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Journal articles on the topic 'Miyazaki Hayao'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

E Silva, Raphael Parreira, and Conrado Moreira Mendes. "Hayao Miyazaki:." Tríade - Revista de Comunicação, Cultura e Mídia 7, no. 15 (August 10, 2019): 137–57. http://dx.doi.org/10.22484/2318-5694.2019v7n15p137-157.

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Com o intuito de depreender o estilo autoral do japonês Hayao Miyazaki, são analisados, neste trabalho, seus seguintes filmes: Porco Rosso (1992), A Viagem de Chihiro (2001) e Vidas ao Vento (2013). Tais obras são examinadas à luz do conceito de estilo, conforme propõe Discini (2014), articulando-se tal concepção à teoria do autor de Stam (2003), além de debater os alicerces em torno da caracterização de personagens centrais de acordo com Brait (2005) e Brecht (2002). Por meio das análises realizadas, pôde-se concluir que o estilo autoral de Miyazaki se constrói a partir de recorrências observadas tanto no plano do conteúdo, quanto no plano da expressão.

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2

Kim, Jun-Su. "Hybridity Images of Miyazaki-hayao Animation." Journal of the Korea Contents Association 8, no. 12 (December 28, 2008): 160–67. http://dx.doi.org/10.5392/jkca.2008.8.12.160.

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3

Garza, Oscar. "Hayao Miyazaki and Shinto: A Spiritual Connection." Film Matters 5, no. 3 (September 1, 2014): 19–26. http://dx.doi.org/10.1386/fm.5.3.19_1.

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4

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

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5

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

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

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6

Gil Escudier, Elena. "Hayao Miyazaki y su producción para televisión." SERIARTE. Revista científica de series televisivas y arte audiovisual 1 (January 19, 2022): 72–89. http://dx.doi.org/10.21071/seriarte.v1i.13592.

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La producción de Hayao Miyazaki es extensa y abarca desde obras para televisión, pasando por videoclips, hasta su enorme aportación al mundo cinematográfico. A lo largo de su filmografía, se aprecian una serie de características que definen sus obras: reiteración de temáticas, personajes de gran profundidad psicológica, ausencia de personajes malvados, y un sinfín de particularidades que hacen único el estilo del director japonés. No obstante, en el presente artículo, nos proponemos rastrear la aparición de algunos de sus sellos más importantes en producciones anteriores a su universo fílmico y detectar en qué medida ha podido evolucionar la poética miyazakiana posteriormente. Para ello, resulta indispensable diferenciar entre el anime para televisión y la obra de anime cinematográfica y la posición del autor respecto a esta disyuntiva. Asimismo, nos centraremos en su producción televisiva y destacaremos aquellos sellos del autor que consideramos se reiteran tanto en las obras para televisión como para cine, a fin de establecer una relación entre ambas.

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7

Santiago, Omar. "La relación ser-humano-naturaleza en el largometraje de Hayao Miyazaki: Nausicaä del Valle del Viento, desde el principio de armonía confuciano." Ética y Cine Journal 12, no. 1 (April 20, 2022): 9–18. http://dx.doi.org/10.31056/2250.5415.v12.n1.37377.

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El presente trabajo propone una lectura de la relación ser humano-naturaleza en el largometraje desarrollado por el director japonés Hayao Miyazaki: Nausicaä del Valle del Viento, a través del principio confuciano de armonía, ampliando la forma en que se ha comprendido el papel del agente moral en la obra de Miyazaki en su relación con la naturaleza.

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8

Noviana, Fajria. "Representasi Hero’s Journey Pada Tokoh Chihiro Dalam Anime Spirited Away Karya Miyazaki Hayao." IZUMI 8, no. 1 (May 31, 2019): 52. http://dx.doi.org/10.14710/izumi.8.1.52-64.

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

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9

Li, Chenmei. "Influence of Hayao Miyazaki’s Animation on the Cross-Cultural Spread of Japanese Traditional Culture under the Background of 5G and Wireless Communication." Wireless Communications and Mobile Computing 2021 (October 11, 2021): 1–5. http://dx.doi.org/10.1155/2021/1640983.

