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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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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.
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.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. Miyazakis 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 directors 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 1920s 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 Propps 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.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 JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
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.
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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Le, Roux Stéphane Mouëllic Gilles. "Scénographie et cinématographie du dessin animé de T̄oei à Ghibli (1968-1988), le parti du réalisme de Isao Takahata et Hayao Miyazaki /." Rennes : Université Rennes 2, 2008. http://theses.scdbases.uhb.fr:8000/theseleroux.pdf.
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Le, Roux Stéphane. "Scénographie et cinématographie du dessin animé : de T̄oei à Ghibli (1968-1988), le parti du réalisme de Isao Takahata et Hayao Miyazaki." Rennes 2, 2007. http://www.bu.univ-rennes2.fr/system/files/theses/theseleroux.pdf.
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Lsao Takahata et Hayao Miyazaki se sont rendus célèbres pour leurs dessins animés, alliant une haute qualité formelle à une approche singulière du genre. À destination prioritairement enfantine, le dessin animé de long métrage, dont Walt Disney a posé les bases dès les années 30, se consacre au conte et au merveilleux, assume d'emblée une forme d'irréalité. La question du réalisme, incongrue au demeurant, est l'un des principaux enjeux esthétiques développés par les deux cinéastes japonais, plus proches de Paul Grimault que du modèle classique américain. La recherche d'une expression réaliste de l'espace et du temps, en animation, a nourri leur travail depuis leur rencontre à Tōei dans les années 60, jusqu'à la fondation de Ghibli dans les années 80. Définir et défendre la valeur du réalisme en dessin animé est l'ambition de cette thèse. Hals, prince du soleil de Takahata constitue l'avènement d'une forme de modernité en dessin animé. L'espace filmique paraît exister pour lui-même, indépendamment de faire l'objet d'un spectacle. Tout ne s'offre pas idéalement en direction du spectateur, pour son meilleur confort de vision, comme il en va du modèle classique. Derrière l'apparence d'un retour à l'évasion et à l'aventure, Miyazaki insère une part de matérialité, de temporalité quotidienne, contrastant avec des contextes imaginaires ou enchanteurs. Mon voisin Toloro, construit sur l'irruption d'un certain "naturel dans le merveilleux", est l'aboutissement d'une poésie de l'insolite - originalité fondamentale de son cinéma. Ces deux artistes démontrent que, paradoxalement, le dessin animé a besoin d'un rapport étroit au réel pour exprimer pleinement ses potentialitésIsao Takahata and Hayao Miyazaki achieved fame with their cartoon films by combining high formal quality with an uncommon approach to the genre. Intended mainly for children, the full length cartoon film, for which Walt Disney established the basis as far back as the 1930's, is dedicated to story tale and wonder and naturally takes on a form of unreality. The question of realism, although incongruous, is one of the principal aesthetic concerns developed by the two japanese film-makers, who are closer to Paul Grimault than to the classic american model. The pursuit of a realistic expression of space and time in animation has nourished their work, since their encounter at Toei during the 1960's and until the founding of Ghibli during the 1980's. The aime of this thesis is to define and defend the value of realism in cartoon films. Hols, sun prince (Little Norse prince valiant) of Takahata represents the succession of a modern form of cartoon film. The cinematic space seems to exist for itself, irrespective of being part of a show, everything is not aimed in the spectators direction, ideally offering the greatest comfort for vision, as with the classical model. Behind the facade of an escapism and adventure comeback, Miyazaki introduces an element of materiality and of everyday temporality which contrasts with the enchanting or imaginary context. My neighbour Totoror, built on the irruption of a certain "real life in a fantastic element", is the outcome of a poetic strangeness - the fundamental originality of his cinema. The two artists show us that, paradoxically, the cartoon film needs a close link with reality to express its potential to the full
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Brinkemar, Ronja. "En värld inom vår egen : En filmanalys av den japanska animerade parallellvärlden i Hayao Miyazakis Spirited Away." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444960.
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I denna undersökning vill jag visa att film har ett egenvärde som berättarform separat från skönlitteraturen, där särskilt japansk animerad film är ett område som tidigare marginaliserats inom filmteorin men bör ges ett större akademiskt utrymme. Med hjälp av de fem filmanalytiska aspekterna berättelse, mise-en-scène, kameraanvändning, klippning, ljud och filmmusik undersöker jag hur regissören Hayao Miyazaki konstruerar den japanska animerade parallellvärlden i filmen Spirited Away samt hur det animerade mediet påverkar filmen. Min analys visar att publikens inlevelse i parallellvärlden skapas genom en otillgänglig narration där kamerans låga vinklar och point-of-view-shots gestaltar världen ur huvudpersonens vinkel. Parallellvärlden kommer till liv genom en detaljerad traditionell japansk scenografi, runda karaktärer och en rik diegetisk ljudbild. Den långsamma klippningen bjuder in publiken att bli medskapare av parallellvärlden och musiken skapar en känslomässig inlevelse samt fungerar som en sammanknytande väv genom filmen. Den animerade formen möjliggör en större frihet i animatörernas skapande av filmens mise-en-scène, samt bidrar till en större tolerans hos publiken för det irrationella intuitiva händelseförloppet och en delvis överdriven ljudbild.
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Kihlström, Elin. "Magiska dörrar och oväntade relationer : En adaptionsanalys av Det levande slottet." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-80266.
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This study is an adaptation analysis focusing on character portrayals in Studio Ghibli’s film Howl’s moving castle, which is based on a book of the same name, written by Diana Wynne Jones. Both the film and the book are discussed and analyzed to find differences and similarities between the two. The purpose of the paper is to identify the changes that have been made to the film adaptation in the form of characterizations. Through this study I have shown the media specific differences that have contributed to changes but also reported important similarities. The relationships between the characters have changed a lot to the film adaptation, many emotions appear more open in the film than they did in the book. Media specific differences lie behind much of this, through the filmmaker’s possibilities in the visual medium. The important narrative changes can be based on this, but also through Studio Ghibli’s choice to emphasize the war as a central part of the story. This paper can give light to the changes that take place when a work is being adapted into a different medium.
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Lindqvist, Elias. "På egna ben : En genusvetenskaplig analys av huvudrollerna i The Little Mermaid och Kiki’s Delivery Service." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413124.
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Synen på vad som utgör den så kallade starka kvinnliga karaktären har varit objekt för förändring, vilket kan synliggöras bland annat via filmmediet. Syftet med studien är att granska och jämföra två tecknade kvinnliga protagonister utifrån ett genusvetenskapligt perspektiv. Metoden för studien utgörs av två genusvetenskapliga modeller som kategoriserar manligt och kvinnligt beteende, samt semiotisk bildanalys. Materialet består av Disneys The Little Mermaid och Studio Ghiblis Kiki’s Delivery Service. Resultatet visade att karaktärerna uppvisar liknande personliga egenskaper, då de båda är vackra, sårbara, aktiva, skyddande och självständiga, men att de trots detta spelar mycket olikartade rolltyper, samt utformats på olika sätt av sina skapare. Slutsatsen är att Kiki förefaller vara den mer feministiska av de två karaktärerna, men att även Ariel med tanke på verkets inomtextuella tidsperiod till viss del kan tolkas som feministisk.
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Bergvall, Lilly. "Vandrande slott och skrotmonster : – En komparativ studie av Det levande slottet." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-67462.
