oa JAPANESE POP CULTURE "=n & LANGUAGE MANGAJIN a Export Edition ae aOR TOKUSHU: Nihon Eiga (ost 1000) SPECIAL FEATURE: Japanese Movies16 18 BI® earn LESLKBVSR a = A New eho WARNING i aan Politeness Leve — points to keep in mind when using Japanese in the real world Pronunciation Guide (and apology from the translators) FEATURES eat Bee eee ‘Sex & Violence In Manga — Frederik Schodt comments from his unique perspective Donald Richie on Subtitling Japanese Films — insights into one of the trickier forms of translation Japanese Movies, (with Subtitles) on Videotape ~ capsule summaries for 80 Japanese films available on videotape DEPARTMENTS Letters — some comments about KanjiSama, and a word in defense of sci-fi Bloopers ~ the dictionary doesnt lie, but watch out fr hernonyms ‘Question & Answer — when not to use kanji ‘Computer Corner — Daryl Shadrick reports on Japanese DOS for PCs Basic Japanese: Beka, the Basic Insult — even if you never plan to insult anyone, it's good to know something about the concept of baka Vocabulary Summary - words appearing in this issue of Mancann Classitieds plenty of prospective pen pals here MANGAJIN + mono — the catalog pages MANGA _ (O.L. Shinka-ron, by Akizuki Riso O-jama Shimasu, by imazeki Shin Obatarian, by Hotta Katsuhiko Serall-kun, by Nishimura So Tanaka-kun, by Tanaka Hiroshi Pocket Story, by Mori Masayuki Del-Toky5 Binbs Selkatsu Manyuary, by Mackawa Tsukasa Galaxy Express 999 (Part V), by Matsumoto Reiji BOOKS _ suai Japanese Films, A Filmography and Commentary, 1921-1989, by Beverley Bare BuehrerZBA (ERE WE Ethtor & Pubileor ‘Vaughan P. Sirens ‘Advlaing & Contributing Eaters Potor Goodman Karen Sandness ‘Wayne Lammers Frodonk L Shoat ‘Van Gassell Contributing Wrhers Gy Elson Tol e02-246-9141 West Cosst: Foy Tunison Tol. 415-641-2020 Sepan: Hiro Moti Tol 03.8470-4494 ‘Mvgaam (ISSN 1051-8177) is published 10 tos & year, monthly excapt January and Jy, by Mangan, Ine, 2591 Briarcitf , Suto 121, Atlanta, GA Mangal, P.O. Box 49543, Atlanta, GA 30350. USPS # 006187 ‘Subecripton prices: $30/yearin US, $46iyoarin ‘Canada. Overseas (except Japan) cubectiptions: $$1001year (airmail only). Editor's Note Tiacase you mise, the Secon ntmationalJapanes- English Translation (IJET-2) Conference was held in San Francisco, June 21-23. I was there, and it wes quite an event. “There were over 260 participants from all over the world— mostly translators and interpreters who gathered to hobaob, network, and exchange tips, but there were also a surprising ‘number of agencies there for recruiting purposes. Good translators are in demand. Of course, the bulk of the transla- tion work available i technical, but if you can handle that, ‘the money is good, the hours are flexible, and with faxes and modems, you ae free to work almost anywhere in the world. ‘On the other side ofthe coin, translation is, for the most part, solitary pursuit, and like any other free-lance enterprise, your job is only as secure as your ability to make yourself indispensable to your clients. ‘The 1992 conference, UET-3, i scheduled to be hold in Japan, May 21-24. If you want more info, write DET-3 ‘Conference, Shibuya 2-19-15-808, Shibuya-ku, Tokyo 150, ‘or fax 03-3406-7730. Tn March and Apei of this year (1991), we conducted a survey of MANGAN readers, and some of the results were a Iitde surprising. Average age of our readers is 36; 70% are male; by occupation, 48% are professional/technical/ ‘management, 22% are stulents, and 17% are educators, (03% other). Itwas a very short questionnaire, but we were ‘especially pleased that ofthe 1,800 questionnaires sert cut, almost 500 were completed and returned — tharkk you MANGAN readers! Copyright © 1001 by Mancam, Inc. Allrights reserved “OL Shinkavon, by Akizuk Feu, first published in Japan in 1996 by ‘Kédansha