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The development of 5G technology has brought tremendous changes to all areas of social life, especially in the external communication of culture; the increasing effect of 5G technology has become more obvious. All kinds of new media are constantly emerging, and the expression of cultural products is more diversified, and they also have certain characteristics of their own national cultural symbols. As one of the important representatives of Japanese modern and contemporary culture, animation works have made extremely outstanding contributions in promoting the spread of Japanese culture. Japanese animation is not only second to none in Asia but has also many fans all over the world. This article takes the characteristics of Hayao Miyazaki Animation’s external communication under the background of 5G as the starting point and deeply analyzes the impact of technological background changes on the external communication of Japanese traditional culture. Through data comparison, it is found that with the support of 5G technology, people’s habit of watching videos has changed a lot, from mobile terminals and short videos in the 4G era to large-screen projections and long animations in the 5G era. In a certain sense formed the return of the animation viewing form to the television era at the end of the last century. The number of video clicks on major websites shows that the number of Japanese animation products represented by Hayao Miyazaki Animation has increased significantly. Moreover, the age and occupation coverage of the audience is also very wide. The survey shows that people’s appreciation of Hayao Miyazaki’s animation at this stage is not only the attractiveness of the plot itself, but the deep meaning behind the animation is also the focus of attracting them. This gives Hayao Miyazaki Animation a higher level of appreciation value, that is, guiding countries that have suffered from the side effects of industrial civilization to rethink the relationship between ruleism and development speed. The research results suggest that the development of 5G technology has given traditional Japanese animation new characteristics in the dissemination of it and directly affected the cross-cultural dissemination effect of Japanese traditional culture. Discover the essence of respecting nature and observing rules in Japanese traditional culture to better serve our social development.

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10

Hwayoung Kim. "『Porco Rosso』 by Hayao Miyazaki-An Animation Study-." Japanese Modern Association of Korea ll, no. 53 (August 2016): 171–88. http://dx.doi.org/10.16979/jmak..53.201608.171.

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11

Yang, Se-Hyeok, and Il-Tae Kim. "Personality Structures of Heroines in Miyazaki Hayao Animations." Journal of the Korea Contents Association 8, no. 8 (August 28, 2008): 90–102. http://dx.doi.org/10.5392/jkca.2008.8.8.090.

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12

Dirgantari, Alisca Putri, Yanti Heriyawati, and Andang Iskandar. "ANTROPOSENTRISME DALAM ANIMASI PRINCESS MONONOKE KARYA HAYAO MIYAZAKI." Melayu Arts and Performance Journal 4, no. 2 (December 1, 2021): 93. http://dx.doi.org/10.26887/mapj.v4i2.2113.

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ABSTRACTThis study analyzes the ethics of anthropocentrism contained in the animated film Princess Mononoke. The destruction of nature contained in the film is done by the antagonists, namely Miss Eboshi, Jiko-Bou, and their followers. The research method used is Roland Barthes' semiotic analysis which looks at three stages of significance, namely denotation, connotation, and myth. The stage of film analysis begins with identifying the form of oppression in the form of the selected scene, then the data is analyzed through the interpretation of denotative and connotative meanings to find myths. The results of this study indicate that this film represents the exploitation and ethics of anthropocentrism towards nature and the Shintoism gods who protect nature so that it triggers conflict between humans and the gods. The exploitation occurs because the antagonists want to conquer nature and the gods for personal interests and ambitions to gain profit and wealth without thinking about the ethics and moral status of nature, animals and non-humans in the film Princess Mononoke.Keywords: Anthropocentrism; Exploitation of nature; Animated Film; Princess Mononoke.ABSTRAKPenelitian ini menganalisis etika antroposentrisme yang terdapat dalam film animasi Princess Mononoke. Kerusakan alam yang terdapat dalam film dilakukan oleh para tokoh antagonis yaitu Nona Eboshi, Jiko-Bou, dan para pengikut mereka. Metode penelitian yang digunakan analisis semiotika Roland Barthes yang melihat pada tiga tahapan signifikasi yaitu denotasi, konotasi, dan mitos. Tahapan analisis film dimulai dengan mengidentifikasi bentuk penindasan berupa scene yang telah dipilih, kemudian data tersebut dianalisismelalui interpretasi makna denotasi dan konotasi untuk menemukan mitos. Hasil penelitian ini menunjukkan bahwa film ini merepresentasikan terjadinya eksploitasi dan etika antroposentrisme terhadap alam dan dewa-dewa Shintoisme yang menjaga alam sehingga memicu konflik antara manusia dan para dewa. Eksploitasi tersebut terjadi karena para tokoh antagonis ingin menaklukan alam dan dewa-dewa untuk kepentingan dan ambisi pribadi untuk mendapatkan keuntungan dan kekayaan tanpa memikirkan etika dan status moral alam, hewan dan yang non-manusia dalam film Princess Mononoke. Kata Kunci: Antroposentrisme; Eksploitasi alam; Film Animacasi; Princess Mononoke.