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Studien analyserar Diana Wynne Jones bok Det levande slottet (2005) och Studio Ghiblis film med samma titel (2004) i syfte att undersöka vilka förändringar som skett i övergången från bok till film. Delarna som undersöks är narrationen, karaktärerna, värderingar och budskap samt ifall filmen anpassats till japanska förhållanden och/eller japansk publik. Detta görs genom en komparativ metod. Studien diskuterar även möjligheten att använda något av verken i undervisning för årskurserna F–3. Resultatet visar att skillnaderna mellan bok och film är så stora att det är svårt att endast tala om en filmadaptation och att det därför är bättre att använda begreppet transformation. Även om filmen fortfarande har ett gemensamt tema med boken – alla ska kunna accepteras för den de är – har förändringarna och det nya temat krig tagit överhanden och påverkat narrationen, budskap, värderingar och karaktärer. I filmen finns inga förändringar som pekar på specifik anpassning till japansk publik, men genom filmens teckningar är det ändå tydligt att filmens regissör Hayao Miyazaki ingår i en japansk kultur. Resultatet visar dessutom problematik kring bokens användning i årskurserna F–3, men att det trots detta finns möjligheter att använda både den och filmen för att diskutera värden och budskap i de lägre årskurserna.
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Ask, Nunes Denise. "Maxime Miranda in Minimis: Reimagining Swarm Consciousness and Planetary Responsibility." Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-117997.
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This essay explores Swarm Consciousness in relation to the novels Ender’s Game by Orson Scott Card, Remembering Babylon by David Malouf, and the manga Nausicaä of the Valley of the Wind by Hayao Miyazaki. Through these novels, Swarm Consciousness can be reimagined in order to challenge the ways insects have previously been considered in literature. Swarm Consciousness is originally a concept from biology that explains the self-organizing systems of social insects such as for example bees or ants. Previously it was believed that these insect societies consisted of a great majority of mindless drones that were governed by a central authority, most commonly envisioned as a queen. However, if we base our vision of Swarm Consciousness on the more recent understanding of insect self-organization it is possible to challenge this rigidly divided traditional perspective into one that instead has the potential to give rise to visions of new and more creative interactions between humans and insects. These interactions are not limited to an in-group, out-group mentality, but Swarm Consciousness can be used to imagine interactions between groups, irrespective of their species identity. Due to this shift towards a more decentralized perspective, it is possible to create a new way of imagining the umwelt, as Jakob von Uexküll would define it, the unique environment, of vastly different creatures. The limits of the umwelt can be breached with the aid of Swarm Consciousness and create new possible forms of interspecies imagination. However, these intimate interactions surpass the individuals involved and create opportunities for glimpsing a wider planetary perspective which gives rise to an increased sense of planetary responsibility. Thus, Swarm Consciousness challenges both how we can think, but also who we can think with and, as a consequence, opens up new ways of perceiving unique and individual worlds, as well as the entire planet.
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Chow, Cheuk-wing, and 周卓穎. "Nostalgia, nature, and the re-enchantment of modern world in Hayao Miyazaki's anime." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4839449X.
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The association between nostalgia, nature and disenchantment has been and still is a very common trope in cultural and literary studies (Saler 138) within the scope of modernity. In fact, it has almost become “a cliché of our time” (Saler 138) in which people often view modern experience as an oppressive status of disillusionment rather than a liberating condition of enlightenment.
Since this thesis aims to open up and point at different dimensions of modernity and become “part of a grandiose modernist project yet to be finished” (Hu 23-4), I would like to use Miyazaki’s works to argue that modernity is never a simple, one-sided condition of being ‘disenchanted’ as proclaimed by many scholars.
In order to pinpoint some of the contradictory impulsions and potentialities of the experience of modernity, this thesis would first start with a brief overview on the ideas of ‘disenchantment’ and ‘nostalgia’ and their relations to the experience of modernity.
The second part would be a general introduction to Miyazaki’s anime, briefly introducing his works in terms of style, content, characterization and such. In particular, I would like to point out how Miyazaki’s works have created alter-tales about disenchanted modernity by showing the multiple facets of modern life and exploring the possibility to (re)enchant modern experiences through his childlike protagonists and the fantastical form of anime.
Part three to five would be comprehensive textual analyses about Laputa: Castle in the Sky (1986), Nausicaa of the Valley of the Wind (1984) and Spirited Away (2001) respectively, examining their relationships with and responses to the ambivalent experiences of modernity.
The concluding part of this thesis would reflect on the contribution as well as the limitation of my research in regards to the writing of modern experiences and the ongoing modernist project.published_or_final_version
Literary and Cultural Studies
Master
Master of Arts
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Pruvost-Delaspre, Marie. "Pour une histoire esthétique et technique de la production animée : le cas de la Tôei Dôga (1956 - 1972)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030117.
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Le studio de la Tôei Dôga, fondé en 1956, est dans le Japon d’après-guerre tout à la fois le creuset d’une certaine conception de l’animation, le cœur de la formation d’une grande partie des techniciens qui vont soutenir l’industrie, mais aussi le lieu d’émergence, d’intégration et de réinvention de l’animation japonaise. En effet, si Hiroshi Ôkawa, qui dirige le studio jusqu’à sa mort en 1971, cherche à définir la structure comme le « Disney de l’Orient », le modèle américain, avidement recopié, a aussi été rapidement mis de côté, pour donner lieu à de nombreuses réinventions, appropriations et innovations technologiques. Etudiées d’un point de vue esthétique et technique, grâce à la conjonction de l’analyse formelle des films et de la prise en compte systématique des témoignages et des documents de production, ces innovations donnent à voir un processus de réappropriation du médium qui touche de près à l’histoire des techniques. Un enjeu important, dans le cadre de ce travail, consiste également à replacer aussi précisément que possible la production animée dans l’environnement économique et culturel de son époque. Ceci ne prend cependant pas nécessairement la forme d’une approche purement culturelle, mais cherche plutôt à conjuguer, grâce à des outils empruntés à l’histoire de l’art et à l’histoire culturelle, la matière filmique et la mise en question de son « contexte ». Si l’enjeu central de cette thèse aura été de définir, sur un plan esthétique et technique, une histoire de la production animée raisonnée et fondée sur une étude précise des documents disponibles, il apparaît que ses conclusions mettent en jeu les différents modèles de production traversés successivement par la Tôei, comme autant de propositions artistique, politique et stratégique, de ce que peut être le cinéma d’animationThe Tôei Doga studio, founded in 1956, is the place in post-war Japan where was developped a new conception of animation, trained a large part of the technicians who will support the industry in the next decades, but also the place of emergence, integration and reinvention of Japanese animation. Indeed, if Hiroshi Okawa, who will run the studio until his death in 1971, seeks to define the structure as the "Disney of the East", the American model, eagerly copied, was also quickly set aside by Tôei, a process originating many technological innovations. Studied from an aesthetic and technical point of view, through a combination of a formal analysis of Tôei Dôga’s production from 1956 to 1971 and the systematic consideration of the animators’ testimonies and production documents, these innovations make a process of appropriation of the medium visible, questionning the history of technology. A crucial issue in the context of this dissertation also includes replacing as accurately as possible Tôei Dôga’s production in the vibrant economic and cultural environment of its time. This however does not necessarily involve an approach similar to that of cultural studies, but is rather seeking to combine, with tools borrowed from art history and cultural history, film material with the questioning of its "context." If the central issue here has been to implement, on an aesthetic and technical level, a history of the animation production process based on a careful study of available records, it appears that Tôei’s successive production models involve many artistic, political and strategic suggestions of what animation may be
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Hsieh, Ju-Hui, and 謝如惠. "The Culture Study of Miyazaki Hayao." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/26224089101007561976.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
99
Miyazaki Hayao, is most Taiwan children’s collective memory in 1980. His unique storytelling and quiet but far-reaching Miyazaki’s style lead us to grow with the role together. And his constructed film world is not only the memory of audience but also the director’s memory. For the director's creative intent has been discussed in the literature, but for the image he created wasn’t often been discussed. This study will try to proceed from Miyazaki Hayao's life and then go to the his works, the use of textual analysis and hermeneutics to understand the world view of these works, and try to analyze the style of his works and study of cultural meaning by researcher’s view.