Lid, Toky8. Publication in Maca arranged through Kedarsha Lid. + Ginga Tetsud 999, by Matsumoto oj rst ‘publshedin Japanin 1977 by Shonen Gahdsha, TokyD. Publication fn Manca arranged through Matsumoto Rail.» O;ema Shimasu, ‘by lmazoki Shin, fret publshod in Japan in 1087 by Take Shodd, Tely®, Publioaon in aroun ranged through Take Siob6. + Obatarian, by Hota Katsuhiko, rst published in Japan in 1988 by “Take Shobs, Tok Publication in Muvaasn aranged trough Take SShobs.. »Sararkun, by Nishimura $9. Publication in Mancian frrangeditrough Nehimura 8, + Tanaka-kur, by Tanaka Hiroshi, first pubichedin Japan in 1988 by Take Shabs Publication in ‘Mavs arrangod trough Take Shobs. + Pockot Story, by Mor ‘Masayuki, fet published in Japan in 1987 by Kodansha Lt. TOky®. Publoaton In Miwon arranged through KodanshaLtd._« Dal- ‘Tokyo Binbo Solkatsu Maryuary, by Mackawa Tsukasa, fst ‘publishedin Japan in 1988 by Kedansha Li. Toky®. Publication in Mavanan arranged trough Kodarsha Lid.ASIAN ages, SOFTWARE i ey Call Toll Free 1-800-745-0911 [ES] SANBI Software Presents... 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Ricthaane 'SANBI Sofware Company, 3594 Crowell Avenue, Riverside, CA 92504 — (714) 352-0276WARNING! SOME PEOPLE SAY THERE ARE FEW TRUE “CUSSWORDS” IN JAPANESE BECAUSE IT'S POSSIBLE TO BE JUST AS OFFENSIVE BY USING A LOWER POLITENESS LEVEL. ‘The politeness levels found in Japanese fre- «quently have no counterpart in English. ‘This can cause problems for translators. The words suru and shimasu would both be rendered simply as “do” in English, but in Japanese there is a very clear distinction between the “politeness” levels of these two words, In a more extreme case, shiyagaru would also be translated simply as “do” in English, but in Japanese this word is openly offensive. Learning Japanese from manga is a good way to get a “feel” for these politeness levels. You see words used in the context of a social setting. ‘The danger in “picking up” Japanese is that even though most Japanese people appreciate the fact that you are interested in learning their language and will give you “slack” as a beginner, misused politeness levels can be pretty grating on the Japanese ear, even if they do not reach the point of being truly offensive. How can I be safe? Politeness Level 3 can be used in almost any situation. Although it might not be completely natural in a very formal situ- ation, it will not cause offense. If you want to be safe, use PL2 only with friends and avoid PL1 al- together. ‘These levels are only approximations : To simplify matters, we use the word “politeness,” 4 MANGASIN although there are actually several (PL4) Politeness Level 4: Very Polite dimensions involved. While the ‘Typically uses special honorific or humble words, _| level of respect (or lack of it) for the such as nasaimasu or itashimasu. person spoken to or spoken about can determine which words are used, (PL3) Politeness Level 3: Ordinary Polite verb forms are determined largely by ‘Typified by the verb desu, or the -masu ending on | the formality of the situation. Thus, other verbs. it is difficult to label the verb irassharu (informal form of an (PL2) Politeness Level 2: Plain/ Abrupt honorific verb) using this simple For informal conversation with peers four-level system. In such cases we + “dictionary form” of verbs sometimes use combined tags, such + adjectives without desu as (PL3-4), Rather than trying to develop an (PL1) Politeness Level 1: Rude /Condescending | claborate system which might be so ‘Typified by special words or verb endings, usually | Confusing as to actually defeat the not “obscene” in the Western sense of the word, but_| PUPose, we feel that this system, equally insulting. ‘even with its compromises, is the best way to save our readers from a