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13

Montero Plata, Laura. "Mirai: el pasado que nos define." Con A de animación, no. 9 (March 14, 2019): 8. http://dx.doi.org/10.4995/caa.2019.11325.

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<p>Si una cosa está clara, es que Mamoru Hosoda hace sus películas con el corazón. Lo mismo que podía decirse de Miyazaki hace menos de diez años es lo que define el impacto conmovedor que causa en los espectadores la filmografía de este personal autor, cofundador del Studio Chizu en 2011, y que en su momento declinó trabajar para el Studio Ghibli cuando se le propuso dirigir el proyecto de El castillo ambulante (Hauru no Ugoku Shiro, Hayao Miyazaki, 2004). Laura Montero Plata —autora de las monografías El mundo invisible de Hayao Miyazaki (Dolmen, 2012) y La princesa Mononoke (Héroes de Papel, 2017), de la Biblioteca Studio Ghibli— reseña para Con A de animación la más reciente película de Mamoru Hosoda: Mirai, mi hermana pequeña (Mirai no Mirai, 2018), que ha formado parte de la selección oficial de Festival de Annecy (Francia), Cannes (Quincena de los Realizadores), está actualmente nominada a dos premios Annie y ha hecho historia siendo la primera película de animación japonesa nominada a los Globos de Oro.</p>

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Montero Plata, Laura. "Vientos de cambio: presente y futuro de Studio Ghibli." Con A de animación, no. 8 (March 1, 2018): 30. http://dx.doi.org/10.4995/caa.2018.9637.

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<p>Este artículo analiza la evolución de Studio Ghibli tras la primera declaración de retiro del maestro japonés Hayao Miyazaki a finales de los noventa, tras el exitoso estreno de La princesa Mononoke, una eventual despedida que repetirá en 2013 tras el estreno de El viento se levanta. El texto, elaborado por Laura Montero Plata —autora de las monografías El mundo invisible de Hayao Miyazaki (Dolmen, 2012) y la más reciente La princesa Mononoke (Héroes de Papel, 2017), segunda entrega de la Biblioteca Studio Ghibli— revisa para Con A de Animación la política editorial del estudio y los cambios producidos desde entonces, estableciendo una doble vía de trabajo mantenida a lo largo del tiempo, con producciones de entretenimiento familiar y obras artísticas más arriesgadas. Asimismo, apunta sus futuras creaciones y el relevo generacional del estudio nipón.</p>

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Sanglan Lee. "Selbstverwirklichung in Die bewegende Burg Hawuls von Miyazaki Hayao." Journal of Drama ll, no. 43 (June 2014): 109–42. http://dx.doi.org/10.15716/dr.2014..43.109.

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Montero Plata, Laura, and Ana María Pérez-Guerrero. "Sincronías y sinergias animadas: La visión de la industria de la animación de Pixar y Ghibli." Con A de animación, no. 5 (May 18, 2015): 26. http://dx.doi.org/10.4995/caa.2015.3538.

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<p>Pixar y Ghibli, dos de los estudios más internacionalmente de la industria de la animación, han mantenido una estrecha relación a lo largo de sus más de veinticinco años, que va más allá de los claros homenajes que el estudio estadounidense ha hecho a las películas de Hayao Miyazaki. Organización de exposiciones, doblajes de películas, apoyo en la distribución, documentales o clases magistrales, tanto desde Pixar a Ghibli como en el caso contrario, ponen en evidencia la relación tan prolífica y polifacética que han entablado los dos estudios de animación a lo largo de los años. Para exponer y detallar esta estrecha colaboración comercial, artística y personal, hemos invitado a las investigadoras Laura Montero Plata y Ana María Pérez Guerrero —autoras respectivamente de El mundo invisible de Hayao Miyazaki (2012) y Pixar, las claves del éxito (2013)—, a desgranar la correspondencia entre estos dos gigantes de la animación.</p>

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Masahide. "“Kiki’s Delivery Service” by Hayao Miyazaki -Case Study in Class-." Journal of japanese Language and Culture ll, no. 44 (October 2018): 165–84. http://dx.doi.org/10.17314/jjlc.2018..44.008.

