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Ten years ago, Miyazaki Hayao was a relatively unfamiliar name to the audience in China, although most children had seen his popular TV animated film "Looking for Mother in Three Miles". However, by the time the master's works really aroused the interest of China audience, it was time for 1997 animated film Princess Ghost to spread all over Asia. Since then, Miyazaki Hayao and Studio Ghibli, who are almost equal to him, have gradually become popular in China. People who like his works include adults, children, the most demanding film critics and fanatics of animation technology. If we ask them carefully why they have a soft spot for Miyazaki Hayao and Ghibli, most people will get a similar answer. The thoughts in Miyazaki Hayao's works developed dialectically and consistently. His world outlook, outlook on life, historical outlook and artistic outlook come down in one continuous line, and they are all devoted to building a complete Miyazaki Hayao world in the end.

194110/On October 5th, Miyazaki Hayao was born in Tokyo, ranking second among the four brothers. 1958, The Legend of the White Snake, the first full-length color movie animation in Japanese film history, was released. Miyazaki Hayao, then a senior three student, fell in love with this film. He originally liked comics and became interested in animation. After graduating from high school, Miyazaki Hayao entered the School of Tokyo University, majoring in political economy. 1963, graduated from Miyazaki Hayao University and entered the animation work of Dongying. At that time, some of his plans were often rejected, but Miyazaki Hayao still stuck to his ideals.

In 1964, Miyazaki Hayao met one of the most important collaborators in his life, Gao Tianxun. 1965, he volunteered to help the production team of Prince of the Sun directed by Gao Tianxun do the scene design and original painting. This is the beginning of their cooperation and the first step for Miyazaki Hayao to create a dream world. There are many similar characters and personalities in Miyazaki Hayao's works. The protagonists are mostly women, accompanied by pure boys. They always appear at the right time to protect the heroine, cheerful, enthusiastic and knowledgeable. Besides, we can also see a strong-willed old woman like Chi Li. They love money like life and are full of energy. At first, they seem to be bad people, but at the end of the film, they often show good nature. Love of animals, obsession with flying, and infinite recognition of robots and elves all frequently appear in the Miyazaki Hayao world. The natural continuation of roles is the overall style of these works, and Miyazaki Hayao perfectly grasps the balance between reality and imagination. His world may not be the best or the most real, but it is the most mature and complete at present. Miyazaki Hayao is another legend in Japanese animation after Osamu Tezuka. He is not only a thinker who promoted animation to the humanistic level, but also the spiritual pillar of three generations of Japanese animation.

Miyazaki Hayao not only broke the shadow of Tezuka Giant, but also made great contributions to the internationalization of Japanese animation. No matter his early works in the period of Dong Ying Animation or his films after the founding of Studio Ghibli, Miyazaki Hayao is a realist full of dreams and persistently constructs his own world.

(1982 is an important year for Miyazaki Hayao fans. The long cartoon "Valley of the Wind" began to be serialized in the magazine of Dejian Bookstore until 1994. This 7-volume cartoon serialized as 12 not only contains an epic chapter, a journey across life and death, and profound philosophical thinking on man and nature, but also is the crystallization of Miyazaki Hayao's long-term thinking on his own environmental protection and humanism. It was also in 1982 that Miyazaki Hayao met another person who influenced his life, that is, the famous Yasuyoshi Tokuma. As the largest distribution group in Japan, the president of Tokugawa Bookstore keenly discovered Miyazaki Hayao's talent and funded Miyazaki Hayao and Gao Tianxun to set up studios. From 65438 to 0983, the animated version of The Valley of the Wind, directed by Miyazaki Hayao, was planned, and Gao Tianxun was the producer. 1March, 984, the theatrical animation "Valley of the Wind" was released. This film concentrates many characteristics of Miyazaki Hayao's animation, such as exquisite pictures, colorful characters, humorous dialogue and positive spirit, which makes Miyazaki Hayao a national animator suitable for all ages. )

Let's go

The Origin of the Valley of the Wind and the Godfather of Environmental Protection