embarrassing situations.Pronunciation Guide THIS IS ONLY A GUIDE! DONT TRY TO LEARN JAPANESE PRONUNCIATION ON YOUR OWN. GET HELP FROM A QUALIFIED INSTRUCTOR. Pronunciation is probably one of the easier aspects of Japanese. Vowel sounds don't vary as they do in English. ‘While English uses the five letters a,¢,i,0,u to make 20 or so vowel sounds, in Japanese there are 5 vowels and 5 vowel ‘sounds — the pronunciation is always constant. There are only a few sounds in the entire phonetic system which will ‘becompletely now tothe speaker of English. ‘The five vowels in Japanese are written ajay, in ramaji (English letters). This isalso the order in which they appear inthe Japanese kana “alphabet.” They are pronounced: Fike the ain father, or ha ha! like the in macaroni Tike the w in zat like the ein get, or entra like theo in solo ooene The length of time that 2 vowel sound is held or sustained ‘makes it “long” or “short” in Japanese. Don't confuse this ‘with whet are called long or short vowels in English, The Jong vowel in Japanese has exactly the same pronunciation asthe short vowel, but it's held for twice as ong. Long. ‘vowels are designated by a dash over the vowel (ddmo, ‘okasar), or by repeating the vowel (imasu). ‘The vowels fand ware sometimes not fully sounded (as, inthe verb desu or the verb ending -mashita). This varies between individual speakers and there are no fixed rules. Japanese consonant sounds are pretty close 1 those cf English, The notable exception is ther sound, whichis ikea combination of the English and I, winding up close 10 the d sound, If you say the name Eddy and touch the tip of Your tonguc lightly behind the upper front teeth, you have an approximation ofthe Japanese word eri (collar) Doubled consonants are pronounced by pausing just slightly after the sound is formed, and then almost “spitting ‘ut” the rest of the word. Although this phenomenon docs ‘not really occur in English, i is somewhat similar tothe k soundiin the word bookkeeper. ‘The n sound: When itis not atched 10 a vowel (es in ‘na.nimune,no), nis ike & syllable in itself, and as such it receives. fll “beat.” When ns followed by a vowel 10 which itis not tached, we mark it with an apostrophe, Note the difference between the word for “no smoking” in‘en (actually four syllables: ki-n-e-n), and the word for “anniversary” kinen (ree syllables ki-ne-n). ‘The distinctive sound of spoken Japanese is partly due tothe even stress or accent given to each syllable, This is ‘one reason why pronunciation of Japanese is relatively easy. ‘Although changes of pitch do occur in Japanese, in most cases these are notessential tothe meaning. Beginners, especially Americans, are probably better off to try for fat, ceven intonation. Rising pitch for questions and stressing ‘words for emphasis are much the same as in English. APOLOGY! From the translators Since most of the people who read Mancam are interested in the Japanese language, we strive to reflect the nature of the original Japanese in our translations, sometimes at the expense of smooth, natural sounding English. We ask that you please give us your honorable acceptance of this fact. Trans. MANCAIN 5Letters Letters to the Editor ‘Mancasm welcomes readers’ comments by letier or fax, although we reserve the right to edit for clarity or length. Please address correspondence to: Editor, Mancau, P.O, Box 49543, Atlanta, GA 30359. Fax: (404) 634-1799, A KanjiSama User Speaks [read with imerest your recent article on “Computer-Assisted Instruction for Japanese” (MaNGAIN NO. 8). However, Iwas surprised to see that there was no mention of the “KanjiSama” program inthe user interviews section. Ihave been using KanjiSama for over a year and have found it to be extremely beneficial in my study of the Japanese language. ‘Asa graduate