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Kuzmina, E. V. "Representation of Western and Eastern Culture in Hayao Miyazaki Animation." KnE Engineering 3, no. 8 (December 23, 2018): 33. http://dx.doi.org/10.18502/keg.v3i8.3603.

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Míguez Santa Cruz, Antonio. "Anime adaptando (y complementando) alta literatura. El sufrimiento de “La dama de la sexta avenida”." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 136. http://dx.doi.org/10.25115/raudem.v3i0.624.

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Resumen: Aunque sea paulatinamente, la animación japonesa se está despojando de su connotación negativa. Autores como Hayao Miyazaki han elevado el Anime por encima de muchos perjuicios, y algunas de sus obras incluso consiguen alcanzar una profundidad psicológica y artística más allá de las películas “live”. Este es el caso de Gisaburo Sugii y Osamu Dezaki, dos autores que, adaptando el Genji Monogatari respectivamente, completan la visión de un personaje vital para comprender tanto lo fantasmático como el papel de la mujer en la cultura japonesa: Rokujō no Miyasudokoro.Anime Adapting (and Complementing) High Literature. The Suffering of “The Lady from the Sixth Avenue” Abstract: Japanese animation, although gradually, divests itself of its negative connotation. Authors like Hayao Miyazaki have upgraded Anime beyond many prejudices, and some of their works even achieve a psychological and artistic profundity aside from “live” films/movies. This is the case of Gisaburo Sugii and Osamu Dezaki, two authors that, adapting Genji Monogatari respectively, have achieved a broad and complete vision of a vital character to understand the ghostly thing in Japanese culture: Rokujō no Miyasudokoro.

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Pérez-Guerrero, Ana María. "La aportación de los personajes femeninos al universo de Hayao Miyazaki." Con A de animación, no. 3 (February 18, 2013): 108. http://dx.doi.org/10.4995/caa.2013.1428.

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La filmografía de Hayao Miyazaki se distingueespecialmente por la fuerza ética de sus historiasy el protagonismo de los personajes femeninos. Elpresente artículo tiene por objeto determinar losrasgos más relevantes de estas figuras y el modo enque intervienen al servicio de la visión del director.Para ello se analizan los modelos de mujer presentesen su filmografía, dentro del estudio Ghibli, a partirde la edad y la función narrativa que cumplen enel relato. Este estudio revelará que los estereotiposde mujer representados en el universo miyazakianopivotan en el modo de ser de la persona femenina,y hallan en su capacidad para la maternidad la baseque da relieve a estos personajes, convirtiéndolo enun factor de cambio de la humanidad hacia mundosmás amables y equilibrados.

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Trouillard, Emmanuel. "Géographie animée : l'expérience de l'ailleurs dans l'?uvre de Hayao Miyazaki." Annales de géographie 695-696, no. 1 (2014): 626. http://dx.doi.org/10.3917/ag.695.0626.

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Ortega Mantecón, Alfonso. "Entre obsesiones y subjetividades, el cine de autor de Hayao Miyazaki." Anuario de Investigación de la Comunicación CONEICC, no. XXVII (November 10, 2020): 100–112. http://dx.doi.org/10.38056/2020aiccxxvii187.

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Al momento de hablar del cine de autor —tal y como esta teoría fue propuesta por François Truffaut y André Bazin, entre otros teóricos—, se confiere al cineasta o director el papel de máxima autoridad creativa entre los implicados en una producción. De esta manera, los filmes pasarán a ser construcciones enteramente subjetivas y manifestaciones directas de las preocupaciones, temáticas y obsesiones del cineasta; pudiendo hablar así de la existencia de un sello característico que predomina a lo largo de su filmografía o que se manifiesta a través de signos latentes y constantes en su obra. El presente artículo tiene como objetivo demostrar que la obra del realizador japonés Hayao Miyazaki, puede enmarcarse dentro del cine de autor. Para esto, se recuperan las ideas y principales postulados de la teoría del cine de autor, mismos que —matizados con sus respectivas críticas— fungen como marco teórico y categorías de análisis al aproximarse a su filmografía.

