broadcast on SBS	[45]
48+1	Huh Young-man	Film	4 November 1995		[46]
Beat (비트)	Huh Young-man	Film	3 May 1997		[47]
Mr. Q (미스터 Q)	Huh Young-man	TV series	20 May 1998	Broadcast on SBS	[48]
Nudlnude (누들누드)	Yang Young-soon	OVA	October 1998, 1999	Seoul Movie	[49]
We Saw the Bird Lost in the Middle of the Road (우리는 길 잃은 작은 새를 보았다)	Hwang Mi-na	TV series	19 April 1999	Broadcast on KBS2	[50][51]
Blade of the Phantom Master (신암행어사)	Youn In-wan and Yang Kyung-il	Animated film	4 December 2004	Oriental Light and Magic and Character Plan	[52]
Full House (풀하우스)	Won Soo-yeon	TV series	14 July 2004	Kim Jong-hak Production	[51]
Hammerboy (망치)	Huh Young-man	Animated film	6 August 2004		[53]
Goong («Palace» or «Princess Hours») (궁)	Park So-hee	TV series	11 January 2006	Eight Peaks	[54]
Tajja (타짜)	Kim Se-yeong and Huh Young-man	Film	28 September 2006	Sidus FNH	[55]
TV series	16 September 2008	Olive9 and Dong-ah Institute of Media and Arts	[55]
War of Money (쩐의 전쟁)	Park In-kwon	TV series	16 May 2007	Victory Production Broadcast on SBS	[56]
TV series	7 March 2008	Broadcast on tvN	[57]
TV series	6 January 2015	Kansai Television Co. Ltd.	[58]
Sikgaek Le Grand Chef Gourmet (식객)	Huh Young-man	Film	1 November 2007	ShowEast Co Ltd	[59]
TV series	17 June 2008	Broadcast on SBS	[60]
Film	28 January 2010	IROOM Pictures	[61]
Saranghae (사랑해)	Huh Young-man	TV series	7 April 2008	Broadcast on SBS	[62]
Priest (프리스트)	Hyung Min-woo	Film	13 May 2011	Screen Gems	[63]
The 7th Team (제7구단) Mr. Go (미스터 고)	Huh Young-man	Film	17 July 2013 (South Korea) 18 July 2013 (China)	Showbox/Mediaplex (South Korea) Huayi Brothers (China)	[64]
Would You Like a Cup of Coffee? (허영만의 커피 한잔 할까요?)	Huh Young-man	Web series	24 October 2021	Broadcast on KakaoTV	[65]

Korean manhwa publishers[edit]

Note: select publishers only

• Daewon C.I.
• Haksan Culture Company
• Seoul Culture Corporation
• Shinwon Agency Corporation

North American manhwa imprints[edit]

• ADV Manga
• Dark Horse Manhwa
• DramaQueen
• DrMaster Publications
• Media Blasters
• Netcomics
• NBM ComicsLit
• Seven Seas Entertainment
• SuperAni
• Manta
• UDON’s Korean Manhwa
• Yen Press

See also[edit]

• List of manhwa
• Myeongnang manhwa
• Manhwabang
• Culture of South Korea
• Korean Wave
• Korean animation
• Webtoon
• Video gaming in South Korea

Citations[edit]

Sources[edit]

• Fukushima, Yoshiko (2013). Manga Discourse in Japan Theatre. Routledge. p. 19. ISBN 978-1-136-77273-3.
• Son Sang-ik (1999). 한국만화통사 1 (General History of Manwha 1) (in Korean). Sigongsa. ISBN 89-7259-890-9.
• Hart, Christopher (2004). Manhwa mania: how to draw Korean comics. New York: Watson-Guptill Publications. ISBN 0-8230-2976-X.
• Kim Jinsu (2 June 2007). «개화기 일제의 시사만화 탄압 (The Japanese oppression on Sisa manhwa)» (in Korean). Chammalo.
• 만화 (in Korean). Empas/ Encyclopædia Britannica.
• Rousmaniere, Nicole (2001). Births and Rebirths in Japanese Art : Essays Celebrating the Inauguration of the Sainsbury Institute for the Study of Japanese Arts and Cultures. Hotei Publishing. ISBN 978-90-74822-44-2.
• «Manhwa» (in Korean). Empas/ EncyKorea.
• Sim Ji-hoon. «Korea Manhwa Museum». INISteel Webzine (in Korean).
• Onoda, Natsu (2009). God of Comics: Osamu Tezuka and the Creation of Post-World War II Manga. University Press of Mississippi. p. 10. ISBN 978-1-60473-478-2.
• Petersen, Robert S. (2011). Comics, Manga, and Graphic Novels: A History of Graphic Narratives. ABC-CLIO. ISBN 978-0-313-36330-6.
• Prohl, Inken; Nelson, John K (2012). Handbook of Contemporary Japanese Religions. BRILL. p. 596. ISBN 978-90-04-23435-2.
• Sugiyama, Rika (2004). Comic artists — Asia : manga, manhwa, manhua. New York: Harper Design International. ISBN 0-06-058924-8.
• Thompson, Jason (2007). Manga: The Complete Guide. New York: Ballantine Books. ISBN 978-0-345-48590-8.
• Webb, Martin (28 May 2006). «Manga by any other name is…» The Japan Times. Retrieved 5 April 2008.

