Relevant bibliographies by topics / Miyazaki Hayao

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Miyazaki Hayao'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Miyazaki Hayao"

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E Silva, Raphael Parreira, and Conrado Moreira Mendes. "Hayao Miyazaki:." Tríade - Revista de Comunicação, Cultura e Mídia 7, no. 15 (2019): 137–57. http://dx.doi.org/10.22484/2318-5694.2019v7n15p137-157.

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Com o intuito de depreender o estilo autoral do japonês Hayao Miyazaki, são analisados, neste trabalho, seus seguintes filmes: Porco Rosso (1992), A Viagem de Chihiro (2001) e Vidas ao Vento (2013). Tais obras são examinadas à luz do conceito de estilo, conforme propõe Discini (2014), articulando-se tal concepção à teoria do autor de Stam (2003), além de debater os alicerces em torno da caracterização de personagens centrais de acordo com Brait (2005) e Brecht (2002). Por meio das análises realizadas, pôde-se concluir que o estilo autoral de Miyazaki se constrói a partir de recorrências observadas tanto no plano do conteúdo, quanto no plano da expressão.
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Kim, Jun-Su. "Hybridity Images of Miyazaki-hayao Animation." Journal of the Korea Contents Association 8, no. 12 (2008): 160–67. http://dx.doi.org/10.5392/jkca.2008.8.12.160.

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Garza, Oscar. "Hayao Miyazaki and Shinto: A Spiritual Connection." Film Matters 5, no. 3 (2014): 19–26. http://dx.doi.org/10.1386/fm.5.3.19_1.

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Sáez-González, Jesús Miguel. "Gake no ue no Ponyo (Hayao Miyazaki)." Vivat Academia, no. 105 (May 15, 2009): 225. http://dx.doi.org/10.15178/va.2009.105.225-226.

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Афанасов, Николай Борисович. "HAYAO MIYAZAKI IN SEARCH OF THE WORLD." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(28) (April 20, 2021): 130–40. http://dx.doi.org/10.23951/2312-7899-2021-2-130-140.

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Рецензируется перевод монографии американского теоретика культуры Сюзан Нейпир «Волшебные миры Хаяо Миядзаки». Книга Сюзан Нейпир представляет собой наиболее фундаментальное исследование визуальных форм в творчестве японского анимационного режиссёра Хаяо Миядзаки. Сквозь призму анимационной визуальности автор раскрывает те философские смыслы, которые режиссёр закладывал в свои фильмы. С позиций культурной теории и философии культуры монография представляет особенный интерес, поскольку позволяет погрузиться в интерпретации ключевых для культуры XX века сюжетов в японской анимации. Помимо прочего работа Нейпир может представлять академический интерес для всех, кто интересуется теорией культурного фронтира и такими философскими сюжетами, как экологическое мышление, феминизм, новый материализм или апокалиптическое видение. Настоящая рецензия построена на исследовательских инициативах визуальной семиотики. Анализ интеллектуальных способов работы Сюзан Нейпир с визуальностью аниме Хаяо Миядзаки может быть полезен не только тем, кто интересуется непосредственными смыслами работ японского аниматора, но и претендует на раскрытие внутренних механизмов визуальных репрезентаций культурных феноменов. Иными словами, книга Нейпир, помимо раскрытия скрытых и неочевидных смыслов художественных произведений, вносит вклад в общую теорию работы с визуальным. Рецензия также акцентирует внимание на ряде непоследовательных ходов в мышлении Нейпир и предлагает свою интерпретацию спорных аспектов в книге. The Russian translation of Susan Napier’s monograph Miyazakiworld: A Life in Art is being reviewed. The book should be considered as the most fundamental research on the visual semiotics in the works of the Japanese animation director Hayao Miyazaki. Through the prism of visuality, the author analyses philosophical meanings that the director put in his films. From the perspectives of cultural theory and philosophy of culture, the monograph is particularly interesting because it allows going deeper into the interpretations of topics, key in the 20th-century culture, in Japanese animation. Among other things, Napiers’s book could be of interest for all academics interested in frontier studies and such philosophical topics as ecological thinking, feminism, new materialism, and apocalyptic thinking. This review is based on the research initiatives of visual semiotics. The analysis of Susan Napier’s intellectual ways of working with the visual nature of Hayao Miyazaki’s anime can be useful not only for those interested in the understanding of the direct meanings of the Japanese animator’s works, it also claims to reveal the internal mechanisms of visual representations of cultural phenomena. In other words, Napier’s book, in addition to revealing the hidden and non-obvious meanings of works of art, contributes to the general theory of working with the visual reality. The review also focuses on a number of inconsistent moves in Napier’s thinking and offers its own interpretation of the controversial aspects in the book.
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Gil Escudier, Elena. "Hayao Miyazaki y su producción para televisión." SERIARTE. Revista científica de series televisivas y arte audiovisual 1 (January 19, 2022): 72–89. http://dx.doi.org/10.21071/seriarte.v1i.13592.

