405:
Brian
Hayashi criticizes the manga for its "strong upper-class bias" and that Schodt did not account for the difference in treatment of Japanese students and Japanese immigrants in general. AnimeFringe's Janet Houck commends the characters for not being "depressive" and for bringing "their own unique spin on how to be successful in California, from farming rice to investing in banks to gambling." Jeff Chon of Sequart comments that the manga "isn’t just a shared piece of history between comics fans, but a bit of cultural and personal history we as Americans need to share more often."
382:'s Gordon Flagg comments that the manga is "a fascinating cultural document of an era of great interest to scholars of Asian American culture. Since it is apparently the first U.S. comic book consisting of original material instead of reprinted newspaper strips, it is also of interest to students of American comics. Writing in
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had kept the
Americans speaking broken English, with the immigrants speaking in perfect English. This had the effect of " readers see the Japanese characters as "us" and the Americans as weird, frequently baffling foreigners, consistent with the general viewpoint of the comic." Schodt found Kiyama's
324:
Racism between the immigrants and the locals was predominantly between
Japanese immigrants and European-American locals, however "racial animosity . . . existed between Chinese and Japanese immigrants in the United States." Garrity comments on the prevalence of racism of that era: "a hundred years
404:
as they are both "anti-genre," which "achieves much of what other forms cannot, including an ability to engage with contemporary reality, and an ability to re-conceptualize the individual in a complex way that interrogates his subjectivity and offers the possibility of redefining his own image."
320:
in
October 1998. Through interviewing Kiyama's surviving relatives in Japan and studying his private papers and artwork, Schodt concludes that the characters Charlie, Frank and Fred "are roughly based on the people that Kiyama knew." He further claims that the manga is "one of the very first
341:
Manga Critic
Katherine Dacey writes that the manga's "visual style and subject matter may not strike contemporary readers as manga-esque ... but the intimate quality of the stories will leave as lasting an impression as graphic memoirs such as
394:, comments on Kiyama's emphasis on the characters' "cartoon-like features" with the usage of "simplistic lines and circles", which "readers to identify more readily with characters." Kom Kunyosying draws a parallel between the manga and
388:, Robert Humphrey commends Kiyama for his "gentle humor that appeals to readers of all cultures . . . his cartoons are not only informative about their own time period, they remain funny in ours". Michael Boatwright, writing for the
366:'s Andrew Arnold praises the manga as "a book to be enjoyed by readers of history and comix." "This once-lost artifact," he continues, "works as both a delightful read and a reminder of where Americans come from and who we are now."
202:
The manga was created around 1924–1927 as 52 "episodes", each a two-page spread intended for serialization in a
Japanese-language newspaper. In 1927, the originals were exhibited at San Francisco's
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applauds the manga as a "historical artifact and a milestone in the evolution of comics" and says Schodt's translation provides "historical background and all the untranslatable puns."
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276:(Golden Gate Institute) in an exhibition titled "A Manga North American Immigrant History" (Manga Hokubei Iminshi). The manga covered the immigrants' arrival and quarantine on
612:
272:
serialized in a
Japanese-language newspaper in San Francisco, but was unsuccessful. In 1927, Kiyama exhibited the pages of the manga in a gallery of San Francisco's
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with criticism of "several
Congressional acts designed to curtail Asian immigration." Most of the manga "concentrates on student immigrant experiences prior to the
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writes that the manga is "frozen in time with diligent documentary-style realism, with cynical humor and cartoony cheer".
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The manga drew from the experiences of Kiyama and his three friends when they were college-age
Japanese immigrants to
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ago, everyone, of every background, was openly and casually racist." The "four immigrants to white people as
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commends Kiyama's "keen insight into the workings of society, especially into
Japanese-American interaction."
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notes that "each strip has sort of a punchline, but also tells a story; it's not so different from reading a
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Boatright, Michael D. (2010). "Graphic Journeys: Graphic Novels' Representations of Immigrant Experiences".