• «Korean Comics in the U.S., Part 1, Comic-Con International 2004,» Jade Magazine.com, Sep. 2004
• «Korean Comics in the U.S., Part 2, Manhwa Sampler,» Jade Magazine.com, Sep. 2004
• «Sang-Sun Park, Les Bijoux Comic Artist,» Sequential Tart.com, Aug. 2004
• Manhwa site for «Demon Diary» (마왕일기)
• «Infinity Studios and Manhwa,» Anime Tourist.com, 16 June 2004
• Our Toys, Our Selves: Robot Taekwon V and South Korean Identity
• Cain, Geoffrey. «Will the Internet Kill the Manhwa Star?» The Far Eastern Economic Review, 6 November 2009

комиксы, созданные в Корее Сцена из Noblesse, пример манхвы или корейских комиксов

манхва
хангыль	만화
ханджа	漫畫
пересмотренная романизация	манхва
МакКьюн – Рейшауэр	манхва

манхва (Корейский : 만화; Ханджа : 畵; Корейское произношение: ) — это общий корейский термин для комиксов и печатных мультфильмов (распространенное употребление также включает мультфильмы ). За пределами Кореи этот термин обычно относится к южнокорейским комиксам, хотя индустрия комиксов развивается и в Северной Корее.

Содержание

• 1 История термина
  • 1.1 Адаптация термина
• 2 Webtoons
• 3 Корейских издателя манхвы
• 4 Манхва в США
  • 4.1 Направление текста
• 5 Отпечатков манхвы в Северной Америке
• 6 Анимация и живые действия адаптации
• 7 См. также
• 8 Ссылки
• 9 Внешние ссылки
  • 9.1 Популярные исполнители манхвы
  • 9.2 Фестивали
  • 9.3 Манхва на мобильных устройствах
  • 9.4 Ассоциации
  • 9.5 Информация и исследования

История термина

Первая гравюра на дереве «манхва», опубликованная в 1908 году.

Лингвистически, манга (漫画), манхуа (漫画) и манхва означают «комиксы». ‘на японском, китайском и корейском соответственно. Корейская манхва и японская манга являются родственниками китайской фразы manhua (перевод «импровизированные наброски»). Нынешнее использование терминов манхва и манхуа на английском языке во многом объясняется международным успехом японской манги. Хотя в традиционном смысле в этих языках термины манга / манхуа / манхва имели схожее значение комического рисунка в широком смысле, на английском языке термины манхва и манхуа обычно обозначают комиксы, вдохновленные мангой.

Термин манхва стал популярным в Корее в 1920-х годах, когда его применяли к мультфильмам. Корея находилась под японской оккупацией с 1910 по 1945 год, и за это время элементы японского языка и культуры были включены в корейское общество. К середине 1920-х годов большинство политических газет было закрыто, а политические и социальные карикатуры были оставлены в пользу детских и юмористических иллюстраций.

Политические карикатуры медленно возродились после основания Республики Корея (обычно известной как Южная Корея) в 1948 году. В первые годы японской оккупации газетные комиксы подвергались большой социальной критике. Популярный художник Ким Ён Хван основал первый в Корее журнал комиксов Manhwa Haengjin в 1948 году, но он был быстро закрыт, поскольку власти не одобрили обложку.

Популярность комиксов росла в 1950-х и 1960-х годах, а разнообразие стилей и тематик привело к созданию новых жанров, таких как сунчжон (или сунджон), романтические истории, предназначенные для молодых женщин (эквивалент Японский жанр Сёдзё ). Манхвабанг, кафе с комиксами и магазины, где читателям разрешалось платить установленную плату за то, чтобы сидеть и читать комиксы, также были представлены публике. В ответ на увеличивающееся количество публикаций комиксов, а также на социальные и политические изменения в Южной Корее, правительство начало применять законы о цензуре и к середине 1960-х годов создало монополию на распространение комиксов, которая еще больше подвергала цензуре манхва..

Манга оказывала влияние на манхву с момента ее зарождения во время японской оккупации Кореи и продолжала оказывать мощное влияние, поскольку индустрия манги стала главной силой в японской культуре и начала экспортировать комиксы за границу. Автор или художник манхвы называется манхвага (만화가; 漫 畵 家). Манхвага не были культурно изолированы, и приток манги на корейский рынок комиксов оказал сильное влияние на искусство и содержание манхвы многих художников.

Адаптация термина

Относительная неизвестность Корейская культура в западном мире привела к тому, что слово манхва остается в некоторой степени неизвестным в англоязычном мире. Перевод манхвы на английский язык добился успеха благодаря ориентации на сообщество манги и аниме, до такой степени, что манхва была продана как манга американским издателем Tokyopop.

Webtoons

Webtoons first стали популярными в начале 2000-х годов благодаря свободному доступу и доступности в Интернете. С момента своего создания веб-мультфильмы приобрели популярность во всем мире и даже были приняты за пределами Кореи в качестве еще одной формы публикации комиксов. Это связано с их уникальным форматом и моделью оплаты.