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Mayumi, Kozo, Barry D. Solomon, and Jason Chang. "The ecological and consumption themes of the films of Hayao Miyazaki." Ecological Economics 54, no. 1 (July 2005): 1–7. http://dx.doi.org/10.1016/j.ecolecon.2005.03.012.

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24

McClelland, Mike. "The Legendary Creativity of Hayao Miyazaki and Shigeru Miyamoto as a Product of Metacognitive Awareness, Family, and Environment." Journal of Genius and Eminence 4, no. 2020.01 (2020): 15–21. http://dx.doi.org/10.18536/jge.2020.01.02.

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This article compares two eminent programmers, Shigeru Miyamoto and Hayao Miyazaki, and their respective works, the video game The Legend of Zelda: The Ocarina of Time and the film Princess Mononoke. It discusses their creativity in the context of their above-average access and opportunity to metacognitive skill development, ideation, production, and influence in relation to methods recommended in the research on creativity and genius. This article also looks at how their individual creativity was nurtured by family and scholarship, influenced by birth order and parental relationships, and enhanced by their geographic location and work place. The article concludes that all of these factors combined to allow Miyamoto and Miyazaki to reach legendary levels of creativity, with remarkable similarity to one another.

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Thomas, Jolyon Baraka. "Shûûkyôô Asobi and Miyazaki Hayao's Anime." Nova Religio 10, no. 3 (February 1, 2007): 73–95. http://dx.doi.org/10.1525/nr.2007.10.3.73.

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This article attempts to address the lack of terminology concerning the long-standing but often overlooked relationship between religion and entertainment in Japan, arguing that these two seemingly discrete and opposing fields are often conflated. Examining the underlying thought behind the animation films of director Miyazaki Hayao, and investigating audience responses to those works, the article suggests that this conflation——religious entertainment or playful religion——can best be described by the neologism shûûkyôô asobi. Composed of the words "religion" and "play" in Japanese, shûûkyôô asobi jettisons the artificial distinction between popular entertainment and religion in favor of describing the common space between them, as well as describing the utilization of that space by various interest groups. This deployment of simultaneously religious and playful media or action can result in the creation of entirely new religious doctrines, interpretations, rituals, and beliefs.

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Swale, Alistair. "Miyazaki Hayao and the Aesthetics of Imagination: Nostalgia and Memory inSpirited Away." Asian Studies Review 39, no. 3 (July 3, 2015): 413–29. http://dx.doi.org/10.1080/10357823.2015.1056086.

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Bellano, Marco. "Book review: Hayao Miyazaki: Exploring the Early Work of Japan’s Greatest Animator." Animation 15, no. 3 (November 2020): 297–99. http://dx.doi.org/10.1177/1746847720974321.

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Cooley, Kevin. "Past the End of the Catbus Line: Mushishi’s Apparitional Actants." Animation 14, no. 3 (November 2019): 178–90. http://dx.doi.org/10.1177/1746847719875034.

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After evaluating some of the limitations in the reception of Hayao Miyazaki’s films as advocacy for climate change reform, the author suggests the need for a new path in animation toward animating the nonhuman. He nominates the anime series Mushishi as the ideal trailblazer for a more ecologically sound and posthumanistically inclined future. Mushishi envisions a fairly realistic turn-of-the-20th-century Japan in which beings called ‘ mushi’, simple organisms that are neither plant nor animal nor Miyazaki-esque fantastic spirit, exist alongside small agrarian communities. Using Mushishi and its barely animated titular beings as a test case, he argues that animation’s allusory–illusory nature and depiction of nature can combat the central tenets of anthropocentrism, generating a visually figurative ontology in which humans and nonhuman animals, subjects and objects, and characters and landscapes are democratically leveled down to symbolic totems, all rendered unreal through the filter of cartooning.