The story of the Valley of the Wind is set in the future world. Since the Seven-Day Fire War, the once prosperous human civilization has collapsed. After a thousand years, the few remaining human beings will soon be conquered by the vast forest rot sea where insects inhabit. In the corner of the rotten sea, there is a valley with a royal wind, which protects people from insects with sea breeze. Nausicaa is the daughter of the leader of this valley. She flies like a bird in a glider. She is a girl who can communicate with the king worm that everyone is afraid of and is full of incredible affinity. Nausicaa is the name of the princess who sent Achia in Homer's epic Odyssey. It is said that she never married, but she traveled from one court to another, singing Odysseus and his sailing stories constantly, and became the first female bard. Miyazaki Hayao was completely fascinated by this role after reading her story in Barnard Evelyn's Greek Myth in her early years. The script of the movie Valley of the Wind originated from the first third of the comics, in which the relationship between people and creatures became the core of the conflict in the whole drama. The heroine Nausicaa plays a brave, careful and tenacious female image in these relationships. Miyazaki Hayao's rich imagination has built a world completely different from reality-yellow sand, grotesque plants and insects everywhere, birds and horses, seaplanes, airships and so on have replaced horses. It is a true mirror image after the end of the world. From valleys to villages, from wild animals to plants, all the details seem to bear the idea of Miyazaki Hayao's fable. However, among so many amazing things, the little girl who can walk with the wind is the most unforgettable thing for most viewers. Nausicaa's image ranks first among the most popular heroines in mainland Japan for ten years in a row. She is the most perfect woman in Miyazaki Hayao's works. This perfection lies in her impressive strength and peculiar spirituality. She is as sensitive as an elf who opens the whole body cells to receive external signals, like a medium that walks between human beings, wild animals, plants and nature. In real life, the communication between people is so fragile and flat, and language is almost an incompetent tool, but Nausicaa's spirituality is completely three-dimensional. When people think it is impossible to communicate with insects, when people hate each other and never think they can live together, Nausicaa is the only one who wants to talk with insects. He thinks that insects are just sensitive enough to protect themselves, and they don't want to start a war. However, for the outside world, Nausicaa still feels powerless, full of anger and hostility, poisonous gas is spreading to her home, people and insects are fighting for survival territory, and people are full of endless aggression. In order to conquer the world completely, the ambitious Dorumchi people excavated the last weapon-the giant robot left over from prehistoric civilization-the giant magic soldier in the territory of paget. Unwilling to take revenge, paget people used Wang Chong as bait to lure Wang Chong to destroy the Dolomites who occupied the Valley of the Wind. In the face of war and hostility, in the face of crazy king worms, bravely assume the responsibility of defending their homes. At the end of the film, Miyazaki Hayao gave a mythical ending. The girl came back from the dead, which confirmed the long-standing legend. One day, a warrior dressed in Tsing Yi will fall from the sky and stand on the golden grassland, ending all struggles and sufferings and leading people to live a stable and happy life. Although this ending is somewhat eclectic, Miyazaki Hayao's thoughts on human beings, nature and war are also vividly displayed, so he is regarded as the godfather of environmentalists. As a student, Miyazaki Hayao, who specialized in political economy and participated in the struggle against Japan-US security treaty, always maintained a strong social consciousness and humanistic care. The nuclear arms race triggered by the cold war between East and West after the war deepened his worries and anxieties about human survival. Therefore, the destruction and rebirth of human civilization, the existence of man and nature, and other heavy problems shouldered by human society in the 20th century are intertwined in his creation, which injects ideological depth and humanistic thinking into his films that are different from other shallow entertainment cartoons. 1985 After the success of The Valley of the Wind, Miyazaki Hayao and Gao Tianxun, with the support of German bookstores, jointly established the Studio Ghibli, devoted to the production of animated feature films in cinemas, and the Miyazaki Hayao world was thus formed.