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Wang, Yao Hsuan, and 王耀瑄. "The female image in Hayao Miyazaki´s animations." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/25174057365532116566.
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碩士國立臺東大學
兒童文學研究所
93
Abstract Hayao Miyazaki (宮崎駿) is a world-famous Japanese animator. His productions are widely discussed in different fields. Standing in the modern Japanese animation business, in which the prejudiced powers of gender stereotype, sex, violence and female materializing are strong, Miyazaki is like a stream of purifying power. Miyazaki’s animations show his anti-war claim and concerns for environmental and humanistic issues. He applies female protagonists a lot and most important of all, the female image is capable and charming, which is different from the conventional image. In this thesis, the researcher analyzed the female images in the nine animations Miyazaki created during 1984 to 2004. The researcher classified the female figures into five groups, which are little girl, young woman, married woman, old woman, and witch. The former four are sorted by age and the last one is unique from the others and is a figure frequently seen in Miyazaki’s animations. The characteristics, social status and the occupational performance of each female character would be discussed. The female image shown in animations would be compared with the conventional stereotype. The views for love and the awaking of self-consciousness of the female figures would be discovered. The research results are as follows. The image of little girls is close to the conventional innocence and vividness. Young women are most equipped with tough and soft characters at the same time, and they do not sacrifice themselves for love. As for the married women, though they are situated in the male-dominated world, they still keep their true selves, making decisions for their future. Old women are energetic and optimistic, offering a steady power in the animation. In Miyazaki’s animations, the powerful witches are often round characters. No matter how evil they might have been, their lives can be saved if they are reformed. As a male animator, Miyazaki sketches the contours of special and unique females by his sensitive observation and imagination. He has no intention to avoid the fact that females are still living in a male-dominated society. However, the gender stereotype is broken down and their self-consciousness is awakened. Females show that they could be even more diligent and persisting than males, and their social status can abreast with men’s. In Miyazaki’s animations, females spread out the wings and fly freely, and this should be what women in the real world look up to. Keyword: Japanese animation female image gender stereotype
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Hsu, Tzu-Hsuan, and 徐子旋. "The life education tentative from Hayao Miyazaki animated movies." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/53654503010783937752.
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碩士銘傳大學
教育研究所碩士在職專班
101
This study was composed of “ Ultimate concern and practice”“ Ethical thinking and reflection”, and “Personality integration and spiritual development”as a framework from three issues of life education in “Senior High schools’ outline of curriculum”. It not only analyzed the texts from three Hayao Miyazaki animated movies included “Princess Mononoke” “Howl''s Moving Castle”, and “Spirited Away” ,but also investigated the meaning and value of life. Last but not least, it gave suggestions to the Life Education. This research was based on the“text of concept”from Life Education in“Senior High schools’outline of curriculum”and three movies as a“text of analysis”. It not only used “Interpretive analysis”of“Textual analysis” as the research method to expound the meaning of life and value but analyze it by many ways, such as verbatim, explanation of frame, descriptions of characters, film review, backstage narrations, and so on.
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Silva, Margarida Duarte Rabatina Ribeiro da. "O Mito Moderno em “Mononoke-Hime” de Hayao Miyazaki." Master's thesis, 2018. http://hdl.handle.net/10362/65287.
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Hayao Miyazaki, a referência primeira da animação japonesa, opera com o filme
“Mononoke-Hime” (1997) a criação de um mito moderno. A incorporação de períodos históricos
díspares, de lendas e mitologias provenientes do território nipónico, da literatura europeia, de contos
infantis, poemas e epopeias, funda na sua obra um mosaico próprio. Em “Mononoke”, antigas
lendas ganham uma nova roupagem. O Japão cria uma nova identidade para a sua animação na
viragem do milénio.
Esta dissertação recupera elementos das culturas oriental e ocidental, da religião nativa
nipónica e da cultura popular japonesa para compreender a estrutura muito própria do mito de
Miyazaki.Hayao Miyazaki, the main reference for Japanese animation, creates a modern myth with his film “Mononoke-Hime” (1997). The incorporation of several time periods, legends, Japanese mythologies, European literature, children’s books, poems and epics originates a unique body of work. With “Mononoke”, ancient legends come to life. A new identity for Japanese animation arrises with the new millennium. This dissertation conveys elements of Western and Eastern culture, of Japan’s native religion and of Japanese popular culture, in order to understand Miyazaki’s unique mythological structure
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Bigelow, Susan. "Technologies of perception : Miyazaki in theory and practice /." 2005. http://proquest.umi.com/pqdweb?index=0&did=1299817311&SrchMode=1&sid=14&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1195572105&clientId=5220.
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Thesis (M.A.)--York University, 2005. Graduate Programme in Communication and Culture.Typescript. Includes bibliographical references (leaves 120-131). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://proquest.umi.com/pqdweb?index=0&did=1299817311&SrchMode=1&sid=14&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1195572105&clientId=5220
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Lee, Pei-jung, and 李佩蓉. "Environmental Ethics and Gender differences of Miyazaki Hayao`s Animation films." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/70767963247862351191.
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碩士國立臺南大學
環境生態研究所碩士班
99
This researsh was based on Miyazaki Hayao`s eight animation flims .These animation included "Nausicaa of the Valley of Wind " （1984）, "Luputa:Castle in the sky " （1986）, "My Neighbor Totoro"（1988）, "Kiki''s Delivery Service"（1989）, "Porco Rosso "（1992）, " Princess Mononoke "（1997）, " Spirited Away "（2001）, " Howl''s Moving Castle "（2004）. Miyazaki Hayao`s eight animation flims, the main actor of women account for six, named role of women account for five , not to be named role of men account for t five and the masses roles of men more than women. From this part of the main , Miyazaki Hayao to selection women actor is important role that women''s role can show off more things,and men just to be supporting actor. By Goldberg (1981) analysis of the five characteristics of the individual sixteen male and female characteristics, we found "Agreeableness" of the most significant personal characteristics. Women with " Neuroticism "﹑"Extraversion"﹑" Openness " and " Agreeableness " of the personal characteristics significantly higher than men. From which appear in the interaction between the individual and society, women are good to communication ,self-presentation and good for to solve problemes . Miyazaki Hayao`s eight animation flims , between the people and the environment implies ethics, descriptions address the environmental crisis is far more personal and social, on the whole, Miyazaki Hayao`s animation flims is thinking about Ecology center ethics.
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Li, Hsin-Hsin, and 李欣馨. "The Alienation of altered Feminism—Take Hayao Miyazaki Animation for Example." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/uy2dny.
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碩士國立臺東大學
兒童文學研究所
95
The Alienation of altered Feminism— Take Hayao Miyazaki Animation for Example. Hsin-Hsin Li Abstract Abstract It is no doubt that the legend of creatively well selling and awarded animations brought by the Japanese director Hayao Miyazaki since the debut of Nausicaa of the Valley of the Wind in 1984. We are all familiar with the splendid spectacles, epic like sceneries, touched characters and the highly valued of nature filled in his works. However, we have to ask if it was communicated well as expected by the director in a form of artistic animation. If is there any misunderstanding were conveyed among symbols of elements in the footages? The thesis was intended to research how Miyazaki attempted to disguise the discrimination of female under patriarchy among eight titles of Nausicaa of the Valley of the Wind, Laputa: Castle in the Sky, My Neighbor TOTORO, Kiki's Delivery Service, Porco Rosso, Princess Mononoke, Spirited Away, Howl's Moving Castle directed between 1984~2006. This research was adopting the way of text analysis to discuss the altered feminism that was hidden or actually represented within his animations in three topics consisted with “materializing and slaving of female”, “alternation of feminism” and “shifting and displacement between sex and character” along with four aspects of personalities, dialogues, visualizations and storytelling. In my observation, women are not getting sexual equality because of the approach of neuter character or independent behavior. On the contrary, the male gaze is playing the important role in Miyazaki’s animations, giving the men satisfying sense of unlimited power. It’s hard to believe that it seems Hayao Miyazaki who is a loyal feminist as recognized in public. Instead, he tried in fact to conceal the idea of masculine dominant by manipulating majority of female and shaping the character in his animation. Keywords: Hayao Miyazaki, animation, feminism, Nausicaa of the Valley of the Wind, Laputa: Castle in the Sky, My Neighbor TOTORO, Kiki's Delivery Service, Porco Rosso, Princess Mononoke, Spirited Away, Howl's Moving Castle.