Корейские издатели манхвы

Примечание: только избранные издатели

• Daewon CI
• Haksan Culture Company
• Seoul Culture Corporation
• Shinwon Agency Corporation

Manhwa в Соединенных Штатах

Санхо Ким был первым художником манхва, работавшим в Штатах. В течение 60-70-х годов он работал в издательствах Charlton Comics, Warren Publishing, Iron Horse Publishing, Skywald Publications и Marvel Comics.

Согласно журналисту Полу Грэветту, в 1987 году Eastern Comics опубликовала первые оригинальные манги в Соединенных Штатах.

В связи со взрывом популярности манги в Америке, многие лицензионные названия были приобретены для Американский рынок стремится подражать популярным элементам других успешных сериалов. В последнее время давно существующие веб-мультфильмы, сериализованные через сайты интернет-порталов (например, Daum Media), такие как Lehzin Comics, и личные домашние страницы, стали творческим и популярным направлением среди молодого поколения в Корее. Поскольку манга оказалась популярной и коммерчески успешной в Европе и Соединенных Штатах, ряд издателей импортировали и перевели названия манхвы в надежде привлечь ту же аудиторию. Читаемость и ориентация манхвы слева направо способствовали ее растущей популярности, равно как и реализм персонажей, сочетание восточного и западного стилей и мифологий. Популярные манхва на рынках США и Европы включают Ragnarok, Priest, Island и The Tarot Café.

Направление текста

Манхва читается в в том же направлении, что и английские книги, по горизонтали и слева направо, потому что хангыль обычно пишется и читается по горизонтали, хотя его также можно писать и читать вертикально справа налево, сверху вниз.

Отпечатки североамериканской манхвы

• манга ADV
• Dark Horse Manhwa
• DramaQueen
• DrMaster Publications
• Media Blasters
• Netcomics
• NBM ComicsLit
• Seven Seas Entertainment
• SuperAni
• Korean Manhwa из UDON
• Yen Press

Анимация и адаптация к живому действию

Анимация, основанная на корейских комиксах, все еще относительно редка (хотя в конце 1980-х и начале 90-х было несколько крупных хитов. с такими названиями, как Динозавр Дули и Fly! Superboard). Однако в последние годы все чаще появляются драматические сериалы и экранизации манхвы. Full House в 2004 году и Goong («Дворец» или «Часы принцесс») в 2006 году являются яркими примерами, так как оба были признаны лучшими дорамами своих лет.

В 2004 году Клинок Призрачного мастера был адаптирован в анимационный фильм совместной корейско-японской командой аниматоров.

SamBakZa произвела Вот она !! в 2006 году, рассказывающая о развивающихся отношениях между кроликом и кошкой.

The Great Catsby, показанный на сцене как мюзикл в 2006 году. В 2007 году отмеченный наградами корейский вебтун был адаптирован в драму с живым боевиком. В конце 2007 года планировалось преобразовать название в художественный фильм.

Война денег, театрализованная (адаптированная версия) манхва, вышедшая в эфир в 2007 году, привлекла большое внимание своим саундтреком. и актеры.

Прист, манхва Хён Мин-У, переведенная на английский, была адаптирована в американском научно-фантастическом боевике ужасов 2011 года с тем же названием пользователя Screen Gems. Выпущенный в 2011 году, продюсером фильма был Майкл ДеЛука, режиссер Скотт Стюарт, а в главной роли Пол Беттани.

Тайно, сильно, фильм, основанный на вебтуне манхвы, стал самым кассовым фильмом в 2013 году.

В 2020 году Башня Бога, Бог старшей школы, и Noblesse получил японскую адаптацию через Crunchyroll.

См. также

• Список манхва
• Сунджунг манхва
• Мённанг манхва
• Манхвабанг
• Культура Южной Кореи
• Корейская волна
• Корейская анимация
• Webtoon
• Видеоигры в Южной Корее

Ссылки

• Сон Санг-ик (1999). 한국 만화 통사 1 (Всеобщая история Manwha 1) (на корейском языке). Сигонгса. ISBN 89-7259-890-9.
• (2004). Манхва мания: как рисовать корейские комиксы. Нью-Йорк: публикации Watson-Guptill. ISBN 0-8230-2976-X.
• Ким Джинсу (02.06.2007). «개화기 일제 의 시사 만화 탄압 (Японское угнетение на Сиса манхва)» (на корейском языке). Чаммало.
• 만화 (на корейском языке). Empas / Encyclopædia Britannica.
• «Manhwa» (на корейском языке). Эмпас / EncyKorea.
• Сим Джихун. «Корейский музей манхва». Интернет-журнал INISteel (на корейском языке).
• Сугияма, Рика (2004). Комиксы — Азия: манга, манхва, манхуа. Нью-Йорк: Harper Design International. ISBN 0-06-058924-8.