The name "Ghibli" originally meant hot air blowing in the Sahara desert. During World War II, Italian Air Force pilots named their reconnaissance plane Ghibli. As an airplane fan, Miyazaki Hayao naturally knew this, so he decided to use Ghibli as the name of their studio. The Valley of the Wind (1984) was a great success after its release. So, with the support of German bookstore, 1985 established Studio Ghibli. In the same year, Ghibli began to make City of the Sky. Since then, Studio Ghibli has become a studio specializing in animation for Miyazaki Hayao and Gao Tianxun. Studio Ghibli is a very special group both in Japan and internationally. In principle, Studio Ghibli only produces animations adapted from the original works and used for cinema screening. No one thought Ghibli would survive, including the two founders, because it never took profit as the premise, and it hated the shoddy animation dramas that were popular at that time. However, the stubborn desert hot air has created history, and it has gradually established the sense of honor and conscience in the animation industry with its own existence.

Forward!

The city of the sky and the obsession with flying

The City in the Sky is adapted from Swift's Gulliver's Travels, which is Studio Ghibli's pioneering work. Miyazaki Hayao's four major responsibilities as original work, producer, script and role setting make this work a pure Miyazaki Hayao concept from beginning to end, and Miyazaki Hayao's music partner Joe Hisaishi has reached the peak of his music career this time. The background of the film is the imaginary European continent. In a gold mine, there is a legend of Laputa, the ideal world city in the sky. It is said that there are endless treasures and strange ability to control the world. Paso, a boy who lives in a mine, is convinced of this legend because his father once took pictures of the city of the sky. One day Paso saved Sida, a girl who was slowly falling from the sky. The slungshot necklace around her neck attracted troops and pirates. It turns out that Sida is a child from the city of the sky, and that flying stone also represents the only clue to find the prehistoric civilization Laputa. Miyazaki Hayao's obsession with flying can be seen everywhere in the movie City in the Sky. Since his father was the director of an airplane factory, Miyazaki Hayao was interested in flying machines and other things since he was a child. In City in the Sky, although the heroine Hida's flight mode is a standard Japanese magic flight, the whole film is still full of the most wonderful and gorgeous aircraft in the Miyazaki Hayao world. When those huge flying boat and small windmills with medieval colors appeared, the film opened the magnificent prelude of the Miyazaki Hayao world belonging to the sky. There are a group of pirates with a keen sense of smell in the film, led by an old woman who is greedy for money. In order to snatch the flying stones, the pirates were still chasing Paso and Hida, and the army came in again on the way. Finally, they fell into a deep mine in full view, and Hida Dai's sky stone shone again, making them land safely. But soon Hida was captured by the army and taken to the fortress, and Paso was also taken away by the pirate's mother-in-law. However, in the chaos, Paso impressed the old woman who loves money so much with sincerity and persuaded her to let herself participate in the search for Hida. Mother-in-law's plan went smoothly, but in a hurry, Hida lost the sky stone and was found by a soldier named Musca. He ordered the army to fly to the city of the sky under the guidance of the holy light on the gem. On the other hand, the pirate's mother-in-law calculated Lapda's location from Hida's account. Hida and Paso began to ride the glider at full speed. Just as they were about to arrive, suddenly a tornado blew ahead, and Paso and Hida bravely flew in. This is a land abandoned by God. Naturally, terror and the wrath of the gods gathered here and flew through the thick darkness. In the roaring lightning, young girls crossed the lightning corridor, broke through the boundary between life and death, and opened the door of fate again. It turns out that the center of the tornado is the legendary city of Lapda in the sky. Utopias created by science and technology abound in Miyazaki Hayao's works. Lapda is a quiet paradise, with only robots on duty in the sky, and it is home to plants and ancient creatures. The movie City in the Sky is set in a noisy utopian industrial society. For the pirate mother-in-law's family, the word greed, like their frankness and cuteness, naturally became a part of nature. Paso, a boy in the mine, is used to the existing lifestyle. However, when he met Sida and came to the city of the sky, they finally understood that nature and life should be protected. There is always a theme in Miyazaki Hayao's works, that is, once technology is used by human beings, it will bring devastating consequences. Musca caught the pirates and came to Lapda. He forced Hida to enter the central control room with him, began to write on the black stone tablet, and began his ambition to dominate the world. Hida got back the stone from the sky. In order to stop Musca, she and Paso read a spell that destroyed everything. The end of the story implies an allegorical theme. The villain and the weapon he pursued fell into the sea as fireballs assimilated by the atmosphere, while the clarified flying stones took Lapda's tree of life to the end of the sky. We should understand this ending from two aspects. On the one hand, flying into the sky brings calmness and confidence; On the other hand, it is also a compromise and escape from the secular. It is with this double-edged sword that Miyazaki Hayao created Paradise Lost. He always hoped that the world would be alerted by his cartoons, instead of staying on those exquisite appearances.