student at a Japanese university, most of my reading materials are naturally in Tapanese. I basically use KanjiSama in place ofa standard Jepanese/English character dictionary. The four lookup modes allow me to find characters and combinations of characters quickly, and the fle export function helps me to maintain alist of newly learned vocabu- lary. [have tried several programs that seem to fulfill their purpose as tools for learning basic Japanese but cannot be used as adequate reference sources due to lack of speed and vocabulary. By making use of LightSpeed C and standard and technical dictionaries, KanjiSama solves both of these problems. Although I understand i se litle difficult to get ‘KanjiTalk system software inthe States, itis well worth the investment when you consider the benefits of running pro- ‘grams like KanjiSama and others coming out that require it. ‘Teo Jorson ‘Tsukuba University, pan In defense of SF Running Urusei Yatsura and Galaxy Express 999is NOT a ‘waste of MANGAN space. Both manga are prime anifacts of Japan's pop culture. Urusei Yatsura blends Japanese pop references (68. references to popular Japanese songs) with Western pop icons ‘which have penetrated Japanese pop consciousness (6.8. Dracula and Superman), The series is itself also a pop phe- ‘nomenon, having spawned a 218- “*Florse’ and ‘deer? are read ‘baka’ (PL2) + tte’ used like the particle io here. + kotcht isa colloquial form of kochira Why Is baka written with these kanji? We were not able to come up with a definitive explanation, but here is a litle beckground and some plausible theories: + The word baka existed in spoken Japanese before kanji were adapted for writing, the language. It's possibly derived from a Sanskrit word. + Other kanji have boen used to write baka, but now FM is pretty much the standard. Katakana is also frequently used to write baka in manga, especially when the dolivery is forceful. + There isa story in Chinese history ofa leader who called a stag @ horse to test his subjects—he wanted to sce if they would be “yes men” or if they would stand up to him, Ttmay be thatthe Japanese person who assigned these kanji to baka knew of that story. + Icould be these kanji were chosen simply because horses and deer are “dumb” animals. Bais the standard reading for wna in combinations, so this was an easy choice, but shia is generally read roku when combined with another kanji, soit ‘appears thatthe assigner of ateji was making 2 force fit for the second kanjiBasic + Japanese baka fool” Reallzing he has been tricked (by a scheming businesswoman), this young man smashes the model of his new building to the floor. Muramatsu: Baka dal! Pm) a fool!” (PL2) (Ore wa dbaka da yo~!! “Pma big fool!” (PL2) + ore isan abrupt, masculine word for “Ime” (© Gen Tats [Yume no Hishs baka, the expletive ‘The letter Is from her boyfriend who has left town, but didn’t tell her beforehand ‘because it would make it harder 1 say good-bye. Ina way, she's calling him a foo, but this use of baka is more like a one-word expletive. The kanji are used here, but as shown in the following examples, baka is more frequently written in katakana. Girt: Batat “Fool FX: biril ound of ‘sipping up etter) ‘© Punazski & Miyama / a Uwasa noTamasaburo “This fool” = “You fool” ‘This scene is from the series #597 Bit Tsuri-Baka Nisshi (“Diary of a Fishing Foo!”). ‘The term tsuri-baka really refers o someone who is “crazy” about fishing, but this par- ‘cular character (shown here taking a thrashing from his boss), seems to be baka it general sense of the word 2s well. Kono baka literally means “This fool/idiot,” used when addressing the party in question, like “You fool/idiot” would be in English. Boss: Kitten no ka, kono baka. “Aare you listening (to me), you idiot?” (PL2-1) + kiiten (no ka) is