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JIANG, YI-QING, and 蔣怡青. "Animation of The Fantasy World：Take Miyazaki Hayao''s Animation for example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/q2a5e6.
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碩士樹德科技大學
建築與室內設計研究所
102
In Japan, animation is not just to please the child or adolescent, the development of Japanese animation through the influence of Japanese history and other factors, making the animation in Japan, where it has gradually become the mainstream media, successfully enter the international market and become Japanese art and a characterization of culture in Japan after World War II, the birth of a lot of Japanese animators, many of these animators, and specializes in children depicted Miyazaki, elves, and other aircraft with nature, that is, the present study focuses on the object. Japanese animation master Miyazaki Hayao is famous all over the world, in the works of Miyazaki Hayao ''s animation, there are many forms of performance space, and space fantasy world under his ideas generated in his fantasies as you enter the space it does not know rationalization feel, and in his creation, there is always a way to enter the world he has created in our surrounding reality and science unsuspecting pull, then he will be immersed in the world created. Miyazaki Hayao animation in the world, there is very passionate adventure outside the experience and excitement of the story the story, the animation scene space also do not have implications for the design of this study would like to take the works of Miyazaki Hayao ''s animated cut scenes do, from his animated scenes, to explore the contents of the behind the scenes to explore the meaning to be expressed, try to analyze the background of the movie in time and space, building space with history and culture.
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I-Chia, Hsin, and 辛宜家. "The Appearance Of The Study For Gender Role in Hayao Miyazaki´s Animations." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/71276498657428680695.
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碩士國立台北護理學院
嬰幼兒保育研究所
96
Hayao Miyazaki is famous in Japan for his animations. His animations are also very popular in Taiwan. The representations of gender roles in his animations are very different with other animations. Therefore, this research was designed to discuss about the presentation of gender role in Hayao Miyazaki’s Animations. This research includes four parts: division of labor in gender differences, characteristics in gender differences, occupation classifications and occupation positions, and role appearance. Four movies: “My Neighbor Totoro”, “Spirited Away”, “Kiki's Delivery Service”, and “Porco Rosso”, which were most popular among Hayao Miyazaki’s Animations at movie rental stores in 2007. These four movies are applied for the subjects in this study. The method in the research was event recording and adapted content analysis to discuss the gender role in all these movies. The findings in this study are addressed: a)Division of labor in gender differences: about works of taking care and educating people and cleaning, etc, there is no bias between gender differences; however, the role who supports a family and heavy duty works are most partially traditional ideas which are more focus on male rather than presented by active and innovate ways which female can do it. b)Characteristics in gender differences: giving various extroversion, agreeableness and emotional stability on gender differences.In openness, he shows women’s independence, which is totally different from the stereotypical idea that women are usually weaker than males, but in conscientiousness, he still stress much on female. Therefore, he assumed open and various way to describe the roles, and still didn’t forget to reflect some the traditional characteristic traits of the female role. c)In the role of occupation classifications and occupation positions, many times the job positions are placed by genders very similar to the accordance of our society. d)The appearance of the gender roles usually doesn’t have real visible differences. Showing characters without make-up, in simple and/or casual outfits, and rarely show figures that differentiate genders. These figures are mostly shown in a more simple and neutral look.
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Kuo, Ling-Miao, and 郭玲妙. "How Animals Are Portrayed In Miyazaki Hayao,s Animated Films And The Creating Of Characters." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/73176523006474561872.
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碩士崑山科技大學
視覺傳達設計研究所
102
This paper is research of the animals positioned and expressions in the script from various animated movies. It contains background, personality, anthropomorphic-way, exhibit feelings, the body-language, appearance, the character in the story as a metaphor for something or implied meaning, with the interaction of species and between different species, according to information provided by the movie, it can let us guess why the creation, reference materials, and trying to tell us something. In the world, Anthropomorphic animal movies have very much, like“ Tom and Jerry”, “Winnie the Pooh”,” Mickey Mouse”,” Rio”,” My Neighbor Totoro” , etc., The most famous is Hayao Miyazaki's films, which is very lively expression and thinking about that what the authors would like to tell us after watching the movie. Therefore, this study chose the facial expressions and movements of animals in Hayao Miyazaki animation as the main discussion and study. Find relevant track in the animation and the track can be take as reference and basis before the creation.
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Chen, Kuan-Ming, and 陳冠銘. "Action Research on Environmental Education through Leisure Activities- A Case from Elementary School Students Seeing Hayao Miyazaki Animated Film." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/we5ys5.
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碩士國立臺東大學
休閒事業管理碩士在職專班
103
The purpose of this study was to explore the effect of environmental education on elementary school students through an action research by seeing Hayao Miyazaki animated films. A total of 24 fourth grade students (12boys, 12girls) were successfully invited in this study. This study used an action research based on interviews, observation, research diary, learning record, and questionnaires to collect data for analyzing and solving problems to improve teaching performance. The results, in summary, suggested that: (1) environmental education through seeing an animated film is worth promoting, (2). environmental knowledge through seeing an animated film could be effectively enhanced, and (3) teachers’ competencies for teaching and curriculum designing through this action research could be growing.
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Peres, Cátia Alexandra dos Santos. "Liberated words: a method of analysis on graphical language and discourse in the animated film and in the work of Hayao Miyazaki." Doctoral thesis, 2019. http://hdl.handle.net/10400.26/32317.
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Esta tese analisa a construção de significado e linguagem gráfica das imagens animadas. A análise centra-se na relação criada entre conteúdo, forma e movimento e no seu discurso gráfico resultante, dando visibilidade a uma parte fundamental da atividade e evolução humana, a construção de significado através da forma das imagens. Para este propósito analisa o caso de estudo de dez longas metragens que constituem a obra do realizador Japonês, Hayao Miyazaki produzidas pelo lendário estúdio Ghibli.
No âmbito de design, esta tese cruza diferentes campos disciplinares dentro da área gráfica nomeadamente estudos de cultura visual, na análise do conteúdo nas imagens, estudos de design gráfico, na análise dos elementos formais que geram significado nas imagens, estudos de animação na análise do discurso gráfico e movimento resultante que gera significado nas imagens. O resultado do cruzamento destas áreas convergem numa contextualização desta tese num modelo teórico e num modelo prático de análise do filme animado e dos seus elementos constituintes fundamentalmente gráficos. No modelo teórico esta tese enquadra, propõe e define os domínios do filme animado relacionando: (a) Produção (processo de fabricação de significado nas imagens), (b) Imagem (recursos formais e gráficos de significado nas imagens) e (c) consumo e recepção cultural (interpretação de significado nas imagens) com enfâse no discurso gráfico resultante. No modelo prático de análise da linguagem gráfica em animação esta tese centra-se no elemento (b) para responder à questão da investigação de como é que a construção do significado é construída no filme animado nos seus elementos gráficos de linguagem e discurso.
A metodologia utilizada apresenta uma análise qualitativa dos filmes segundo o modelo proposto em categorias fundamentais da criação de significado em animação e elabora uma análise dos resultados segundo padrões de ocorrências e exceções que resultam numa conclusão dos resultados obtidos.