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La producción de Hayao Miyazaki es extensa y abarca desde obras para televisión, pasando por videoclips, hasta su enorme aportación al mundo cinematográfico. A lo largo de su filmografía, se aprecian una serie de características que definen sus obras: reiteración de temáticas, personajes de gran profundidad psicológica, ausencia de personajes malvados, y un sinfín de particularidades que hacen único el estilo del director japonés. No obstante, en el presente artículo, nos proponemos rastrear la aparición de algunos de sus sellos más importantes en producciones anteriores a su universo fílmico y detectar en qué medida ha podido evolucionar la poética miyazakiana posteriormente. Para ello, resulta indispensable diferenciar entre el anime para televisión y la obra de anime cinematográfica y la posición del autor respecto a esta disyuntiva. Asimismo, nos centraremos en su producción televisiva y destacaremos aquellos sellos del autor que consideramos se reiteran tanto en las obras para televisión como para cine, a fin de establecer una relación entre ambas.
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Santiago, Omar. "La relación ser-humano-naturaleza en el largometraje de Hayao Miyazaki: Nausicaä del Valle del Viento, desde el principio de armonía confuciano." Ética y Cine Journal 12, no. 1 (2022): 9–18. http://dx.doi.org/10.31056/2250.5415.v12.n1.37377.

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El presente trabajo propone una lectura de la relación ser humano-naturaleza en el largometraje desarrollado por el director japonés Hayao Miyazaki: Nausicaä del Valle del Viento, a través del principio confuciano de armonía, ampliando la forma en que se ha comprendido el papel del agente moral en la obra de Miyazaki en su relación con la naturaleza.
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Noviana, Fajria. "Representasi Hero’s Journey Pada Tokoh Chihiro Dalam Anime Spirited Away Karya Miyazaki Hayao." IZUMI 8, no. 1 (2019): 52. http://dx.doi.org/10.14710/izumi.8.1.52-64.

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(Title: Representation of Hero’s Journey on Main Character Chihiro in Hayao Miyazaki’s Spirited Away Anime) This paper is the result of a qualitative descriptive type of literature study. The purpose of this study was to reveal the heroic journey process of main character of Spirited Away anime named Chihiro, based on the Hero’s Journey theory proposed by Vogler. Data about Chihiro's heroic journey are obtained from anime with note taking techniques. The method used in the analysis is the method of content analysis based on the theory of Hero's Journey. From the results of the analysis, it can be seen that the main character Chihiro has undergone a total of the twelve stages of the hero’s journey. Chihiro's adventure has succeeded in changing her personality which was initially timid, spoiled, and whiny to be brave, independent, calm and confident, and full of compassion. Chihiro's heroic journey proves the true definition of a hero according to Vogler, while also proving that to win a fight does not always use physical strength. There are times when thinking intelligence and emotional intelligence are much more needed. In addition, this anime also features a lot of kamisama which was once believed by the Japanese. Miyazaki might want to remind again about the existence of Japanese gods by displaying them in this anime, either those actually found in Japanese mythology or Miyazaki's own creations. Thus, the story of Spirited Away which has a mythical structure as stated by Vogler becomes much more alive and interesting.
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Li, Chenmei. "Influence of Hayao Miyazaki’s Animation on the Cross-Cultural Spread of Japanese Traditional Culture under the Background of 5G and Wireless Communication." Wireless Communications and Mobile Computing 2021 (October 11, 2021): 1–5. http://dx.doi.org/10.1155/2021/1640983.