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Pan, Yuan. "Human–Nature Relationships in East Asian Animated Films." Societies 10, no. 2 (April 15, 2020): 35. http://dx.doi.org/10.3390/soc10020035.

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Our relationship with nature is complex and exploring this extends beyond academia. Animated films with powerful narratives can connect humans with nature in ways that science cannot. Narratives can be transformative and shape our opinions. Nevertheless, there is little research into non-Western films with strong conservation themes. Hayao Miyazaki is a Japanese filmmaker that is acknowledged as one of the greatest animated filmmakers and master storytellers globally. The themes of environmentalism, feminism and pacifism resonate throughout his films. His underlying message is that humans must strive to live in harmony with nature, whilst presenting us with the socio-cultural complexities of human–nature relationships. I review five of Miyazaki’s films that explore human–nature relationships. One film was released with a special recommendation from the World Wildlife Fund for Nature (WWF) and the other won an Oscar. I explore the lessons that we can learn from these films regarding human–nature relationships, and how to create powerful narratives that resonate with audiences and transcend cultural barriers.

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Wright, Lucy. "Forest Spirits, Giant Insects and World Trees: The Nature Vision of Hayao Miyazaki." Journal of Religion and Popular Culture 10, no. 1 (June 2005): 3. http://dx.doi.org/10.3138/jrpc.10.1.003.

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Daliot-Bul, Michal. "What Will You Do If The Wind Rises?: Dialectical Cinema by Miyazaki Hayao." Asian Studies Review 41, no. 4 (September 6, 2017): 562–76. http://dx.doi.org/10.1080/10357823.2017.1365817.

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Chai, Bum Suk, and Yong Hyun Nam. "A Study on the Repetitive Mimesis of the Character Design by Hayao Miyazaki." Journal of The Korean Society of Illustration Research 65 (December 31, 2020): 101–10. http://dx.doi.org/10.37379/jksir.2020.65.9.

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Megawati, Ni Luh, I. Made Sendra, and Ni Luh Putu Ari Sulatri. "Representasi Fashion Era Taisho-Showa pada Film Animasi Kaze Tachinu Karya Hayao Miyazaki." Jurnal SAKURA : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 3, no. 1 (February 27, 2021): 52. http://dx.doi.org/10.24843/js.2021.v03.i01.p05.

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This research is entitled “Fashion Representation of Taisho-Showa Era in Kaze Tachinu Animation Film by Hayao Miyazaki”. Fashion style transition from wasou to yosou was found in Taisho-Showa Era. This research aims to discover the form, function, and meaning of fashion in the Taisho-Showa era which are depicted in the film. This research used literature study method and the referral method for the data accumulation, descriptive analysis method for data analysis and for analysis results presented with informal method. For the theory, this research used literary anthropology theory by Poyatos (2008), fashion form theory by Pendergast and Tom (2004), fashion function theory by Barnard (1996), and semiotics theory by Barthes (1964). Based on the analysis results, can be seen that fashion’s form that represent in Taisho-Showa era are divided into two category, first is wasou which consists of hakama, haori, kimono, mandarin shirt, obi, shimada, comb, geta, tabi, and zori, and the second one is yosou that consists of men’s suit, stockings, trench coat, men’s hats, short hair for woman, waved hair for woman, clutch purse, patent leather shoes, and high heeled boots. For the fashion’s function that found in this research are 1) protection function; 2) politeness and concealment function; 3) communication function; 4) individualistic expression; 5) social worth or status; 6) economic worth or status; 7) magical-religious condition; and 8) recreational functions. And for the fashion’s meaning in the Taisho-Showa era, in denotation is refers to the form and design of fashion, while the connotation of fashion is formed by the influence of social and cultural values in Japanese society.

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Gong, Xianfeng, and Bin Li. "The Conflict of Realism and Surrealism in Anime Movies – Taking the Works of Hayao Miyazaki as Examples." Journal of Contemporary Educational Research 5, no. 12 (December 27, 2021): 104–8. http://dx.doi.org/10.26689/jcer.v5i12.2818.