A contribuição do conhecimento desta tese propõe: a contextualização e alargamento teórico dos campos disciplinares para a análise gráfica do filme animado, a proposta de um modelo teórico dos seus domínios, a proposta de um modelo prático de análise, e ainda os resultados específicos da aplicação do modelo ao caso de estudo escolhido, a obra do realizador Hayao Miyazaki.This thesis analyses the construction of meaning and graphical language in the animated film. The focus of this research is centred around the relationships among content, form and movement and how the resulting graphical discourse gives visibility to a highly important part of our human activity and human evolution, the construction of meaning in the form of images. To this end, a case study is analysed, considering ten feature films directed by Japanese animation director, Hayao Miyazaki, and produced at the legendary Studio Ghibli. Within the scope of Design, this thesis is characterised by an overlapping of different fields of knowledge: visual culture studies, in the analysis of content which generates meaning in images; graphical design studies, in the analysis of the formal and graphical structures which generate meaning in images; animation studies in the analysis of the graphical discourse which generates meaning in images. The result of this overlap converges into a framework, which proposes a theoretical model for the domains of the animated film, and a practical model of analysis of the animated film and its structural elements, which are essentially graphical. In the theoretical model, this thesis proposes an interrelationship among three aspects: (a) production (the meaning making process in images), (b) images (formal and graphical meaning resources in images) and (c) perception and cultural reception (interpretation of meaning in images) with particular emphasis on the resulting discourse. In the practical model of analysis, this thesis proposes a focus on aspect (b), formal and graphical meaning resources in images, to answer the research question of how the construction of meaning is generated in the animated film in its graphical elements and graphical discourse. The methodology of the present thesis is based on a qualitative analysis of the films under the proposed practical model of analysis to collect systematic information, in order to elaborate patterns of occurrences and exceptions and a consequent conclusion of the results.
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Lin, Shih-Pin, and 林世彬. "An action research of integrating environmental issues into visual arts instruction in the elementary school---Taking Hayao Miyazaki''s animated films as an instructional teaching aid." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/68430173772085843270.
Full textAbstract:
碩士國立嘉義大學
視覺藝術研究所
92
This study applied a qualitative action research to the exploration of an environmental-based art instruction developed and implemental by myself, the art teacher and the researcher. This art instruction was designed for the 5th grade of students in the elementary school I am teaching now. It is featured with the implementation of Hayao Miyazaki''s animated cartoons as teaching assistant materials. In order to be objective and reliable, this study applied multiples methods to the collection of data such as observations, semi-constructional interviews, documents including the teacher''s diary, students’evolution sheets, and feedback sheets. With a detailed description and thorough analysis, this study has drawn a conclusion and made a series of proposals as below: 1.Projects of environmental visual art instruction units: 1.1Break up the disciplinary boundary and pursue an environmental-Issues-based art instruction 1.2Deploy flexible and diversified teaching activities; guide the instruction by critical thinking and practice the exercises by outdoor art teaching activities 1.3Integrate HAYAO MIYAZAKI''s animated cartoons to art teaching to strengthen student''s environmental awareness though an entertaining means. 2.Interactions among teachers, students, and teaching materials: 1.1 Homeroom teachers are art teachers 1.2 Diversified methods for the teacher-student interaction effectuate environmental art teaching. 1.3 The school and classrooms are viewed shared living environment as teaching contexts. 1.4 Socialization of students’learning is a vital form for critical-thinking practice. 3.The art teacher facing and reflections 1.1 Regarding environmental art teaching: 1.1.1 students'' backgrounds influence their learning. 1.1.2 The arrangement of teaching hours should be subject to teaching context and can be adjusted flexibly 1.1.3 The class management should be elastic and considerate. 1.1.4 Teacher''s behavior, environmental awareness and the execution are vital to the success of environmental art teaching 1.1.5 Opposition and obstacles to the environmental protection offset the value of environmental art teaching 1.2 Regarding the art teacher: 1.2.1 Insufficiency of environmental and ecological awareness 1.2.2 Lack of environmental art teaching experience 1.2.3 the impacts of the teacher’s personal knowledge about environmental issues on his own teaching. At last, but not the least, this study made some suggestions for education policy makers school administrators, art teachers, and potential researchers who may be interested in relevant issues that this study has explored. Key words: Environmental issues, Environmental art teaching, assistant teaching material, HAYAO MIYAZAKI
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Chiu, Ching-Jung, and 邱靖蓉. "The Hero’s Journey in Hayao Miyazaki’s Animations." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/13719389200630937696.
Full textAbstract:
碩士國立臺北教育大學
語文與創作學系碩士班
104
Master Hayao Miyazaki is a well-known animated director in the world. Not only are his works widely loved, but are translated into many languages. Furthermore, his works also spread in the world. Miyazaki’s works acquired a lot of recognitions of foreign awards. However, after four decades-long creative career, he announced that The Wind Rises would be the end of his lengthy animated career, and he would engage in the short animation production only. In Hayao Miyazaki’s works, we can find features such as unique camera angles, colorful and vivid images, youths and maidens, as well as environmental awareness and ecological conservation in stories. However, domestic researches for Hayao Miyazaki's works are confined to the features list above. A few other researchers make cultural cross reference their main themes. None of them bring in “Mythology” or “The Hero’s Journey” on their review. Therefore, this article,The Hero’s Journey in Hayao Miyazaki’s animations , will follow the concept of "Hero’s Journey", proposed by Joseph Campbell in his “The Hero’s With A Thousand Faces” to examine the six original works of Hayao Miyazaki, including Nausicaa of the Valley of the Wind, Laputa Castle in the Sky, My Neighbor TOTORO, Princess Mononoke, Spirited Away, and The Wind Rises. The symbol of works, prototype, significance of storyline, and the original prospect of "The Hero’s Journey" are the focus of this study.
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Huang, Ya-Ting, and 黃雅婷. "A discussion of Hayao Miyazaki’s Animations And Animism." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/94pr4s.
Full textAbstract:
碩士淡江大學
日本語文學系碩士班
105
This thesis attempt to explore the animist worldview of Hayao Miyazaki animated films. Focusing on the " My Neighbor Totoro", "Princess Mononoke", "Spirited away", "Ponyo", and also taking "Nausicaä of the Valley of the Wind", "Castle in the sky", "PorcoRosso"as reference, We try to discuss the animism of Hayao Miyazaki animated films. The thesis is composed of three chapters. In the first chapter it indicates the animist worldview in each Hayao Miyazaki animated works. And the animist worldview of Hayao Miyazaki animated works can be divided into two subjects, belief and underworld. The next chapter will analysis representative figures of animism. Such as God, fairy, devil, etc. We try to find out the characteristic and meaning of existence of these characters. Finally, we attempt to explore the relationship between human and these characters. It can be divided into two subjects, one is extinction of God, another is environmental protection. By these steps, we can find out the animist worldview of Hayao Miyazaki animated films consists of several elements such as"belief", "underworld", "figures of animism",etc. And from the viewpoint of folk religion we also can explore the elements of "norito", "kotodama", "yorishiro". And it also includes Shinto ideology,Buddhist ideology. But the most important thing is the relationship between people and nature. The only one suitable word to describe this link is animism. This link also reminds us about the core of Hayao Miyazaki animated films which is environmental protection.
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Marques, Joana Duarte Pereira Sá. "Exploração e desconstrução do mundo Steampunk: a construção do steamlandic." Master's thesis, 2020. http://hdl.handle.net/10451/40898.