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The development of 5G technology has brought tremendous changes to all areas of social life, especially in the external communication of culture; the increasing effect of 5G technology has become more obvious. All kinds of new media are constantly emerging, and the expression of cultural products is more diversified, and they also have certain characteristics of their own national cultural symbols. As one of the important representatives of Japanese modern and contemporary culture, animation works have made extremely outstanding contributions in promoting the spread of Japanese culture. Japanese animation is not only second to none in Asia but has also many fans all over the world. This article takes the characteristics of Hayao Miyazaki Animation’s external communication under the background of 5G as the starting point and deeply analyzes the impact of technological background changes on the external communication of Japanese traditional culture. Through data comparison, it is found that with the support of 5G technology, people’s habit of watching videos has changed a lot, from mobile terminals and short videos in the 4G era to large-screen projections and long animations in the 5G era. In a certain sense formed the return of the animation viewing form to the television era at the end of the last century. The number of video clicks on major websites shows that the number of Japanese animation products represented by Hayao Miyazaki Animation has increased significantly. Moreover, the age and occupation coverage of the audience is also very wide. The survey shows that people’s appreciation of Hayao Miyazaki’s animation at this stage is not only the attractiveness of the plot itself, but the deep meaning behind the animation is also the focus of attracting them. This gives Hayao Miyazaki Animation a higher level of appreciation value, that is, guiding countries that have suffered from the side effects of industrial civilization to rethink the relationship between ruleism and development speed. The research results suggest that the development of 5G technology has given traditional Japanese animation new characteristics in the dissemination of it and directly affected the cross-cultural dissemination effect of Japanese traditional culture. Discover the essence of respecting nature and observing rules in Japanese traditional culture to better serve our social development.
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Hwayoung Kim. "『Porco Rosso』 by Hayao Miyazaki-An Animation Study-." Japanese Modern Association of Korea ll, no. 53 (2016): 171–88. http://dx.doi.org/10.16979/jmak..53.201608.171.

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Dissertations / Theses on the topic "Miyazaki Hayao"

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Horta, Lilia Nogueira Calcagno. "Mulheres e memórias em Miyazaki : o consumo da estética híbrida e transgressora do cinema de animação de Hayao Miyazaki." Escola Superior de Propaganda e Marketing, 2017. http://tede2.espm.br/handle/tede/242.