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636:"The Architecture of Race in American Immigration: A Reexamination of the Immigration Act of 1924"
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in a two-page spread, ending at 52 episodes for a year's worth of weekly newspaper comic strips.
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296:". In 1931, Kiyama had the book printed in Japan, then self-published it in San Francisco.
214:. It was republished in Japan by Shimpu in August 2012. It was translated into English by
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manga in which the story is broken up for gags every four panels." Kiyama tried to have
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316:'s East Asian Library. He began translating the work in 1997, which was published by
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Japanese, with the Americans speaking in broken English and the Chinese speaking in
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and some of the protagonists elected to return to Japan". Inspired by western
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The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904-1924
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The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904-1924
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The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904-1924
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The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904-1924
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The Four Immigrants Manga: A Japanese Experience in San Francisco, 1904-1924
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The Four Immigrant Manga: A Japanese Experience in San Francisco, 1904-1924
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The Four Immigrants Manga: A Japanese Experience in San Francisco 1904–1924
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The Interrelation of Ethnicity, Iconicity, and Form in American Comics
975:"Interview with Mr. Frederik Schodt - Manga: A Medium to Tell Stories"
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between 1904 and 1924. The year 1924 is chosen as it was when the "
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1156:"Chapter 2: Closure, Suture, and Form in Henry Kiyama's
60:
836:
Hayashi, Brian M. (May 2000). "Not So Funny Papers".
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in October 1998. In summer 2017, it was adapted into
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228:The Four Immigrants: An American Musical Manga
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1128:Journal of Adolescent & Adult Literacy
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727:Arnold, Andrew D. (February 19, 2005).
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286:Panama–Pacific International Exposition
1306:Books about the San Francisco Bay Area
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899:from the original on December 17, 2012
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686:
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1059:Flagg, Gordon (September 15, 1998). "
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1007:from the original on January 20, 2013
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687:Weiner, Stephen (November 1, 1998). "
280:as well as major events of the time:
1247:from the original on January 7, 2014
1234:
1216:from the original on January 7, 2014
921:Tong, Benson (September 15, 1998). "
920:
911:
814:from the original on January 6, 2014
771:from the original on January 8, 2014
741:from the original on January 6, 2014
633:
615:from the original on January 6, 2014
564:from the original on January 6, 2014
478:from the original on January 6, 2014
765:"The Best Manga You're Not Reading"
421:"Kiyama, Henry Yoshitaka 1885-1951"
299:Kiyama had the immigrants speak in
13:
1096:Humphrey, Robert L. (June 1999). "
945:10.1111/j.1540-6563.2000.tb01463.x
511:
35:First English-language edition of
14:
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885:Miller, Evan (October 27, 2009).
763:Dacey, Katherine (July 2, 2010).
1296:Autobiographical anime and manga
1235:Chon, Jeff (February 19, 2007).
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982:The Japan Foundation Newsletter
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641:The Journal of American History
164:, "manga of the four students")
1103:American Studies International
848:University of California Press
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385:American Studies International
254:, Kiyama drew each episode of
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1:
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294:Gentlemen's Agreement of 1907
282:1906 San Francisco earthquake
232:TheatreWorks (Silicon Valley)
1075:American Library Association
516:"Henry Yoshitaka Kiyama and
336:
195:. It is an early example of
7:
1204:. Animefringe. p. 18.
1040:(1): 84. Winter 1998–1999.
1033:Harvard Asia Pacific Review
438:漫畵四人書生 / Manga Yonin Shosei
376:Harvard Asia Pacific Review
321:journalistic comic books".
189:
170:written and illustrated by
160:
61:
10:
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1196:Houck, Janet (June 2005).
634:Ngai, Mai M. (June 1999).
552:Four Immigrants Manga, The
248:immigration laws stiffened
1270:The Four Immigrants Manga
1158:The Four Immigrants Manga
839:Pacific Historical Review
601:The Four Immigrants Manga
518:The Four Immigrants Manga
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166:, is a Japanese-language
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142:The Four Immigrants Manga
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37:The Four Immigrants Manga
28:
24:The Four Immigrants Manga
23:
1326:Stone Bridge Press books
1321:History of San Francisco
1154:Kunyosying, Kom (2011).