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During this research assignment, I will, by means of creating drawings and illustrations, address the processes of developing a new concept: Steamlandic. To do so, it is necessary to call for the use of a deconstruction procedure, followed by the fusion of the key elements present in two completely distinct universes, which will constitute the Steamlandic. The treatment of this theme implies the frequent use of the Steampunk subgenre, not only for its diffusion and referencing, but also for being the basis of several new ideas, presented in the form of drawings and illustrations, in which methods of Concept Art and Illustration were applied. Essentially this research assignment is divided into two major parts: The Steampunk drawing and the Steamlandic drawing. The latter having its roots from the former style. Despite its popularity, especially in the creative field, few of its elements are explored, eventually falling into the monotonous and rampant exacerbation, as the latter is a feature of Steampunk. It will therefore be imperative to work on the elements that define the stereotypes present in this genre. The treatment of these various aspects of Steampunk generates a new concept of “world” in which the significant elements that define it intertwine with the real world. The permeability that comes about from this subgenre allows for a multitude of options during the fusion of both metallic and vapour elements with the organic ones, belonging to a diametrically opposite world. In this new reality, various mythological elements of Iceland are used, dating back to the time of its settlement. A time in which mythology played a very prominent role. This new world is brought to life in the various original drawings and illustrations created by the author. Note that the many characteristic components of the time and culture, came about as a result of a very comprehensive research and survey of Iceland. The use of Icelandic mythology and its huge diversity, creates a stark contrast to Steampunk, giving rise to a futuristic retro genre and presenting a more organic and natural world – Steamlandic.
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Ku, Shu-Ping, and 古淑萍. "European Intertextuality in Hayao Miyazaki's Animated Films: The Imagination of Flight." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8rp6b4.
Full textAbstract:
碩士國立東華大學
英美語文學系
106
This study analyzes the ways in which Miyazaki’s films draw on European literature, especially focusing on his adaptation of European novels in Howl’s Moving Castle and Castle in the Sky. This study shows how the motif of flight in Miyazaki’s films is connected to characterization and to his anti-war and environmentalist vision. The first chapter refers to Miyazaki’s background, which is related to his fascination with airplanes and European literature. As for the second chapter, it explores Miyazaki’s art of novel adaptation, with a focus on the comparison of characters between the novel and the film of Howl’s Moving Castle. The third chapter discusses motif adaptation in Miyazaki’s Castle in the Sky, namely the motif of flying island, Laputa, in Gulliver’s Travels. The study of these two films, Howl’s Moving Castle and Castle in the Sky, sheds better light on European influence and intertextuality in Miyazaki’s imagination of flight in his creation of animated films.
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Wu, Chih-Ying, and 吳知穎. "A Study of Joe Hisaishi’s Film Music in Hayao Miyazaki’s Animation." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/q234kk.
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Tsai, Fang-I., and 蔡芳怡. "A Study of Incidental Music on Hayao Miyazaki's Animation-Spirited Away." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/31114204437394151755.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
103
Music is the combination and presentation of notes and individual notes have their own unique performance. The keynote, the minor second, the major third, the augmented fourth, the perfect fifth, the minor sixth, and the major seventh have different emotions. In addition, the different combination of notes and interval progressions will produce different musical terminology, developing distinctive emotions. Since in ancient times, musicians have communicated sorrow, disappointment and yearning for happiness, or pure joy through the medium of music. That is to say, various emotions can be performed by means of different musical terminology. As a codified vocal language, music, to some extent, has the function of insinuating the content and it communicate through the tension and combination of individual notes. It can also intensify the communication of emotions through the combination of its special terminology. Music is not a standalone art and it can combine with other fields. In terms of animated film production, it can serve as a language art that can express emotions. The combination of music and pictures can better communicate the themes and meanings of a drama, intensifying dramatic atmospheres. The research aims to explore several techniques for the creation of the soundtrack of Spirited Away produced by Miyazaki Hayao. This includes leitmotifs, atmospheric theme music, and the application of local color. Film music included in this research is how the musical tension imbedded in musical composition and the combination of the components of musical emotions and musical terminology bring out the emotions to communicate of the themes of a drama. Film music makes a comparison between musical composition and world great music, further proving that music makes great contribution to dramatic atmospheres in films and that music guides the audience to appreciate the meanings of a drama.
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Cheng, Wen Wen, and 鄭聞文. "The Shōjo Images in Hayao Miyazaki's Animations: The Perspective of Battle Heroine." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/x27369.
Full textAbstract:
碩士國立政治大學
日本研究碩士學位學程
106
While Hollywood’s superhero movies are blowing up entertainment industry all over the world, there is a kind of young female character toting weapon in Japanese subculture and promotes the development of Anime and Manga. From Sailor Moon to Neon Genesis Evangelion, also Puella Magi Madoka Magica, which played an important role in Japan’s foreign Policy titled “Cool Japan” in 2011, the Japanese animation industry seems to be led by this kind of character or genre called “Battle Heroine”. These girls are prepubescent and pretty, but not inferior to boys and man. Although they are different from western superwoman and female warrior shaped in Amazons, they still hold the initiative in theirs fights. In the same time, they also maintain the passivity came from their vulnerable bodies and naive personality. Therefore, the battle heroine turns to be an object of desire for male audiences or a projection of self-actualized for female audiences. In fact, such desire to manipulate young girls, who were named “Shōjo” in Japanese, was based on the culture of modern Japan and became a special social phenomenon in recent times. Despite the fact that Japanimation was condemned by public because of teeming with violence and pornography, it is no doubt that director Hayao Miyazaki is appreciated for the artistic value in his awarded animations and makes a fine line between his films and “otaku anime”. The woman images in his animations can be refreshing because of its independence and brave behavior. However, when we have made a careful study of character design and narrative structure in his works, we may found that there is a coincidence between these characters and battle heroines in otaku anime. Furthermore, Nausicaä in Nausicaä of the Valley of the Wind is widely regarded as a stereotype of battle heroine. As a result, the thesis was intended to prioritize the development of Shōjo culture and battle heroine animations, and research whether Miyazaki attempted to shape female characters in battle heroine way to show his ideal Shōjo images or not among ten films directed during 1984 to 2013. Moreover, the meanings of Shōjo to Japanese were also discussed in this thesis. Throughout the research, I have found that Miyazaki tended to use “flying scene” to emphasize the deity of Shōjo characters, and the desexualized Shōjo images are familiar to the gender norms made in modern Japan. On the other side, the narrative approach of Miyazaki’s films revealed the exaggeration of maternal instinct and the redundancy of male gaze which have generally existed in Japanese culture. In my observation, these results proved that battle heroines are created to strengthen gender stereotypes instead of subverting the paternity rights.
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Castilho, Hugo Jordão de Jesus Manita. "A figura animal e a fantasia na pintura." Master's thesis, 2021. http://hdl.handle.net/10451/48865.
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This artistic research project addresses some of the possibilities and ways of representing the animal figure in painting using aspects and mechanisms of fantasy – one of the recurrent human faculties of artistic creation - through the study of my artistic work and the works of artists who also reflect on the same. The investigation begins with the analysis of the mimetic representation of the animal figure, with an approach to the works of the painters Frans Snyders, Henri Rousseau and Franz Marc. Then, the presence of the animal figure in the elaboration of forms or in the fusion of the bodies of creatures (such as hybrids, monsters or fantastic creatures) is identified through the analysis of the first panel of the pictorial triptych The Garden of Earthly Delights, by Hieronymus Bosch, and the animated film Princess Mononoke by Hayao Miyazaki. Then, it is intended to define what fantasy is - with the help of the book Fantasia by Bruno Munari - and highlight its qualities as a human faculty of creation, using some of the works of the artists under study and, above all, my artistic work presented in this research project. This artistic work consists of a series of paintings with prominent volumes, composed with thick mass and enamel paint on canvas, in production since 2019. Finally, a counterpoint is established between the concept of fable and my artistic work, from the cinematographic screen to the pictorial screen, in which the similarities and dissimilarities are highlighted. Since the animal figure and fantasy are the basic themes of this research project, as well as of my practical work, a framework and reflection on themes such as anthropomorphism and animal ethics, and their pertinence in the current context, is presupposed.