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Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-06T15:12:32Z No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5)<br>Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-06T15:13:34Z (GMT) No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5)<br>Approved for entry into archive by Ana Cristina Ropero (ana@espm.br) on 2017-11-10T12:12:40Z (GMT) No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5)<br>Made available in DSpace on 2017-11-10T12:16:11Z (GMT). No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5) Previous issue date: 2017-03-31<br>The film narratives of Japanese animation director Hayao Miyazaki - theme of this research - expose some issues that involve life in society by questioning situations and stereotypes through their hybrid aesthetics, and mainly through their female characters In this way, we take as theoretical object the consumption of aesthetics hybrid - in which the female characters are found - and the layers of memory there involved. In this sense, this research has as general objective to identify the composition of the female representations and how the transgressive character of them is given. We adopt specific objectives: to understand how the anime genre emerged and to contextualize the course of Hayao Miyazaki as director of animation. Understand how Hayao Miyazaki are embedded in a context of production and media consumption, demonstrating negotiations between the director and the animation industry. Verify that his aesthetic is constructed, from the textual memory and analysis of the composition of the scenarios, characters, plot, costumes and other aspects. Analyze how make up the female representations in the works of Hayao Miyazaki and, finally, to verify how the female characters produce a representation of memory that subverts the memory of what we understand as a Japanese woman. For this, an analysis is made from a corpus of ten works scripted and directed by the director [Ponyo: A Friendship that Came of the Sea (2008), the Service of Deliveries of Kiki (1989), The Castle animated (2004), Princess Mononoke (1997), My Friend Totoro (1988), Porco Rosso: The Last Romantic Hero (1992), Nausicaä of the Valley of the Wind (1984), Lives to the Wind (2013), The Journey of Chihiro (2001), The Castle in the Sky (1986)]. In order to highlight the female characters, formulating a methodological framework dividing them into six phases: children, girls, youth, adults, mothers and the elderly. Using the basilar pillars: consumption and communication; memory; women were bibliographical and documentary research, mobilizing authors such as Lotman, Le Goff, Halbwachs, Pollak, Canclini, Rocha, Martel, Miyazaki, Luyten, Barbosa Junior, Sato, Laurel, Hane, among others, with different theoretical contributions. The results demonstrate that the awakens, through his women and his hybrid aesthetics, a critical thinking in which one makes possible to question about aspects concretized by society and to think about the possibility of change and restart.<br>As narrativas fílmicas do diretor de animação japonês Hayao Miyazaki – tema da presente pesquisa – expõem algumas questões que envolvem a vida em sociedade ao questionar situações e estereótipos através da sua estética híbrida, e principalmente por meio das suas personagens femininas. Desta forma, tomamos como objeto teórico o consumo da estética híbrida – na qual se encontram as personagens femininas – e das camadas de memória aí implicadas. Nesse sentido, esta investigação tem como objetivo geral identificar a composição das representações femininas e como se dá o caráter transgressor das mesmas. Adotamos como objetivos específicos: compreender como surgiu o gênero animê e contextualizar o percurso de Hayao Miyazaki como diretor de animação. Entender de que forma as obras de Hayao Miyazaki estão inseridas em um contexto de produção e consumo midiático, demonstrando negociações feitas entre o diretor e indústria de animação. Verificar de que maneira é construída sua estética, a partir da memória textual e análise da composição dos cenários, das personagens, do enredo, do figurino e outros aspectos. Analisar como se compõem as representações femininas nas obras de Hayao Miyazaki e, por fim, verificar como as personagens femininas produzem uma representação de memória que subverte a memória do que entendemos como mulher japonesa. Para tal, é feita uma análise a partir de um corpus de dez obras roteirizadas e dirigidas pelo diretor [Ponyo: Uma Amizade que Veio do Mar (2008), O Serviço de Entregas da Kiki (1989), O Castelo Animado (2004), Princesa Mononoke (1997), Meu Amigo Totoro (1988), Porco Rosso: O Último Herói Romântico (1992), Nausicaä do Vale do Vento (1984), Vidas ao Vento (2013), A Viagem de Chihiro (2001), O Castelo no Céu (1986)]. De modo a destacar as personagens mulheres, formulando um quadro metodológico dividindo-as em seis fases: crianças, garotas, jovens, adultas, mães e idosas. Valendo-se dos pilares basilares: consumo e comunicação; memória; mulheres, foram adotadas pesquisas bibliográficas e documentais, mobilizando autores como Lotman, Le Goff, Halbwachs, Pollak, Canclini, Rocha, Martel, Miyazaki, Luyten, Barbosa Júnior, Sato, Louro, Hane, entre outros, com diferentes aportes teóricos. Os resultados demonstram que o diretor desperta, através de suas mulheres e sua estética híbrida, um pensamento crítico no qual se faz possível questionarmos a respeito de aspectos concretizados pela sociedade e pensarmos na possibilidade de mudanças e recomeço.
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Andreo, Marcelo Castro. "A narrativa insólita de A viagem de Chihiro, de Hayao Miyazaki." Universidade Estadual de Londrina. Centro de de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2017. http://www.bibliotecadigital.uel.br/document/?code=vtls000211047.