• «Корейские комиксы в США, часть 1, Comic-Con International 2004», Jade Magazine.com, сентябрь 2004 г.
• «Korean Comics in the US, Part 2, Manhwa Sampler», Jade Magazine.com, сентябрь 2004 г.
• «Sang-Sun Park, Les Bijoux Comic Artist», Sequential Tart.com, август. 2004
• Сайт Manhwa для «Demon Diary» (마왕 일기)
• «Infinity Studios and Manhwa», Anime Tourist.com, 16 июня 2004 г.
• Наши игрушки, наше Я: робот Taekwon V и Южнокорейская идентичность
• Каин, Джеффри. «Убьет ли Интернет звезду манхвы?» The Far Eastern Economic Review, 6 ноября 2009 г.

Внешние ссылки

Популярные исполнители манхвы

• Хён -тэ Ким
• Ким Чон-Ги

Фестивали

• Информационный центр Пучхон Манхва
• Международный фестиваль комиксов Пучхон
• Международный фестиваль комиксов и анимации в Сеуле
• Международный фестиваль комиксов и анимации Донг-а / LG анимация

Manhwa на мобильных телефонах

• Moonk Mobile Cartoon

Ассоциации

• Общество мультипликации и анимации в Корее
• Seoul Cartoon
• Корейская ассоциация карикатуристов
• Ассоциация корейских женщин-карикатуристов
• Любительские комиксы Ассоциация
• Страна любительских комиксов Кореи

Информация и исследования

• Корейское общество исследований мультфильмов и анимации
• Сеульский центр анимации
• Информационный центр мультфильмов Пучон
• Выставка корейского общества Манхва

Манхва
Хангыль	만화
Ханджа	漫 畵
Пересмотренная романизация	Манхва
МакКьюн-Райшауэр	Манхва

Манхва ( hangeul  : 만화 ,  hanja  :漫 畵, произношение: / m a . N h w a / ) — название, данное комиксам в Корее , этот термин также используется за рубежом для обозначения корейских комиксов .

Манхва, важная часть корейской культуры, очень динамична и проявляется во многих формах: бумага, Интернет и мобильный телефон.

Южная Корея в настоящее время один из первых комиксов производящих стран мира .

Автор манхвы называется манхвага .

История манхвы

Истоки

Подобно японской манге и китайскому манхуа , манхва находится под сильным влиянием классического азиатского искусства, в особенности китайского. Старинные гравюры ( ксилография ) из X — ^го  века , очень сложные, служили для распространения буддийских среди населения. На корейской гравюре Бомёнсибудо (보명 십우도 / 普明 十 牛 圖) корова рассказывает буддийскую басню . Страница разделена на блоки, и изображение над текстом иллюстрирует это.

Мы уже находимся в последовательном искусстве, характерном для комиксов.

В период Чосон корейское искусство заявило о себе:

• Написанные портреты миролюбивы и не лишены юмора. Эта традиция присутствует в иллюстрациях обложек популярных романов, постеров, а затем и в первых комиксах.
• Литература процветает. Sung поэмы ( кас 가사), популярные романы ( Japga 잡가), пхансорьте (판소리) , но и клоуны, все дают важное место в повествование и не стесняются критиковать общество. Мы находим эти характеристики (важность рассказывания историй, критика общества) в манхве.

Таким образом, манхва развивалась под двойным влиянием: эпическая традиция и восточное изобразительное искусство, основанное на этой линии.

Начало под японской оккупацией (1909-1945)

В 30 октября 1883 г.выходит первая корейская газета: Hanseongsunbo 한성순 보 / 漢子 旬報. За ними следуют и другие, все под контролем правительства. В этих первых газетах мы не находим комиксов, а много иллюстраций, помогающих понять новости. В2 июня 1909 г., с первой публикацией Daehanminbo 대한 민보 / 大 韓 民 報, появляется первая манхва. На первой странице под заголовком « Сапхва» (삽화) корейцы могут найти работу карикатуриста Ли До Ёна (이도영). Выгравированная на дереве манхва Ли До Ёна стремится пробудить дух корейского народа с помощью произведения, которое одновременно является сатирическим (прояпонские чиновники представлены в нем как обезьяны) и поучительным.

Публикация манхвы Ли До Ёна длилась всего год: в августе 1910 года началась японская оккупация, и Тэханминбо было подавлено. И пресса, и страна контролируются железной рукой. Но после восстания1 — ^й March 1 919, Япония немного расслабился свои позиции на прессу и в 1920 новых наименований были опубликованы в том числе Манхва. Мультфильмы по-прежнему пользуются популярностью и имеют очень богатую продукцию благодаря конкурсам комиксов, организованным газетами.

С 1924 года с манхвы «Напрасные усилия идиота» ( Meongteongguri heonmulkyeogi 멍텅구리 헛물 켜기) Но Су Хёна (노수형), опубликованной в Chosun Ilbo (조선 일보 / 朝鮮 日報), манхва начала принимать западные комиксы. условные обозначения (прямоугольники и особенно пузыри речи). Издаются первые сборники и специализированные журналы. Манхва заявляет о себе как о предпочтительном средстве критики японского гнета. В то же время японское правительство издает множество пропагандистских комиксов, чтобы поддержать производство риса или молодых людей, чтобы побудить их вступить в армию.