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Pan, Chung-Ping, and 潘崇平. "The Analysis of Motivation and Satisfaction of Taiwanese Viewers for Hayao Miyazaki’s Animated Film." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2paeg3.
Full textAbstract:
碩士國立中山大學
企業管理學系研究所
102
This study is to discuss the reasons why Taiwanese audiences love Hayao Miyazaki''s animation films and also try to realize characteristics of Taiwanese audiences on watching animated movies. We choose the animation films of Hayao Miyazaki’s which is the most representative in Japanese animation industry as our topic. We adopted questionnaire survey research. The target group for the survey focuses on the audiences who have ever watched the works of Hayao Miyazaki''s Studio Ghibli . There are 80 percentage of interviewers are women, and mostly 19-24 year-old unmarried university / college students, with an average income of less than $ 10,000. The important factors of choosing animated movies are, types , plot, the staff member in the movie, advertising ,the critics and so on; Hayao Miyazaki’s movies are very popular because of the following factors: inspiring, heartwarming, delicate characters and nice music. In the motive of watching animation, entertaining recreational purposes is still the main considerations. The average satisfaction rate of watching animation is high. Further, the audiences of Hayao Miyazaki’s films are willing to watch again and strongly recommend it to others audiences. The viewing motivation and satisfaction are significant and positive as well. To boost cultural and creative industries, we suggest that the authorities could amend the relevant laws and create digital content evaluation mechanisms. The animation industry operators need to establish a comprehensive and diversified business model and multi-core competencies. The follow-up studies can be analyzed on different population data, different age or level of education. Keywords: Animation industry, animation films, Hayao Miyazaki, viewing motivation, satisfaction.
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Chen, Miguel Chi-chang, and 陳奇昌. "From Campbell’s Adventure and Freudian Ego to Buddhological Emptiness in Hayao Miyazaki’s Spirited Away." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/62888707979329766964.
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碩士國立高雄師範大學
英語學系
103
This thesis, in addition to offering an introduction to Hayao Miyazaki and the summary of his Spirited Away, is meanwhile to interpret Spirited Away with Joseph Campbell’s stages of heroic adventure according to his monomyth. Then, I will analyze Spirited Away through psychological interpretation, including the Freudian concepts of the Ego and the Id to account for the journey of the heroine—Chihiro. Moreover, I am going to discuss the concepts concerning the emptiness of forms, appearances and the essence of the Original Nature by way of dealing with the Buddhological classics—the Diamond Sutra, the Heart Sutra, the Avatamsaka Sutra, Essence of the Infinite Life Sutra, the Dharmic Treasure Altar-Sutra of the Sixth Patriarch—together with other references to best interpret the Buddhological concepts of the emptiness of forms, appearances and the essence of the Original Nature. Ultimately, from the Buddhological perspective of emptiness and essence, there will be an analysis of Hayao Miyazaki’s Spirited Away to interpret Campbell’s monomythic stages that take place in Chihiro’s adventure, and to explain her psyche journey that serves as her spiritual reflection of self-rediscovery, self-reinforcement, self-retrieve, and her innermost wisdom-achievement.
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WANG, TZU-WEI, and 王滋薇. "From Naive Innocence to Elevated Self-Enlightenment: Symbols of Memory in Hayao Miyazaki’s Spirited Away." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/pa2skq.
Full textAbstract:
碩士國立中正大學
外國語文研究所
105
This thesis aims to ascertain the spiritual elevation and self-enlightenment in Hayao Miyazaki’s Spirited Away by answering to the long-debated question among critics about the function of the exploration between the secular desire and symbols of memory through the whole work. Hayao Miyazaki, an animator and a film director, is renowned for his imaginative films, and his works have been widely studied by critics, mostly through fairy-tale readings. Coinciding with Miyazaki’s idiosyncrasies of anime, such a fairy-tale interpretation does not neglect the aesthetics of the writers’ creative imagination. Some critics have taken the protagonist’s adventure as a typical fairy tale, while others argue that the work is essentially an enlightening fiction. Therefore, what I refer to this paper is that Chihiro and other characters, such as Chihiro’s parents, the giant baby Boh, and No Face, recover their true identities and realize the world through a process of spiritual elevation by experiencing “the banality of evil” (to borrow Hannah Arendt’s term). I suggest that Miyazaki, as a dedicated writer of fantastic works, seeks to redefine the bridge and water imagery by refashioning the tradition as well as portraying the process from external reliance to inner independence in his emplotment of a tale with the symbols of memory. With the above discussion, this paper hopes postulate the potentiality Miyazaki reveals and hopes to commencing to integrate the past experience into present and to embrace the glory of self-enlightenment.
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Wu, Cheng-Ing, and 吳政穎. "The Hybrid Poetics and Mythopoeia of Hayao Miyazaki’s Anime: Spirited Away, Howl’s Moving Castle, and Ponyo." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2tzvqu.
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碩士國立東華大學
英美語文學系
104
This thesis analyzes Hayao Miyazaki’s authorial artistry by three case studies: Spirited Away (2001), Howl’s Moving Castle (2004), and Ponyo (2008). Regarding the narrative rendering and emplotment of the selected films, the thesis thematically revolves around hybrid poetics and mythopoeia. The first chapter examines how Miyazaki narrates Chihiro’s archetypal quest with elements of Shinto animism and a material imagination of water. The second chapter studies the interior of Howl’s castle as a means of representing the human mind; it examines the microcosmic function of the poetic space and its subsequent narrative persuasion with the macrocosmic context of war. The third chapter investigates Miyazaki’s reformulation of the ningyo archetype in Ponyo. The thesis analyzes the narrative whole of the selected films to describe Miyazaki’s persuasive artistry. With the mediation of hybrid poetics, Miyazaki’s idiosyncratic mythopoeia harnesses poetic concordance, which infuses the spectator with a cathartic energy during the spectating activity.
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SWEI, TSUEI-HUA, and 隋翠華. "A Research of Life Education in Hayao Miyazaki's Animation: Nausicaä of the Valley of the Wind." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/28nfd8.
Full textAbstract:
碩士國立臺北教育大學
生命教育教學碩士學位班
107
This research focuses on life wisdom, life care and life practice in life education. By analyzing the content of Hayao Miyazaki's Animation: Nausicaä of the Valley of the Wind to find the hidden message and guide the children to have a deep understanding of life education. Also, through the scripts, scenes, and situation, the analysis result shows animation embedded the meaningful and fruitful connotation of life education. Although the Nausicaä of the Valley of the Wind was the movie in 1984, it could show Hayao Miyazaki’s highly concern for the society. He worked hard to make this animation and you could see his intention in this work: hopes that movies can purify or inspire people in society. This study uses text analysis to explore that Hayao Miyazaki presented his life experience and the essence of life tempering in the production. By exploring the content, to understand the personality shaping and evolution of the protagonist in this work, which reflects the connotation of life education, and thus understand the concept and transmission of Miyazaki’s desire to create and deliver the importance of life education. In line with the three cores of life education, analyze the connotation of Nausicaä of the Valley of the Wind to capture the elements that can be used for life education from the perspective of the national life education curriculum. The research found that Hayao Miyazaki presented a lot of life wisdom, life care and life practice in Nausicaä of the Valley of the Wind, and Miyazaki fully demonstrated his attitude towards life, and the performance of the protagonist in the animation, showing the care of life and the practice of wisdom. Through the elements presented in this animation, children can be guided and learn the meaning of life wisdom, life care and life practice.