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O objetivo deste trabalho é demonstrar e analisar o percurso narrativo no qual o diretor japonês Hayao Miyazaki apresenta a evolução de sua personagem principal, a menina Chihiro, no longa-metragem de animação A Viagem de Chihiro (2001). Este percurso apresenta-se em duas ambientações, os mundos primário e secundário, aqui chamados de mundo-aqui e outro-mundo. Serão historiados os filmes de Miyazaki produzidos no Studio Ghibli, com protagonistas femininas, e, especialmente, seus traços que remetem ao maravilhoso e ao fantástico, partindo-se previamente das definições destes termos dadas pelo crítico Tzvetan Todorov, seguidas por outras visões neste campo nos trabalhos das teóricas Irène Bessière e Maria Nikolajeva. Tendo essas definições em mente, será analisada a inserção do modo fantástico e das modalidades de interpretação nos filmes selecionados de maneira a presentar o trajeto do diretor rumo ao fantástico que resultou no longa-metragem A viagem de Chihiro. Para examinar o filme escolhido, utilizar-se-á um processo indutivo de análise do longa-metragem de animação sequência a sequência, tendo como ferramentas de análise principais os estudos sobre funções e esferas de ação desenvolvidas pelo folclorista russo Vladímir Propp na década de 1920, na obra Morfologia do conto maravilhoso. O acompanhamento do processo de maturação da heroína será observado através da evolução de algumas funções de Propp e da sua relação com outros personagens, pertencentes a outras esferas de ação proppianas. As sequências da animação, objetos desta observação, serão comparadas com o conceito de rito de passagem do antropólogo Arnold Van Geenep. Paralelamente, serão estudadas as fontes religiosas, mitológicas e folclóricas japonesas nas quais o diretor Hayao Miyazaki inspirou-se, por meio dos trabalhos das antropólogas Gergana Petkova, Birgit Staemmler e Carmen Blacker, da crítica literária Noriko Reider e do psicólogo Hayao Kaway. Espera-se, assim, observar as múltiplas leituras que se podem extrair da narrativa de A Viagem de Chihiro sem a necessidade de se ater a uma distinção reducionista de realidade ou fantasia, aproveitando as modalidades narrativas miméticas e simbólicas como os fatores que propiciam a movimentação entre as interpretações da obra, vendo seus aspectos paralelos de narrativa maravilhosa e fantástica.<br>This study aims at presenting and analyzing the narrative course by which Japanese director Hayao Miyazaki portrays the personal evolution of his main character – the girl Chihiro – in feature-length animation movie Spirited Away (2001). This course is presented in two environments: the primary and the secondary worlds, namely the here-world and the another-world. Miyazaki’s movies produced in Studio Ghibli – featuring females as main characters and, specially, containing marvelous and fantastic situations – will be described taking into account previously given definitions brought by critic Tzvetan Todorov, as well as other points of view on the subject as presented by theorists Irène Bessière and Maria Nikolajeva. Having these definitions in mind, the insertion of fantastic narrative and of interpretative modalities will be analyzed within the selected movies, in order to track the director’s path en route to the fantastic that ultimately resulted in the feature movie Spirited Away. In order to scanning the movie, a sequence by sequence inductive analysis process of the feature animation will take place, using the analysis tools described in Morphology of the Folktale – written in the 1920’s by Russian folklorist Vladímir Propp – about functions and spheres of action. The monitoring of the heroine maturation process will be observed through the evolution of some functions – described by Propp – and her relationship with other characters – which belongs to other Propp’s spheres of action. The sequences of the animation, subjected to observation, will be compared as per the concept of rite of passage given by anthropologist Arnold Van Geenep. At the same time, Japanese religious, mythological, and folk resources that inspired director Hayao Miyazaki will be studied, through the works of anthropologists Gervana Petkova, Birgit Staemmler, and Carmen Blacker; literary critic Noriko Reider; and psychologist Hayao Kaway. By doing so, it is expected to provide an overview of the multiple understandings that can be conveyed by the narrative of Spirited Away, without the need to be attached to a reductionist distinction of reality or fantasy – by taking advantage of mimetic and symbolic narrative modalities as transition points between the various interpretations of the movie, and considering the parallel aspects of marvelous and fantastic narratives.
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Kimler, Stefanie. "Funktion und Konstruktion von Parallelwelten am Beispiel der Filme von Hayao Miyazaki." Göttingen Optimus, 2010. http://d-nb.info/1000676579/04.