Miyazaki Hayao's younger brother later recalled that when he saw the pirate's mother-in-law in City in the Sky, he couldn't help thinking of his own mother. Although she doesn't look like her at all, she is very similar in character. Miyazaki Hayao's mother is a strict and clever woman, which has a great influence on his life. 1947, Miyazaki Hayao's mother suffered from tuberculosis and stayed in bed for nine years. After City in the Sky, Studio Ghibli has the shadow of the Miyazaki Hayao family in his next work My Neighbor Totoro. My Neighbor Totoro released by Ghibli in 1988 and Help from the Witch's House released by Ghibli in 1990 can be regarded as the transformation works of Miyazaki Hayao's works. On the one hand, the focus of the film gradually shifts from nature to human beings; On the one hand, My Neighbor Totoro, who gave up all future backgrounds and even complicated plots, and The Witch's Home Delivery focused on ordinary human beings and the world around them. My Neighbor Totoro's description of family ties and the detailed description of the girl's growth in The Witch's House make people feel cordial and moved. The release of "The Witch's Housemaid" also marked that Ghibli began to become a box office guarantee, attracting about 246 million viewers and becoming the highest-grossing film in Japan that year. )

Transformation!

My Neighbor Totoro and nostalgia complex.

My Neighbor Totoro is the third film of Miyazaki Hayao and Ghibli. This cool and warm movie made my neighbor totoro a household name all over the world. When Miyazaki Hayao was a child, he once heard that there was a magical elf in his hometown. They live around people like neighbors and play around, but ordinary people can't see them. It is said that only children's innocent hearts can capture their traces. Calm down and listen, you can vaguely hear the sound of them running in the wind. When he grew up, Miyazaki Hayao, who devoted himself to animation, always remembered the good times he spent there. This exquisite dream woven for children was inspired by this emotion, and My Neighbor Totoro came out. The little girl and her sister Xiaomi moved into a new house in the country with her father in May, but because her father often went to the hospital to visit her sick mother, the two girls had to learn about the new environment around them by themselves. The sky in the countryside is so blue, the air is so good, there is no traffic noise, and there is no high and thick cement wall. In the embrace of nature, the two children experienced unprecedented happiness. One day, when Xiaomi was alone looking for acorns in the yard, he accidentally saw the silly little totoro. The little totoro hurriedly tried to get rid of Xiaomi, but led Xiaomi to the sleeping big totoro. Mei envied her sister's secret and dreamed of meeting my neighbor totoro one day, and her wish came true soon. One rainy evening, when two sisters were waiting for the bus at the station where their father came back from work, the big totoro appeared. Towards the end of summer, the sisters received a telegram from the hospital. Mother was unwell and had to postpone going home. The two sisters were worried about her mother's situation and quarreled. Xiaomi complains that her sister doesn't care about herself, and her sister blames Xiaomi for not being sensible. Xiaomi ran away crying. He wanted to go to the hospital to see his mother, but he got lost. I thought of my totoro when I was looking for Xiaomi in May. In this way, my neighbor totoro called the cat bus and finally found the lost millet. Then the cat bus took the two sisters to the window of my mother's ward and saw all the safe mothers from a distance. The two sisters are very happy. My Neighbor Totoro's story is simple and clear. Apart from the chubby totoro, the most memorable thing in the film should be the tranquility and nature relative to the noisy city. Miyazaki Hayao always likes to describe nature and is keen on weaving dreams for children. The whole movie has a magical realism style, which is consistent in the Miyazaki Hayao world. It uses some natural scenery to cut into the activities of the protagonist's meaning, so that the audience can get the most real impression.