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Anime movie is a branch of cinematics. Unlike traditional movies, anime movies stand out with special characteristics in terms of how they shape the personality of the characters and how they portray the inner world of those characters. “Realism” and “surrealism” are important elements in anime movies to portray the stories. In this article, the special aesthetic of anime movies is analyzed using the works produced by Hayao Miyazaki. The internal conflict between “realism” and “surrealism” is analyzed in order to understand the character image and story theme in an in-depth manner.

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Prabowo, Roberto Masami. "Consumerism Capitalist Perspective in Animation Film Sen To Chihiro No Kamikaushi By Hayao Miyazaki." Humaniora 8, no. 4 (October 31, 2017): 349. http://dx.doi.org/10.21512/humaniora.v8i4.3906.

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One of the works of Studio Ghibli who directed by Hayao Miyazaki entitled Sen to Chihiro no Kamikakushi (千と千尋の神隠し) would be discussed in this research about the capitalist consumerism. The research method in this research was qualitative and descriptive analytical method. The results of this research will provide the new insights into the animation appreciation and the understanding of the implicit context in the story. People can understand the politic, economic, culture of Japanese after watching the work of Studio Ghibli. The author hopes that the results of this article will produce useful conclusions and will be used for the next study.

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Mumcu, Sema, and Serap Yılmaz. "Anime Landscapes as a Tool for Analyzing the Human–Environment Relationship: Hayao Miyazaki Films." Arts 7, no. 2 (April 17, 2018): 16. http://dx.doi.org/10.3390/arts7020016.

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Hyunju Lee. "The Study on the Changzhu's Philosophical Idea in Miyazaki Hayao(宮崎駿)'s." A Journal of Brand Design Association of Korea 12, no. 4 (December 2014): 293–304. http://dx.doi.org/10.18852/bdak.2014.12.4.293.

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Jordan, Brenda G. "Michael Lucken,Imitation and Creativity in Japanese Arts: From Kishida Ryūsei to Miyazaki Hayao." Japanese Studies 37, no. 2 (May 4, 2017): 272–74. http://dx.doi.org/10.1080/10371397.2017.1327310.

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Aguado Peláez, Delicia, and Patricia Martínez García. "Cuando el modelo de dominación se agota. Una lectura desde la sostenibilidad de la vida de las ficciones de Hayao Miyazaki." Investigaciones Feministas 10, no. 2 (November 20, 2019): 351–66. http://dx.doi.org/10.5209/infe.66498.

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Las ficciones creadas por Hayao Miyazaki ofrecen una representación de las mujeres alejada de los estereotipos de género habituales. Sus heroínas son fuertes e independientes, trabajadoras y voluntariosas a la hora de luchar por aquello en lo que creen. No obstante, estas producciones van más allá de ofrecer una imagen femenina más emancipadora. Son un ejemplo de resistencia cultural que apuesta por un modelo de sociedad ajeno a la dominación de los colectivos subalternos y del entorno. Por el contrario, se pueden leer desde una perspectiva basada en la sostenibilidad de la vida, que reconoce la interdependencia y ecodependencia de los seres humanos. Así, partiendo de una perspectiva interseccional y utilizando como herramienta el análisis de contenido cualitativo, se analizarán las películas de Miyazaki teniendo en cuenta el vínculo entre su representación del heroísmo, el rol femenino, el grado de degradación del medio ambiente y el nivel de conflicto social. Un estudio que desvela cómo, tras el fracaso del sujeto normativo en la creación de un mundo habitable y justo, estas animaciones nos dicen que es el momento de experimentar desde otros valores y otras protagonistas.

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Hartman, Emma. "Tradition vs. Innovation and the Creatures in Spirited Away." Digital Literature Review 4 (January 13, 2017): 104–17. http://dx.doi.org/10.33043/dlr.4.0.104-117.

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Japan is perhaps best known for creating the world-famous film style: anime. Popular with adults and children alike, anime boasts unfamiliar creatures that are sometimes considered strange or disturbing to the Western world. Hayao Miyazaki, perhaps the most well-known anime director, screenwriter, and animator, presents such fantastical creatures in Spirited Away. The creatures viewers encounter resemble kami, or spirits, from Japanese folklore. This paper explores how these spirits illuminate the tension between tradition and innovation within modern Japanese society. Traditions are not only preserved through Spirited Away, but are made relevant for Japanese youth, who are often perceived to be slipping away from Japanese tradition.