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Schipperges, Tjus Einar. "A Voice Against War : Pacifism in the animated films of Miyazaki Hayao." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158712.

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Artois, Malin. "Miljöpolitiska budskap i Nausicaä från Vindarnas dal och Prinsessan Mononoke av Hayao Miyazaki." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-31932.

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I uppsatsen behandlas två filmer av filmskaparen Hayao Miyazaki: Nausicaä från vindarnas dal och Prinsessan Mononoke. Uppsatsen börjar med en kort bakgrundsbeskrivning av Miyazaki för att sedan gå in på dennes tankar kring naturen, filmerna, framtiden och den värld som vi lever i idag. Därefter följer analyser av de två filmerna som innehåller handling, viktiga karaktärer, teman, motiv, budskap och diskussion. I denna del tar jag också upp det visuella i Nausicaä från Vindarnas dal och Prinsessan Mononoke. Jag tittar även på vad andra har sagt om filmerna och skriver om kraften i det visuella med utgångspunkt i artikeln The ecological and consumption themes of the films of Hayao Miyazaki av Kozo Mayumi, Barry D. Solomon och Jason Chang. Uppsatsen avslutas med en slutdiskussion.
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Campos, Runcie María-José Carmen. "El símbolo en la animación : el árbol en las películas de Hayao Miyazaki." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/8525.

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Esta investigación busca encontrar el significado del símbolo del árbol en la filmografía de Hayao Miyazaki, renombrado director de animación japonés. Se plantea como hipótesis que el árbol simboliza la vida misma, fuerza y fuente de poder y familia a la vez para Miyazaki. Para esta tesis se ha decidido utilizar metodología cualitativa mixta: en primer lugar interpretar, bajo la luz de conceptos como el sintoísmo y mitología, el significado del árbol en tres películas de Miyazaki, y luego utilizar instrumentos cuantitativos para analizar el lenguaje audiovisual de sus películas. Se ha podido concluir que para Miyazaki el árbol es la razón de la existencia humana y que simboliza la esencia de la vida en todo sentido.<br>Tesis
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Hu, Tze-yue Gigi. "Understanding Japanese animation : from Miyazaki and Takahata anime /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24729954.

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OLIVEIRA, JANETE DA SILVA. "THROUGH MYTHS AND FAIRY: METAPHORICAL DIALOGUES WITH THE JAPANESE MEDIATIC LITERATURE OF HAYAO MIYAZAKI S WORK." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27476@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>Durante muito tempo as palavras utilizadas para referir-se a oriente e ocidente foram exótico, civilizado, arcaico ou desenvolvido. Isso porque as imagens atribuídas a ambos eram de atrasado x avançado como o pseudo antagonismo entre mito e logos. No entanto, a falência do discurso cartesiano de verdade, como narrativa organizadora do cenário contemporâneo, abre espaço para uma nova abordagem do mito como parte atuante na leitura do mundo. Nesta tese nos propomos a utilizar a recuperação do mito através da metáfora ainda presente no discurso filosófico feita por Hans Blumenberg, e fazer um paralelo com a recuperação da metáfora feita por Paul Ricoeur para um approach entre oriente e ocidente pelo viés da literatura midiatizada que identificamos na obra do renomado diretor japonês de animação Hayao Miyazaki.<br>For a long time the words used to refer to East and West were exotic, civilized, archaic or developed. That s because the images assigned to both were backward vs. advanced as well as the pseudo antagonism between myth and logos. However, the failure of the Cartesian discourse of truth as a structuring ordering narrative of the contemporary world opens a door to a new approach to myth as an active part in the reading of the world. This thesis proposes to use the restoration of the myth through metaphor as in Hans Blumberg s philosophical work and to form a parallel with Paul Ricouer s restoration of the metaphor, employing this method as an approach between East and West to delve into the work based on the literary world of renowned Japanese animation director Hayao Miyazaki.
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Tomos, Ywain. "The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii." Thesis, Aberystwyth University, 2014. http://hdl.handle.net/2160/2ae01ef4-894c-45db-9be5-eec5c312fadc.