Поддерживая трудные времена (1945-1980)

После освобождения страна находится под американским и советским управлением. Средства массовой информации частично возвращают себе свободу, и сатирическая манхва робко появляется снова. Первый популярный персонаж, профессор Kojubu от Ким Ен Хван (김영환), появился в Сеуле Таймс . Создаются новые журналы и рождаются журналы манхва для взрослых. В15 сентября 1948 г., Ким Ен Хван основал Манхв Haengjin (만화 행진 /漫畵行進) (далее Манхва в движении), который является первым журналом полностью посвящен комиксам. Однако он должен прекратить публикацию со второго номера, став жертвой продолжающейся жесткой цензуры. Однако в следующем году13 марта 1949 г., Manhwas news начинает свое еженедельное издание, которое будет с большим успехом выходить в течение года. В этом обзоре публикуются лучшие карикатуристы того времени: Ким Сон Хван (김성환), Ким Ён Хван (김영환), Шинг Дон Хон (신동헌), Ким Ы Хван (김의환) или даже Ли Ён Чун (이영천). . Как и в то же время в Японии, комиксы оторвались от ежедневных новостей и стали самостоятельным популярным жанром.

После Корейской войны манхва вернула себе центральное место в пропаганде обеих сторон конфликта. Дизайнеры мобилизованы и выпускают много листовок, особенно на юге. Солдат Тодори из Ким Ён Хвана , который превозносит храбрость солдат, стал огромным хитом. Цензура снова усиливается, и чрезмерно критические карикатуристы подвергаются суровому осуждению. Однако, чтобы поддержать общество, сильно пострадавшее от войны и бедности, и особенно детей, журналы манхва умножают приключенческие и фантастические рассказы, такие как « Доктор Хендель » Чхве Сангвона (최상 권). Эти рассказы публикуются в недорогих журналах на бумаге очень низкого качества, от которой сегодня сохранилось всего несколько экземпляров. Эти журналы, называемые takji manhwa (딱지 만화) и издаваемые в Пусане , позволяют молодым авторам начать работу. С появлением Такджи манхвы комиксы стали разнообразить, чтобы адаптироваться ко вкусам все более и более многочисленных и разнообразных читателей. Но именно с ними манхва принимает свою современную форму с коробками и пузырями.

Конец Корейской войны знаменует начало очень плодотворного периода для манхвы. Это продолжалось до середины 1960- х годов и сопровождалось открытием и очень быстрым успехом первых книжных магазинов, которые давали возможность брать напрокат и читать комиксы: manhwabangs 만화방 / 漫 畵 房. Рынок начинает структурироваться, создаются специализированные издательства, такие как Manhwa Segyesa 만화, и многие независимые издатели отправляются на поиски приключений, и на рынок выходят новые журналы, такие как очень популярный Arirang 아리랑. Мы начинаем публиковать альбомы на 200 страниц с полными рассказами, способствуя появлению длинных драматических историй, в которых , например, преуспевают Пак Ки Чжон (박기정) или Ким Чен Рэ (김정래). Но этот опыт альбома комиксов будет недолгим, успех манхвабангов, которые продвигают встречу между манхвами и публикой, быстро положит конец этому в пользу многих журналов. Это увлечение манхвой позволяет авторам жить более комфортно, а издателям создавать и раскрывать новых дизайнеров и новые формы манхвы.

Манхва конца 1950 — х — начала 1960- х годов очень разнообразна. Если доминирующим жанром является мёнран манхва (명랑 만화 / 明朗 漫 畵) (юмористическая манхва для взрослых на 3 или 4 страницы), корейские комиксы-повествования развиваются и процветают, а вместе с ними и новое поколение манхваги (만화가 / 漫 畵 家) .
Шин Дон-у (신동우), Ким Сан-хо (김산호) и Пак Ки- дан (박기 당) создают манхву в жанре научной фантастики и фэнтези-манхву, в то время как Пак Ки Чжон (박기정) развивает историческую манхву и оглядывается на времена Японская оккупация Поктаны (폭탄 아 / 爆彈 兒) (Бомба), рассказывающая о приключениях молодого корейца, сражающегося против японцев в Маньчжурии . Sunjeong Манхва (순정 만화 /純情漫畵) стал жанр сам по себе с Квон Ён Соп (권영섭), Чой Санг-ROK (최상록), Джо Вон-ки (조원기) и Jang Eun-Ju (장은주). Но этот период эйфории был недолгим. После государственного переворота16 мая 1961 г.Манхва придет в упадок под натиском цензуры, которая подрывает творческий потенциал авторов. Дистрибьютор и издательство Habdong Munwhasa (합동 문화사) берет под свой контроль распространение манхвы и выкупает издателей манхвы. В 1966 году он установил монополию на издание и распространение манхв. Хотя корейские комиксы оказались в ловушке как государственной цензуры, так и монополии Хабдон Мунвхаса , они, тем не менее, продолжаются комедийными приключениями для детей и драматическими сказками для взрослых, чтобы утешить корейцев. От современных сюжетов отказываются в пользу длинных исторических графических романов, символизирующих манхву 1970-х годов и позволяющих сдержанно критиковать существующую власть. Корейцы отождествляют себя с борьбой против феодализма в конце периода Чосон или злоключениями своих предков. Эти манхавы позволяют корейцам, обеспечивая им некоторое развлечение и утешение в трудные времена, вернуть свою историю после цензуры японской оккупации и долгих лет войны.