Transformation!

Witch's childbirth and difficult growth

Two years later, The Witch's Housemaid, which was released with My Neighbor Totoro, switched from the theme of affection to growth, but what remained unchanged was the girl, magic and flying in the Miyazaki Hayao world. Immediately after its release, it became the most popular movie in Japan. Eiko Kadono, a Japanese woman writer who won the Andersen Prize, is the original author of The Witch's Birth. After Miyazaki Hayao's reappearance, the whole film shows a strong European flavor and once again brings the audience into a wonderful world. Whether it is a green town, a blue ocean, Bai Ou, or a wild goose flying with the heroine Qiqi, it is as beautiful as poetry. Ordinary people think that witches often live in cold castles and only fly at night. They have weird aquiline noses, harsh faces and pointed hats. They have always been elven black cats lying beside a pile of test tubes. However, Kiki, the heroine in The Witch Housemaid, is a little girl waiting to grow up, rather than a spooky witch image in the traditional sense. She wore a broad witch costume and a red bow, relaxed and natural, with a sunny smile. On a clear full moon night, 13-year-old witch Kiki left home with a black cat, because the witch 13-year-old was going to stand on her own feet, and Kiki could only ride a broom, which worried her parents. Kiki somehow came to a seaside town, stayed at the home of Osina, a kind bakery owner, and started the witch express, that is, riding a broom to deliver packages to others to make a living. In Miyazaki Hayao's eyes, the ability to fly usually belongs to girls. He admits that young girls are more energetic and lovely than men, and men are inevitably caught in an embarrassing situation with all kinds of burdens. Miyazaki Hayao himself has a daughter, and he likes to revive the little girl's nature in his works, such as women's curiosity, kindness, enthusiasm and narrow-mindedness. When a person makes a living alone in a strange city, there will always be setbacks. Kiki helped grandma give her granddaughter a birthday present in the storm. When she finally sent the fish with a heart, she got a cold reception. Kiki, whose heart is pure, can't accept this result, and the warmth of her family gradually dissipates, which makes her very disappointed. After returning, Kiki became ill and temporarily lost the ability to fly, but this story can't be found in the original, and it was purely adapted by Miyazaki Hayao. The original book is an interrupted story, which includes all kinds of people and episodes that Kiki met during the transportation. There are no bad or dramatic stories about her, and she has never lost her magic or had an accident. Miyazaki Hayao starred in the film. The reason for these changes is that he needs a framework that can support the whole movie. An experience about growing up Because the film wants to convey more real feelings, Kiki here has to suffer more frustration and loneliness than the original. Only by overcoming these setbacks and loneliness can she really grow up. It is said that Eiko Kadono was strongly dissatisfied with these adaptations, which almost caused the film to run aground in the script stage. Producers from Miyazaki Hayao and Studio Ghibli personally visited her home, invited her to the studio for discussion, and finally persuaded her to give in. However, from the film point of view, the audience must thank Miyazaki Hayao for his adaptation of the story. Qiqi grew up from a greenhouse flower that knows nothing, and finally matured and understood. It seems that the audience also saw her adult experience here, recalled the hardships she knew and experienced the storms she had to experience during her growth. On the second day after losing the ability to fly, Kiki's wife, who entrusted Kiki to send fish pies, sent Kiki a cake. Thanks for her help last time, Kiki was deeply moved. At that time, flying boat's take-off was being shown on TV, but an accident happened due to the storm, which put Kiki's friend Dragonfly in a dangerous situation. At this critical moment, Kiki's flying ability was restored. She rescued the dragonfly by riding a brush lent to her by an old man from the bell tower. In Miyazaki Hayao's works, understanding and cherishing each other is the most important element of interpersonal feelings. Even though they almost never say the word love to each other, it is touching because of the breadth and purity of this feeling. Kiki and Little Dragonfly, who love flying, have cultivated pure and healthy love-friendship because of their yearning and exploration of flying, and have become friends who talk and help each other with the smart and considerate bakery owner, and even found a beautiful white cat as a companion. At the end of the film, Kiki became friends with everyone and fell in love with the city. Perhaps in reality, girls will always become adults, and the ability to fly and fantasize will eventually give way to reality and city life. Only in Miyazaki Hayao's world, the legend of girls and flying proves the childhood we once had.