887:"Interview: Fred Schodt"
314:University of California
92:Henry (Yoshitaka) Kiyama
650:Oxford University Press
197:autobiographical comics
148:The Four Students Manga
1301:Comedy anime and manga
307:. In his translation,
210:in San Francisco as a
145:(1931), also known as
992:: 3. June–July 2005.
218:and was published by
204:Golden Gate Institute
1175:University of Oregon
1112:University of Kansas
937:Blackwell Publishing
802:(January 11, 2007).
767:. The Manga Critic.
329:and black people as
1200:The Four Immigrants
1141:10.1598/JAAL.53.6.3
800:Garrity, Shaenon K.
729:"Coming to America"
513:Schodt, Frederik L.
1275:Anime News Network
892:Anime News Network
608:Anime News Network
558:Stone Bridge Press
524:Frederik L. Schodt
372:Shaenon K. Garrity
318:Stone Bridge Press
309:Frederik L. Schodt
220:Stone Bridge Press
216:Frederik L. Schodt
206:. In 1931, it was
161:Manga Yonin Shosei
112:Stone Bridge Press
62:Manga Yonin Shosei
41:Stone Bridge Press
597:(June 11, 2010).
530:on April 26, 2013
290:1918 flu pandemic
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97:English publisher
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804:"New Smithson!"
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89:Written by
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1179:. Retrieved
1177:. p. 31
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172:Henry Kiyama
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1273:(manga) at
1243:. Sequart.
808:LiveJournal
238:Development
126:1931 (U.S.)
1311:1931 manga
1285:Categories
1251:January 7,
1220:January 7,
1181:January 6,
1135:(6): 472.
1011:January 6,
903:January 6,
818:January 6,
775:January 8,
745:January 6,
619:January 6,
568:January 6,
534:January 6,
482:January 6,
474:. Shimpu.
456:January 6,
409:References
349:Persepolis
1210:1705-3692
1083:0006-7385
1046:1522-1113
998:0385-2318
961:218499217
953:0018-2370
864:0030-8684
711:0363-0277
666:0021-8723
472:"漫画 四人書生"
398:'s essay
337:Reception
305:Cantonese
301:Meiji era
123:Published
1245:Archived
1214:Archived
1066:Booklist
1002:Archived
897:Archived
812:Archived
769:Archived
739:Archived
613:Archived
562:Archived
476:Archived
451:30766391
443:WorldCat
380:Booklist
359:Fun Home
1077:: 184.
939:: 878.
872:3641442
850:: 274.
674:2567407
265:yonkoma
174:, born
131:Volumes
43:, 1998)
1208:
1114:: 107.
1081:
1044:
996:
959:
951:
870:
862:
709:
705:: 76.
701:(18).
672:
664:
652:: 80.
449:
331:kuroto
155:漫画四人書生
78:comedy
53:漫画四人書生
1171:Ph.D.
1163:(PDF)
1110:(2).
1073:(2).
1005:(PDF)
988:(5).
978:(PDF)
957:S2CID
935:(2).
868:JSTOR
846:(2).
670:JSTOR
648:(1).
168:manga
84:Manga
70:Genre
1253:2014
1222:2014
1206:ISSN
1183:2014
1079:ISSN
1042:ISSN
1013:2014
994:ISSN
949:ISSN
905:2014
860:ISSN
820:2014
777:2014
747:2014
734:Time
707:ISSN
662:ISSN
621:2014
570:2014
536:2014
484:2014
458:2014
447:OCLC
364:Time
352:and
327:keto
183:木山義喬
1173:).
1137:doi
1100:".
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852:doi
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356:’s
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222:as
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1212:.
1165:.
1133:53
1131:.
1108:37
1106:.
1071:95
1069:.
1036:.
1000:.
984:.
980:.
955:.
947:.
933:95
931:.
913:^
895:.
889:.
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