Первая длинная историческая серия была опубликована ежедневной газетой Ilgan Sports в 1972 году  : Im Keog-jeong (임꺽정) Го У- Ёна (고우영), который является одним из ведущих авторов этого периода вместе с другими сериями Suhoji (수호지 /).志), Самгукджи (삼국지 / 三國 志) адаптации Истории Трех Королевств, которая была его величайшим успехом, Чоханджи (초한지 / 楚漢 志), Союки (서유기 / 西遊記) или Гаруджикиджон (가루지기 전). Эти длинные исторические рассказы не были лишены юмора и драматических ситуаций. Также в Ilgan Sports с 1974 года был опубликован сериал Goindol (고인돌) Пак Су-донга (박수동). Этот сериал выходит 18 лет. С очень оригинальной линией, поддержанной прямым и юмористическим тоном, Пак Су Дон занимается отношениями между мужчиной и женщиной, скрытно привнося эротику, которая тогда была запрещена.
Еженедельное воскресенье Сеул доминировало на рынке манхва в 1970-х годах благодаря историческим драмам Бан Хак-ки (방학기), которые выделялись среди остальной постановки качеством своих сценариев и натурализмом диалогов. Но эти первые крупные успехи манхвы для взрослых не затмевают манхву для молодежи, чьи журналы процветают. Эти комиксы оптимистичны и счастливы. Среди наиболее востребованных и признанных авторов — Киль Чанг-Док (길창덕), Юн Сын-хун (윤승훈), Пак Су-дон (박수동) и Шин Мун-су (신문 수).

Возрождение и динамика манхвы в 1980-е гг.

В 1981 году Ким Су Чжон (김수정) был вдохновлен манхвой для детей 1970-х годов, чтобы сделать Дули маленького динозавра (아기 공룡 둘리), который станет первой манхвой, адаптированной в мультфильме и ставшей предметом многих. производные продукты. Он также является первым недружелюбным героем манхвы. Этот впечатляющий успех знаменует начало возрождения манхвы.

Ли Хён Се (이현세) радикально изменила в 1982 году способ распределения манхв, опубликовав в нескольких больших томах « Гунпуи Оингудан» (공포 의 외인 구단) ( грозная бейсбольная команда ), рассказ о команде неудачников, которые силой тренировок, обыгрывает японские команды. Эта история сразу же имела большой успех и возродила чтение в манхвабанах , которым в 1970-е годы мало уделялось внимания . Многие авторы, в свою очередь, будут публиковать в этой форме, например, Хо Ёнман (허영만) или Пак Ки Чжон (박기정). Этот жанр предпочитают манхвабанги, которые хотят предложить своим читателям этот тип манхва. Некоторые из них собираются вместе, чтобы публиковать и брать напрокат эти истории. Авторы работают исключительно на манхвабан и заявляют о себе там, прежде чем работать в журналах. Начинают создаваться сети манхвабанг, увлеченные этими новыми историями, которые хотят воспроизвести успех Гонгпое Оингудана, который становится образцом жанра: бедный, энергичный герой влюблен в красивую и богатую девушку. Журналы манхва, также поддерживаемые манхвабангами, процветают. Рассказы публикуются там эпизодами, прежде чем будут выпущены в объеме. Это еженедельные или двухнедельные обзоры. Первым, имевшим большой успех, стал Бомулсеом 보물섬 ( Остров сокровищ ), созданный в 1982 году, издающий Ли Хён Се (이현세) и Хван Ми-на (황미나). За ними следуют многие журналы, в которых ведется жесткая конкуренция, которая приводит к разделению рынка на сегменты по признакам поколения, пола или вкуса. Женский манхва, цензура которого была запрещена в 1970-х, вернулась в середине 1980- х с такими писателями, как Ким Хе Рин (김혜린), Кан Гён Ок (강경옥) или Хван Ми-на (황미나). В 1990 году был создан журнал Renaissance, посвященный исключительно сунджон-манхве . Есть также журналы, специализирующиеся на научной фантастике и героическом фэнтези .

От проявления 10 июня 1987 г., цензура утихает, и появляются первые современные и реалистичные рассказы Ли Хи Чжэ (이희재). Мультфильмы в прессе, подобные тем, что написал Пак Чжэ Дон (박재동), положивший начало возникновению манхвы, обретают свой сатирический тон. Многие молодые художники, в основном женщины, выбирают манхву в качестве средства самовыражения при финансовой поддержке динамики рынка и предоставления помещений в аренду.