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Japanese anime is 'one of the most explosive forms of visual culture to emerge at the crossroads of transnational cultural production' (Brown, 2006:1). This study proposes that anime is framed in a different wayfrom orthodox Hollywood cel animation (Wells,1998), influenced by Japanese aesthetics, iconography, social norms and a well developed role for individual anime directors. The significance of anime as a novel form of animation is specifically linked to a broader alignment within Japanese cultural identity. The study benefits from previous research by Thomas Lamarre (2009) who proposed the concept of the 'animetic process' and Hiroki Azuma's (2009) post-modernist discourse on 'otaku' (anime fans). Close reading analyses of selected feature films in the anime canon directed by Hayao Miyazaki (1941-), Satoshi Kon (1963-2010) and Mamoru Oshii (1951-) were conducted, to determine the significance (defined as sharing a common meaning and value) of anime within contemporary discourses on animation. The study concludes that anime represents a continuation of Japanese film tradition which has frequently borrowed from other film cultures, notably Hollywood, but then subverted this influence through a specifically Japanese gaze. Evidence for anime being regarded as novel in terms of the development of film tradition was found in relation to its adoption of digital trans-modality and interactivity to become a mediated cinematic form which breaks new ground. The dialogue between the anime director as the creative force and the viewer as the active consumer has wider implication for this hypothesis that modern anime is emerging as an interesting and important filmic form in digital environments.
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Stey, George Andrew. "Elements of Realism in Japanese Animation." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250700496.

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Books on the topic "Miyazaki Hayao"

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Miyazaki Hayao zensho: The complete Miyazaki Hayao. Firumu Ātosha, 2006.

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Kiridōshi, Risaku. Miyazaki Hayao no "sekai". Chikuma Shobō, 2001.

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Miyazaki Hayao no zassō nōto. Dai Nihon Kaiga, 1997.

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Miyazaki Hayao no "fukami" e. Heibonsha, 2004.

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Bencivenni, Alessandro. Hayao Miyazaki: Il dio dell'anime. Le mani, 2003.

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Saigo no kokumin sakka Miyazaki Hayao. Bungei Shunjū, 2008.

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The animé art of Hayao Miyazaki. McFarland & Co., 2006.

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Kishi, Masanao. Miyazaki Hayao, ikai e no kōkishin. Seishidō, 2006.

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Hayao Miyazaki: Sguardi oltre la nebbia. Carocci, 2013.

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Miyazaki Hayao no shigoto: 1979-2004. Chōeisha, 2004.

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Book chapters on the topic "Miyazaki Hayao"

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Sito, Tom. "Hayao Miyazaki." In Eat, Drink, Animate. CRC Press, 2019. http://dx.doi.org/10.1201/9781351171168-56.

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Napier, Susan J. "The Enchantment of Estrangement: The Shōjo in the World of Miyazaki Hayao." In Anime from Akira to Princess Mononoke. Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780312299408_7.

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"Hayao Miyazaki." In Identity in Animation. Routledge, 2017. http://dx.doi.org/10.4324/9781315725215-8.

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Wu, Chen Jian. "Hayao Miyazaki, Maître de l’animation japonaise." In Leaders du monde artistique. Presses de l'Université du Québec, 2021. http://dx.doi.org/10.2307/j.ctv1rr6dbp.13.

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Çay, Merve. "Tainted Away." In Advances in Media, Entertainment, and the Arts. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4655-0.ch014.

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Global climate change and its effects on the planet attract attention by policymakers as well as scholars. Global ecological crises are gradually being examined both in cultural and scientific terms all over the world as a concept as the relationship between nature and people is examined further. Japanese animation director Hayao Miyazaki stands out with his critical approach to the relationship between humans and nature. Miyazaki's animated films such as Princess Mononoke, Spirited Away, and Nausicaä of the Valley of the Wind provide us with a different perspective on Mother Earth and the relationship between nature and people in connection to “past,” “present,” and “future.” In this chapter, Miyazaki's three films are examined through three approaches in ecocriticism—deep ecology, ecofeminism, and dark ecology—to show how Miyazaki maintains a unifying, and a not discriminatory, narrative in our perception of nature by finding balancing solutions to dichotomies such as nature-man, human-nonhuman, man-woman, technology-nature.
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"Il Mediterraneo, l’eterotopia e Porco rosso di Hayao Miyazaki." In Confini, identità, appartenenze. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110640069-020.