(1989 In February, Osamu Tezuka, a famous cartoonist and founder of Japanese comics, passed away. Miyazaki Hayao wrote a mourning article for Osamu Tezuka, saying that as an animated film writer, we should not simply regard Osamu Tezuka as a saint in the room, but in a sense, we must regard Osamu Tezuka as an opponent who constantly transcends and challenges. I can't say that I surpassed Osamu Tezuka, but I think I found a different direction from him, challenged and bid farewell to his works, and made a new style of animation, which may be exactly what Osamu Tezuka expected. Osamu Tezuka laid a very deep foundation for Japanese cartoons, and the word human nature he preached became a major theme of Japanese cartoons in the future. However, it is against the background that Miyazaki Hayao has established an unshakable position as a first-class animated film writer that the death of Osamu Tezuka in 1989 and Miyazaki Hayao's eulogy aimed at challenging the myth of Osamu Tezuka highlight the special symbolic significance in the history of animated films, and what Miyazaki Hayao wants to say may be a reflection on his opponent's humanity. )

It is said that Eiko Kadono was strongly dissatisfied with these adaptations, which almost caused the film to run aground in the script stage. Producers from Miyazaki Hayao and Studio Ghibli personally visited her home, invited her to the studio for discussion, and finally persuaded her to give in. However, from the film point of view, the audience must thank Miyazaki Hayao for his adaptation of the story. Qiqi grew up from a greenhouse flower that knows nothing, and finally matured and understood. It seems that the audience also saw her adult experience here, recalled the hardships she knew and experienced the storms she had to experience during her growth. On the second day after losing the ability to fly, Kiki's wife, who entrusted Kiki to send fish pies, sent Kiki a cake. Thanks for her help last time, Kiki was deeply moved. At that time, flying boat's take-off was being shown on TV, but an accident happened due to the storm, which put Kiki's friend Dragonfly in a dangerous situation. At this critical moment, Kiki's flying ability was restored. She rescued the dragonfly by riding a brush lent to her by an old man from the bell tower. In Miyazaki Hayao's works, understanding and cherishing each other is the most important element of interpersonal feelings. Even though they almost never say the word love to each other, it is touching because of the breadth and purity of this feeling. Kiki and Little Dragonfly, who love flying, have cultivated pure and healthy love-friendship because of their yearning and exploration of flying, and have become friends who talk and help each other with the smart and considerate bakery owner, and even found a beautiful white cat as a companion. At the end of the film, Kiki became friends with everyone and fell in love with the city. Perhaps in reality, girls will always become adults, and the ability to fly and fantasize will eventually give way to reality and city life. Only in Miyazaki Hayao's world, the legend of girls and flying proves the childhood we once had.

(1989 In February, Osamu Tezuka, a famous cartoonist and founder of Japanese comics, passed away. Miyazaki Hayao wrote a mourning article for Osamu Tezuka, saying that as an animated film writer, we should not simply regard Osamu Tezuka as a saint in the room, but in a sense, we must regard Osamu Tezuka as an opponent who constantly transcends and challenges. I can't say that I surpassed Osamu Tezuka, but I think I found a different direction from him, challenged and bid farewell to his works, and made a new style of animation, which may be exactly what Osamu Tezuka expected. Osamu Tezuka laid a very deep foundation for Japanese cartoons, and the word human nature he preached became a major theme of Japanese cartoons in the future. However, it is against the background that Miyazaki Hayao has established an unshakable position as a first-class animated film writer that the death of Osamu Tezuka in 1989 and Miyazaki Hayao's eulogy aimed at challenging the myth of Osamu Tezuka highlight the special symbolic significance in the history of animated films, and what Miyazaki Hayao wants to say may be a reflection on his opponent's humanity. )