Манхва сегодня

С конца 1980 — х годов , манга было разрешено на корейском рынке и достиг больших успехов. Столкнувшись с качественным упадком манхва, манга постепенно утвердилась. Но очень быстро рынок и авторы смогли отреагировать. Такие журналы, как IQ Jump или Young Champ были созданы по образцу японских журналов, и авторы дали волю своим творческим желаниям. Таким образом, Ян Ён- сун (양영순) имел дело с мужскими сексуальными фантазиями в « Обнаженной натуре» ( 1995 ), которая будет адаптирована в анимационном фильме. Ежедневное насилие решаются с помощью Lee Yoo-Jeong (이유정). Женщин больше интересует передача повседневной жизни, чувств и человеческого сознания. Это исследование всевозможных личных и новаторских стилей способствовало появлению множества издательств, обзоров и независимых коллективов, переданных манхвабангами . После кризиса 1997–1998 годов они еще больше укрепили свои позиции на рынке, и доля манги сокращается.

Очень динамичное корейское общество следует модам с невероятной скоростью; Кроме того, манхва порождает множество жанров, иногда под влиянием манги, и адаптируется к новым способам чтения. Молодые авторы ищут радикальных новшеств как в стиле рисунков, так и в выбранных медиа. Уровень проникновения широкополосного доступа в Интернет , который является одним из самых высоких в мире, способствует распространению человеческих ресурсов через Интернет. Сайты манхвабанг предлагают купить страницы манхва через Интернет. Полностью развивается новый рынок: манхва с четырьмя коробками, со звуком, которую вы загружаете и читаете на экране своего мобильного телефона . Все компании мобильной связи предлагают своим абонентам манхва, в которых работают десятки студий.

В настоящее время государство стремится распространить и сделать известными манхва, еще малоизвестную и слишком часто приравниваемую к манге, остальному миру. Они начинают публиковаться в Европе, США и Японии.

Экономическое положение манхвы в Корее

Количество наименований и альбомов, издаваемых ежегодно

Год	Ценные бумаги	Идти (%)	Альбомы	Идти (%)
1990 г.	4 130	9	6 833 681	2,7
1991 г.	4 142	15.4	5 820 160	4.1
1992 г.	4 694	15,9	5 413 195	3,8
1993 г.	4 644	15	7 206 497	4.9
1994 г.	4930	14,2	10 827 510	6,6
1995 г.	4 699	14,6	13 359 340	8,4
1996 г.	5 592	17,3	18 021 725	10.2
1997 г.	6 297	18,7	23 605 460	11.1
1998 г.	8,122	22	33 025 623	17,3
1999 г.	9 134	26 год	36 665 233	32,5
2000 г.	9 329	26,6	44 537 041	39,4
2001 г.	9 177	26,5	42 151 591	35,9

В 2001 году производство принесло 156 миллионов вон , половина из которых пришлась на продажи в книжных магазинах и супермаркетах, а другая половина — на продажи манхвабангу . Рынок манхвабана в 2001 году составлял 514 миллионов вон. Похоже, рынок стабилизировался после кризиса 1997–1998 годов. Он консолидируется.

На этом рынке насчитывается немногим более 500 издательств, из которых 400 издают менее 20 наименований в год и десять более 100 наименований. Среди наиболее важных издательств можно отметить:

• Daewon C&I
• Сеулмунхваса
• Сигонгса
• Haksan Edition
• Чорокбармагия
• Сай манхва

Основные авторы

• Ли До Ён 이도영 (1884-1933 или 1885-1934)
• Ан Сок-дзю 안석주 (1901-1950)
• Ким Ён Хван 김영환 (1912-1998)
• Пак Ки- дан 박기 당 (1922-1979)
• Им Чанг 임창 (1923-1982)
• Ким Чен Рэ 김종래 (1927-2001)
• Кил Чанг-Док 길창덕 (1929-2010)
• Ким Сон Хван 김성환 (1932-2019)
• Пак Ки Чжон 박기정 (1934 г.р.)
• Ким Вон Бин 김원빈 (род. 1935)
• Ким Сан Хо 김삼호 (род. 1939)
• Go U- yeong 고우영 (1939-2005)
• Бан Ён Чжин 방영진 (1939-1999)
• Пак Су-дон 박수동 (родился в 1941)
• Ли Чон-мун 이정문 (родился в 1941)
• Юн Сын born (1943 г.р.)
• Ли Ду-хо 이두호 (1943 г.р.)
• Кан Чхол-су 강철수 (родился в 1944 г.)
• Хо Ён-ман 허영만 (1947 г.р.)
• Ким Хён Бэ 김형배 (род. 1947)
• Ким Су Чжон 김수정 (родился в 1950 г.)
• Ким Дон Хва 김동화 (1950 г.р.)
• Ли Хи Чжэ 이희재 (1952 г.р.)
• Пак Джэ Дон 박재동 (1952 г.р.)
• Ли Хён Се 이현세 (1954 г.р.)
• О Се Ён 오세영 (1955 г.р.)
• Ким Джин 김진 (родился в 1960 г.)
• Хван Ми-на 황미나 (1961 г.р.)
• Ким Хе Рин 김혜린 (1962 г.р.)
• Шин Иль-сук 신일석 (1962 г.р.)
• Кан Гён Ок 강경옥 (1965 г.р.)
• Ким Ён Кён 김연경
• Сон Хи Джун 손희준
• Пак Кун- ун 박건웅 (1972 г.р.)
• Анкко (1983 г.р.)