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Stucki, Tracy. "Animation as a medium of socio-cultural critique: thematic development in Hayao Miyazaki's Spirited Away (2001)." Thesis, 2014. http://hdl.handle.net/10539/15032.
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With the development of cinema into the digital era, animation has gradually moved into the centre of live-action films mainly due to its capacities to enhance spectacle, which is a very limited and superficial use of the medium. It is consequently necessary to explore its abilities further in order to understand how animation can add deeper layers of meaning to contemporary cinema and to its standalone form. While the focus of the dominating Western mainstream animation industry has mostly been on telling children’s stories of entertaining value with the most recent technology, other countries, most prominently Japan, have further explored the narrative possibilities of animation. Through the analysis of the thematic development of animation director Hayao Miyazaki’s award-winning animated feature film Spirited Away (2001) and with the aid of selected narrative strategies, this research report examines the potential of the medium of animation as a platform for socio-cultural critique.
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Ching-lin, Chen, and 陳靜琳. "A Research on Environmental Concepts of School Children Affected by Animation ---Taking Hayao Miyazaki's Animations for Example." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/80178777007737030192.
Full textAbstract:
碩士國立臺灣師範大學
環境教育研究所
95
Abstract The research aimed to explore the feasibility of using animation as a medium of environmental education. The research took Hayao Miyazaki’s animations for example in animations aided teaching, probed into the environmental concepts in the animations, utilized the animations to design activities and worksheets, and analyzed the environmental concepts and behaviours of students after they watched the animations. The subjects were the fifth graders in the researcher’s class. Students were first asked to interview their parents in order to know the living environment when their parents were little. The results were then compared to the living environment now. As for animations aided teaching, students watched three animations one week before winter vacation. They watched “My Neighbor Totoro” first to know the beauty of the living environment that their parents once had to deepen the impression of the natural beauty in the past. They then watched “ Pom Poko” to interpret and compare the environment changes between now and past resulted from economic and technological development. Lastly, students watched “Princess Mononoke” to know more about the relationships between human beings and nature and to strengthen the environmental concept of “the influence of economic development on natural environment.” Each time when students finished watching the animation, the researcher discussed the environmental concepts in the animations with the students and gave them worksheets as homework. The researcher used content analysis method to analyze the environmental concepts in the animations and students’ answers on their worksheets. The results were summarized below. 1. The analysis of the worksheets The parents had negative attitude toward the environment now but accepted the convenience that economic development brought. The students liked natural environment, understood the impacts that development had on living creatures, and sympathized with Raccoon-dogs in the “ Pom Poko”. They were against large-scale development activities but supported limited development; they hoped to balance the pros and cons of the development and understood the anger of the living creatures that lost their habitats. Some students participated community environmental activites. 2. The observations of environmental behavior afterward The students were more sensitive to nature; they cared about the soil beneath the litter. They were more willing to drink water and to mop the floor. Meanwhile, they still cannot resist the temptations to go to the recreation areas. Finally, the researcher provided recommendations to further study according to the teaching process and conclusion. Keywords： Hayao Miyazaki’s animation 、 environmental concept、 animations aided teaching 、 environmental education
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CHIU, PEI-YU, and 邱沛瑜. "Relationships between Landscape Spaces of Hayao Miyazaki's Animated Scenes and Emotional Experiences: A Case Study of Spirited Away." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bam6mn.
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碩士朝陽科技大學
景觀及都市設計系
106
In our daily lives, we use various descriptive ways or to express our thoughts whether it be through, body language, images, or words. The concept includes expression dimension and content dimension, in terms of how and what to describe. This is also called "narrative". From the viewpoint of narratives, the movie scene is the descriptive method and the emotion transmitted is the descriptive content. Hayao Miyazaki is a famous animation master in the world. He expresses his emotions and thoughts through animated films. In his film, the spatial scene not only links with the story line, but also leaves the observers with a certain emotional resonance. The purposes of this study are to understand the relationship between animated scenes of Hayao Miyazaki and the emotions generated from the animated scenes, and whether the different backgrounds and viewing ways of viewers can still the same emotion from the animated scenes. For research purposes, this study consists of two parts, both qualitative and quantitative research. In the first step, the study used depth interviews to obtain the required data. The results showed that angry, moved, sad and pleased were more influenced by the events shown in the animation, while calm, relaxed, nervous, and thrilling were more influenced by visual elements in the animation. This study used focus group to select the eight typical scenes to represent the eight emotions. The selected scenes make up the quantitative portion of study, by way of a Close-ended questionnaire. In the second step, 172 valid questionnaires from subjects such as the public were obtained by questionnaire. The result showed that there is no significant difference between the background of viewers and emotions generated from the animated scenes. Calm and relaxed were the most commonly confused emotions while other emotions were not. The results of Hayao Miyazaki's narratives showed that angry, moved, sad, and pleased were more expressed by the detailed images of characters in the animation, and used other principles to increase visual effects, while calm, relaxed, nervous, and thrilling were more expressed by dynamic scenes and background animations and layout in the scene. We find that Hayao Miyazaki has his own special narrative method, and is also capable of successfully communicating the desired plots, scenes and emotions. The results of the study can be used in a creative way. Landscape designers can reuse and transform four principles of landscape design to create different emotional experiences.
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Fang, Ching-wen, and 方靜雯. "An Investigation of Subtitle Translation Based on “Equivalent Effect Principle”: Using Hayao Miyazaki’s “Spirited Away” as an Example." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/46596720261600315545.
Full textAbstract:
碩士輔仁大學
翻譯學研究所
96
This thesis focuses on ''communicative translation'' and “equivalent effect principle”, and picks up the Japanese movie” spirited away” as an example to analyze the subtitle translation. Receptors and massage delivery are both treated as important factors on translation. Chapter one presents the importance of making the principles on subtitle translation, and also explains the research purpose and research areas. Chapter two takes the view on communication to describe the relationship between translation and mass media, and points out the characters of film subtitle translation and the its function. Chapter three focuses on “communicative translation” to demonstrate how a translator plays his role well on his work, and what kind of knowledge and skills he should have. A translator should treat the receptors as an important factor and know various factors which could effect communicative translation. Chapter four focuses on massage (source text), reviews the development of “equivalent effect principle”, and use the principle to discuss many practical problems on subtitle translation. Although “Equivalent effect principle” has its possibility and limitations, the strategy ”chunking” can help to build up the principles on subtitle translation which fits with Nida’s translation theory ’Functional Equivalence”. Chapter five considers how to make subtitles both fits with simplification and “equivalent effect principle”. Also, this chapter presents culture words translation strategy to solve the culture problem, and let the subtitle research areas expand from language to culture and communication. Chapter six concludes with a summary of this thesis, and suggests a new research area.
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Han, Shu-Fang, and 韓淑芳. "0n Family Structure, Working Class and Consumption Behavior in Japanese Capitalist Society：A Close Textual Analysis of Hayao Miyazaki’s Spirited Away." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/04835409489849251599.
Full textAbstract:
碩士國立臺東大學
兒童文學研究所
93
This thesis aims to investigate Hayao Miyazaki’s animation film Spirited Away. Hayao Miyazaki, the Master of Japan’s animation film director, created many works regarded as the classics of Japanese animation such as Nausicaa of the Valley of Wind, Laputa：Castle in the Sky, My Neighbor Totoro, and Porco Rosso. Spirited Away is the one which received the Academy Award for the best film and was the highest-grossing animation film in Japan's history at the time of its release. In addition, it is one of the Japanese animation films embodying the cultural significance. Through a close textual analysis of charaters and narrative structure in the film, the thesis aims to investigate how the issues of the middle-class, the ruling class, the laborers and the consumption behaviors in Japanese capitalist society are reflected in Hayao Miyazaki’s Spirited Away.