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Binotto, Johannes. "Allein sein - Tonari no Totoro, Hayao Miyazaki, J 1988." In Cinépassion – The Sequel. Psychosozial-Verlag, 2016. http://dx.doi.org/10.30820/9783837972009-123.

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Lucken, Michael. "Le Voyage de Chihiro de Miyazaki Hayao ou l’aventure des obliques." In Les Fleurs artificielles. Presses de l’Inalco, 2016. http://dx.doi.org/10.4000/books.pressesinalco.359.

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Zalasiewicz, Jan. "Breaking the surface." In The Planet in a Pebble. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780199569700.003.0018.

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The pebble is a small but perfectly integrated part of a metal factory. This factory has produced copper, silver, zinc, lead and gold (real gold, not its iron sulphide facsimile, pyrite). It is about 100 kilometres long and 60 kilometres across, by about 6 kilometres deep. It is called Wales. The metals have sustained, puzzled, frustrated, and finally abandoned many generations of Welsh miners. Many hundreds of generations, indeed, for these metals have been sought, avidly, since at least the Bronze Age, more than 3000 years ago, when shafts were dug through solid rock with little more than hand-held antler bone and rounded cobble. It is no small feat to chase the metal underground, for its path is tortuous, its presence capricious and its surroundings dangerous. The Welsh miners have been celebrated at home in literature and songs, and also in more surprising quarters, as in the Japanese filmmaker Hayao Miyazaki’s portrayal of them in Castle in the Sky (a children’s animé film, perhaps, but deeply serious at core, like everything that Miyazaki has done). So how is a country-sized metal factory created? Tiny fragments of the answer reside within the pebble. A streak of white crosses the pebble, cutting across both the strata and the tectonic cleavage surfaces. Cutting both these fabrics, it must then be younger. Such evidence of what-came-first and what-came-next is at the heart of geology, and has been so since the very beginnings of the science, since before geological time was pinned and measured by the application of atomic clocks and of fossil time-zonations. And for all today’s shiny atom-counting machines and well-stocked libraries and museums, this kind of logic is still the first thing the geologist applies when any new and unfamiliar problem comes into view. But what is it in the pebble that is younger? Peer with the hand lens, and the white streak is resolved as a mineral vein: that is, as a mass of tiny crystals that have grown within a fracture in the rock.
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"11. Animation Seminal and Influential: Hayao Miyazaki’s My Neighbor Totoro (1988)." In Reading a Japanese Film. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824840372-014.

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Conference papers on the topic "Miyazaki Hayao"

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Wang, Yuexiu, and Ran Zhao. "Green Feelings in Animated Movies Directed by Miyazaki Hayao." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.124.

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Poleschuk, Victoria. "NOMINAL AND VERBAL PREFIXES OF POLITENESSIN THE SPEECH OF HEROES ANIMATED FILM HAYAO MIYAZAKI"千と千尋の神隠" ("SPIRITED AWAY")". У ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.28.

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Nominal and verbal prefixation in the system of politeness of the Japanese language plays an important role. This article is devoted to the analysis of the examples of politeness prefixes in the speech of the characters of the animated film of Hayao Miyazaki "千と千尋の神隠" ("Spirited Away").
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Zhang, Sancong. "The Pacifism in Hayao Miyazaki's Animation Art." In 2018 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/saeme-18.2018.1.

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Ma, XiangFei. "Research on female Character shaping in Hayao Miyazaki's animation film." In 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Atlantis Press, 2017. http://dx.doi.org/10.2991/icemeet-16.2017.86.

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Isaac, Carlos G. "Web-based 3D HSV color data gathering and visualization for applied cinemetrics: A case study in Hayao Miyazaki’s animated motion pictures." In WS.3 2020: International conference on Web Studies. ACM, 2020. http://dx.doi.org/10.1145/3423958.3423975.

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