a contrac- tion of kitte-iru (no ka). MANGAN 11Basic + Japanese Combinations: baka + mono “The suffx—mono, meaning “person” is frequently added to baka. This high school boy was bullying a smaller child, but when the bully taunts the child about his mother working in a cabaret, the old man loses his temper. Old man: Baka-mono “You idiot!” + “You litle jerk!” Sound FX: Vashi! ‘ound of the cane whishing through the air and striking the boy) Boy: Una! (exclamation) ‘The suffix mono can be shortened 10-mon, 28 inthis example, Hirano: Bakamon “You SOB” FX: gaki! (effect of grabbing hold of his opponent) ye] A (© ian & Sadayasu/ Shishi no Gotoh baka + yard ‘Strictly speaking, yard (“guy/fellow”) refers toa male. Yard can also be used as an insult, and depending ‘on the tone of voice, Kono yard can be something like “you SOB!" When used as an insult, the gender distinc- tion becomes less critical In this scene, the father is yelling at his entire family (wife, daughter, and son) for ‘bringing along too much unnecessary equipment on a ‘camping trip (he winds up carrying it). Father: Bakayard!! “Taion(s)” (© Wakabayashi Kenji Arashiyama Ika 12 MANGANBasic + Japanese baka + noun This cat has a reputation as a connoisseur of fine food, but it used his specially prepared seafood dish as kity litter, Ifthe cat were a human being, he might be caling it bakayard, ‘but baka can also be combined with more specific nouns. Other examples are: baka- _musiko (idiot son”), baka shojiki ("honesty to the point of being stupidioo much honesty for one’s own good”). Kono baka-neko ga—!! “You stupid #@*% cat!” Fugya fugya (yowking sound) baka-neko could be translated simply 2s “fool cat” but given the intensity ofthis man’s expression, he would probably be using a “eussword” in English, the particle gais frequently added on, implying a complete thought. It also serves to emphasize the subject ofthat thought (baka-neko). baka as an adjective The ending -na is added to certain nouns to make adjectives, and baka-na means “foolish/crazy/stupid.” This man’s old childhood enemy has died as a vagrant and is about to be cremated as a “John Doe” (Tar6). ‘Talking tohimselt: Sonna baka-na koto wa nai darot! “Such acrary thing can't bel!” > “That's crazy!” (PL2) Shinde-isto wa ie, ningen ni tishite “Even though (he's) dead, (they can’t do sucha thing) to a human being...” “Even if he’s dead, he'sstill a human being.” ‘This man has just heard some shocking news about a police raid on a company dormitory. Its s if he is too shocked to come out with a complete sentence — all he ‘can manage is the first few words, or, that's enough to communicate his feelings. So, sonna baka-nal! “Su, such a crazy... If" > “That's crazy? or “That can’t be!” + this can be shortened even more to simply Sona... ‘+ another variation is Baka-na .. . (by itself) a A (© Nabeshima & Mackaven/ Tyeta rio Torakuta MANGAINN 13,Japan - : Expressions using baka ae Baka is used in a number of common expressions, such as baka (0) iu, literally “tale foolishness,” In this case, bala means “foolishness/nonsense,” rather than “fool.” President: Baka itcha ikan!! “Don’t talk foolishness!!” 2 + tha isa contraction of ite wa, from iu (“say”). ‘kan is used like ikena ‘C*must nov/should not”), used primarily by older males. aA = © Yarns & Kite /Tsuri Baka Nishi In this scene, from Tsuri-baka Nisshi, Hamazaki (with the big grin) has just complimented Takejo on his English ability. Given Hamazaki’s facetious nature, ‘TakejO has reason to suspect he is being made fun of. ‘Takejo: Bakani shite-ru n desu kal! “are you making fun of me?!” (PL3) (© Yamasaki & Ritami Tauri Baka Nissht Somewhat milder than baka ‘This middle-aged businessman has just been told byhis teenage daughter that working too hard was 2 crime (hana), Father: Baka-bakashii! “Ridiculous!” (PL2) Nani ga hanzai dal? What’ the crime (about ‘working to0 mucky"?! (PL2) Sound FX: Zizi (Glurping sound of drinking ‘soup) (© Konfone Vespa Kika et 14 MANGATNBaka in proverbs & folk sayings ‘Teuyosh! hes been challenged to jump off the rof of the house in order to prove his determination in a dispute about his sister's marriage. ‘© Naganais Kiyshi/ Tago, Shite Shinasar From the sertse Urusel Yatsura (Manoa No. 7), Chery, the deranged monk, reacts to the news that Ataru hhas caught cold. ‘Takahashi Rumilo/ Une Yatsura Cherry: Baka wa kaze 0 hikan to ga nd... “They say that a fool doesn’t catch colds, bot 2" PL2) Koteshi no kaze wa baka de mo hiku 3 dal “hear that even fools catch this year’s olds?" (PL2) Pama: + hikan is masculine form of hikanai, the plain/abrupt past of hiku (atch (a cold]”), * using no atthe end ofa sentence like na or 1s typical of the speech of older people. +... s0dais used to report what you heard. Sister: Tsuyoshi nara yaru wa ne. Mother: [yy FX: Kara! (effect of clearing up; ef. kara-tio hare-agaru) ‘Sararit-man ante hero, Tanaka-kun, finishes out this lesson by providing a sterling ‘example of the meaning of baka. Title: ‘Ame nochi hare, {toki-doki baka. “Rain followed by clear skies, (with) occasional fools” rnochi means “afterward followed by,” but it's a rather sifffformal style used in weather fore- casts. “Tsuyoshi is just the kind of person who would do it Gump off the root.” (PL2) ‘$0, Baka to kemuri wa takai tokoro ga tokui na no yo “That's right, Smoke and fools both specialize in / are good at high places.” (PL2-Fem) thisis a slight variation on the saying: ‘Baka to Kemuri wa takai tohoro ge suki. (Fools and smoke like high places") or takai takoro ni nobor ise to high places”). ROSMNCaCANAFeature+Story Donald Richie A\tttransiation is 2 compromise bat I doubt that any ‘fanslation is 60 thoroughly compromised as that of flm-dia- logue subtitles. The translator is given only so much space and in itis supposed to render spoken dialogue as writen farther polish his soul. In ime, he must meet his arch adversary: Sasaki KOjic6. The fl is loosely based on thelegend ofthe famous dvel ‘8 Ganry0 Istend in 1612. [Embassy] SEK — Shim Helke Monogatal, Taira Clan Saga (New Tales of The Heike). -MizoguchiKenji. Anepicjida ge some- what out ofthe typical Mizoguchi mold, The rising samurai class batiles the aristocracy. ‘Good performances andMizoguchi's dftsense ‘of balance save an otherwise undistinguished. ‘lm, [Batzar] 1986 SRERSER — Akasen Chita, iret of Shame (Red Light Disrrict). Dir: Mizoguchi Kenji. Miroguc'slast imconinuedhisibenesbout women who ate oppressed in mnle-doni- tated sociey. Prostitutes work in postwar Yoriware to support the weaknesses of the smen in her ives, Noted for is wse of elec tronic music, [Embassy] EW ZOWR Biruma no Tutegoto, The Burmese Harp-Dis. Ichikawa Kon. Atthe end of the Second World Wer, a young Jepanese soldier steals the robes of « monk in order to survive, then in epodistion ofthe wer, stays in MANGAIN 19[Burma to adapt an ascetic way of Tif. A Ihauating film about the horror of war, (Con: oisseur| BF —Soshun, Farly Spring. Dir: Ozu ‘Yasuj6. A young office worker in Toky® is bored with life, so he has an affai. His mar- riage on the rocks, heis wansferred toa branch ‘office where his wife rejins him. As in most (Oza films the plots thin but the characeriza- tions ar rich. Tae tlle refers to the time of life ‘when young people are starting out. Balzac) 1957 2 AK Domsoko, The Lower Depths. Dir: Korosnwe Ake. Kurosava based this filmon ‘Maxim Gorky’s play. ‘The dark tradition of ‘both Russian and Japanese literature resulis in ablesk view of fe. Thisisone of several films inwhich he director portrayed the anguish and hope of the lower classes. Fine acting and