Виды манхвы

• Манмун манхва ( 만문 만화 /滿 文 漫 畵), манхва в одной коробке.
• Myeongrang manhwa ( 명랑 만화 /明朗 漫 畵), юмористическая манхва для взрослых.
• Sonyung manhwa , для подростков, эквивалент японского shōnen .
• Сунджон манхва ( 순정 만화 /純情 漫 畵), предназначенная для читательниц, эквивалент японского сёдзё .
• Tchungnyun , для молодых людей (от 15 до 30 лет), эквивалент груди на японском языке .
• Такджи манхва ( 딱지 만화 ), приключенческая манхва, действие которой происходит на Западе. Их золотой век пришелся на 1950-е годы.

Манхва во Франции

Благодаря недавнему успеху японской манги во Франции , манхва робко начинает публиковаться во Франции. Корея была почетным гостем 30- ^го Международного фестиваля комиксов в Ангулеме в 2003 году . Однако manwha все еще пытается найти свою аудиторию. Таким образом, в 2008 году издания SEEBD (коллекции Saphira и Tokebi) обанкротились . Некоторые из их титулов занял Самджи, который сейчас не у дел.

Французские редакторы манхвы

• 6 футов под землей
• Акилей
• Аска
• Атрабиле
• Букен Манга
• Камбуракис
• Кастерман (коллекция хангук)
• Свет луны
• Корнелиус
• Delitoon
• Время издания
• FLBLB
• Paquet editions (азиатская коллекция)
• Издания Филиппа Пикье
• Сапфира (прервано)
• Mailify редакции
• Tokebi Editions (снято с производства)
• Поколение комиксов
• Ками
• Кана
• Кантик
• Ki-oon
• Квари
• Kymera (этикетка Drakosia)
• Милан Пресс
• Pika Edition
• Самджи (прервано)
• Soleil Productions — Гочавон
• Изображение головокружения
• Wetta WorldWide
• Сяо Пань (прервано)
• Ypnos

Манхва, изданная во Франции (французским издателем и названием)

• Кана  :
  • Ангел Дик был в 1997 году первым манхва, опубликованным во Франции.
  • Коллекция «Сделано в»:
    • Космос
    • Беги, Бонг-гу!
    • Mijeong
    • Лапша чаджанг
    • Жизнь детей

• Кастерман , коллекция «Хангук»:

• Delitoon

• Токеби

• Сапфира

• Поколение комиксов  :
  • Остров

• Аска  :
  • Безумная история любви
  • Маска воспоминаний
  • Один
  • Redrum 327

• Версии пакета  :
  • Сердитый
  • Влюбился в тебя
  • Красный велосипед
  • Taeguk

• Эго нравится x  :
  • История пары

Ками  :

• • Хз
  • Тысяча и одна ночь

• Soleil Productions  :

• Ки-оон  :
  • Охотник на ведьм
  • Куроками

• Самджи  :
  • Чиро
  • Дангу
  • Король демонов
  • Коллекционер ужасов
• Квари
  • Легенда
  • Крылья Феникса
  • Любовь поп
  • Мартин и Джон
  • Металлическое сердце
  • Дворец (манхва)
  • Платина
  • Кастелла рецепт
  • Rure
  • Платье Space China
  • Саммит
  • Сладкая кровь
  • Большой Утес
  • Пуля Святой
  • Рыцарь Королевы
  • Полностью увлечен
  • Три сестры-близнецы
  • Дисбаланс x Дисбаланс
  • С небес
  • Veritas
  • Войска Колдовства
  • Егрина
  • Ёнби
  • Юрека

Журнал о манхве

• Журнал Tokebi (2003-2006, издание прекращено после 26 номеров)

Библиография

• La Dynamique de la BD Coréenne , каталог выставки, Агентство корейской культуры и содержания (KOCCA) и Международный фестиваль комиксов в Ангулеме.

• Патрик Гаумер , «Южная Корея», Larousse de la BD , Paris: Larousse , 2010, врезка с. 30-31.

Примечания и ссылки

Смотрите также

Статьи по Теме

• Манга
• Мангака , автор манги
• Маньхуа , китайский комикс
• Америманга , псевдоним мангоэль, комикс англоязычных авторов, имитирующих азиатские комиксы
• Манфра , комикс франкоязычных авторов, имитирующий азиатские комиксы
• Manhwabang
• Корейская поп-культура
• Корейская анимация

Внешние ссылки

О манхве

• (ru) Файл о манхве на сайте Animeland.

Фестивали в Корее

• (ko + en) Международный фестиваль комиксов в Пучхоне
• (ko + en) Сеульский международный комикс
• (ko + en) Международный фестиваль комиксов и анимации

Ассоциации манхва

• (kb) Корейская ассоциация карикатуристов
• (ko) Корейская женская ассоциация картонистов
• (ko) Ассоциация любителей комиксов
• (ko) Korea Amateur Comic Land

Учебно-информационные центры

• (ko + en) Корейское общество исследований мультфильмов и анимации
• (ko + en) Сеульский анимационный центр
• (ko + en) Информационный центр мультфильмов Пучон