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Han, Dong-Gyun. "How Hayao Miyazaki Has Adapted the Traditional Model of Storytelling in His Fairytale-Like Narrative." Journal of the Korea Entertainment Industry Association 14, no. 7 (October 31, 2020): 309–18. http://dx.doi.org/10.21184/jkeia.2020.10.14.7.309.

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Song, Seonho. "Functions generating pathos of ‘Ideal Gemeinschaft’ in the animation of Hayao Miyazaki - focusing on and -." Journal of Image and Cultural Contents 16 (February 28, 2019): 287–308. http://dx.doi.org/10.24174/jicc.2019.02.16.287.

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Ryu, Sangjin, Haipeng Zhang, Markeya Peteranetz, and Tareq Daher. "Fluid Mechanics Education Using Japanese Anime: Examples from “Castle in the Sky” by Hayao Miyazaki." Physics Teacher 58, no. 4 (April 2020): 230–33. http://dx.doi.org/10.1119/1.5145464.

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Jones, Meghen. "Imitation and Creativity in Japanese Arts: From Kishida Ryūsei to Miyazaki Hayao by Michael Lucken." Journal of Japanese Studies 44, no. 1 (2018): 117–21. http://dx.doi.org/10.1353/jjs.2018.0004.

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Wattles, Miriam. "Imitation and Creativity in Japanese Arts: From Kishida Ryūsei to Miyazaki Hayao by Michael Lucken." Monumenta Nipponica 73, no. 1 (2018): 126–31. http://dx.doi.org/10.1353/mni.2018.0011.

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Sas, Miryam. "Imitation and Creativity in Japanese Arts: From Kishida Ryūsei to Miyazaki Hayao by Michael Lucken." Harvard Journal of Asiatic Studies 78, no. 1 (2018): 268–73. http://dx.doi.org/10.1353/jas.2018.0020.

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Esteban López, Lidia. "La música como temática narrativa en Susurros del corazón." Con A de animación, no. 8 (March 1, 2018): 192. http://dx.doi.org/10.4995/caa.2018.9657.

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<p>La música no solo es parte de la banda sonora cinematográfica, también puede constituir una temática narrativa en el film. El objetivo de este artículo es identificar, en la película de animación Susurros del corazón, dirigida por Yoshifumi Kondō y producida por Studio Ghibli, la vinculación entre temática musical y elementos narrativos. Con ánimo de constatar la importancia de los cambios realizados por Hayao Miyazaki en el relato al adaptar el manga original a guion fílmico, se toma por referencia la obra de Bordwell y Thompson El arte cinematográfico: una introducción, basada en la dicotomía forma-estilo, y se emplea para realizar un análisis práctico del largometraje.</p>

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Chris G. Hall. "Totoros, Boar Gods, and River Spirits: Nature Spirits as Intermediaries in the Animation of Hayao Miyazaki." Resilience: A Journal of the Environmental Humanities 2, no. 3 (2015): 158. http://dx.doi.org/10.5250/resilience.2.3.0158.

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Lee, Seung-Jae. "A Study on Ecology theory and Environment theory Research that is Loocked in Hayao Miyazaki work." Cartoon and Animation Studies 44 (September 30, 2016): 183–209. http://dx.doi.org/10.7230/koscas.2016.44.183.

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Kawentar, Rukma, and Redyanto Noor. "Manga As Educational Material for Children About Environment Through Hayao Miyazaki’s Manga Nausicaa: Of the Valley of The Wind." E3S Web of Conferences 317 (2021): 03013. http://dx.doi.org/10.1051/e3sconf/202131703013.

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Manga is the name for comics originating from Japan. As a form of literary work, many still consider this type of literary work as cheap literature. Therefore, through this research, the writer will see how manga, considered cheap literature, can be a very effective learning media, especially those related to environmental themes. The object of study of this research is the manga Nausicaa : Of The Valley Of The Wind by Hayao Miyazaki. Meanwhile, this object itself will be studied using the concept of reading comics and the approach of ecocriticism. Through these concepts and approaches, it can be seen that manga media will make readers more interested in these literary works and can quickly grasp the moral messages contained in work. It can be concluded that this media is a very effective educational medium to convey moral messages to readers.

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