Animation of the Year

Studio Ghibli’s logo features the iconic name derived from the Italian aircraft character Totoro, a forest spirit from Caproni Ca.309, nicknamed Ghibli My Neighbor Totoro from the Libyan-Arabic name for the box budget awards Rotten IMDb Mediterranean wind office won Tomatoes score Laputa: Castle Grave of the Kiki’s Delivery Only Yesterday Porco Rosso Pom Poko Whisper Princess My Neighbors Spirited Away The Cat Howl’s Tales from Ponyo Arrietty From Up on The Wind Rises The Tale of the When Marnie in the Sky Fireflies & Service (1991) (1992) (1994) of the Heart Mononoke the Yamadas (2001) Returns Moving Castle Earthsea (2008) (2010) Poppy Hill (2013) Princess Kaguya Was There (1986) My Neighbor (1989) (1995) (1987) (1999) (2002) (2004) (2006) (2011) (2013) (2014) Totoro (1988) $300M 289 $250M 235 $200M 202 159 $150M 145 136 $100M 68 61 54 $50M 49 34 34 34 34 30 25.6 25.6 23 20 24 22 23 22 24 18.5 19 20 8.1 10 9 9 10 5 3.7 7 7 100 100 95 97 96 97 95 93 94 91 92 92 89 87 89 90 83 78 75 41 8.5 8.6 8.1 8.3 8.4 8.2 8.1 7.9 7.7 7.8 8.0 7.7 7.7 7.8 7.8 7.4 7.3 7.3 7.4 6.5 54 26 16 13 11 11 10 6 5 4 3 3 3 2 1 breakdown of genres Romance Fantasy Comedy 8.5% 22% Nausicaa of the Valley Studio Ghibli founded by Technically the first official of the Wind (1984) film by Studio Ghibli 8.5% Considered the unofficial Hayao Miyazaki beginning of Studio Ghibli & Isao Takahata Epic 1.7% 1.7% Biographical Drama 16.9% 3.4% War 5.1% Supernatural 15.3% 16.9% First animated film to win First anime film to win First Studio Ghibli film to be Japan Academy Prize for Academy Award, and the an adaptation of a Western/ Picture of the Year only film not made in the English novel Adventure English-speaking world to Family win a Golden Bear and Percentages calculated out of 59 “films” an Academy Award Films with multiple genres are counted once for each genre (ie Laputa: Castle in the Sky is counted twice, once for adventure and once for fantasy) Nominations for Academy Award Japan Academy Prize Best Animated Feature Animation Studio Ghibli feature films among the top 15 highest-grossing anime films of the Year.

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"Deer Gods, Nativism and History: Mythical and Archaeological Layers in Princess Mononoke." Princess Mononoke: Understanding Studio Ghibli’S Monster Princess
Niskanen, Eija. "Deer Gods, Nativism and History: Mythical and Archaeological Layers in Princess Mononoke." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. By Rayna Denison. London: Bloomsbury Academic, 2017. 41–56. Bloomsbury Collections. Web. 8 Oct. 2021. <http://dx.doi.org/10.5040/9781501329753.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 8 October 2021, 10:51 UTC. Copyright © Rayna Denison 2018. Released under a CC BY-NC-ND licence (https:// creativecommons.org/licenses/by-nc-nd/3.0/). You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 41 Chapter 2 D EER GODS, NATIVISM AND HISTORY: MYTHICAL AND ARCHAEOLOGICAL LAYERS IN PRINCESS MONONOKE E i j a N i s k a n e n I n Mononokehime ( Princess Mononoke , 1997) Hayao Miyazaki depicts the main character, Prince Ashitaka, as a son of the Emishi nation, one of Japan’s van- ished native tribes, who inhabited West- Northern Japan before the Eastern- Southern Yamato nation took control, starting in the area that is now the basis for modern Japan before claiming the entire country. Emishi, similar to the other native tribes of Northern Japan are oft en seen as non- civilized barbar- ians as opposed to the Yamato race. 1 Th ough Princess Mononoke is set in the Muromachi period (1333– 1573), when the Yamato society had conquered all the Northern tribes, the strong Emishi village of Princess Mononoke recalls Japan’s pre- historic times. In the fi lm’s settings and details one can fi nd numer- ous examples of Miyazaki’s interest in anthropology, archaeology, Shint ō and nativism.
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The Japanese Journal of Animation Studies, 2020, vol.21, no.1, 111-125 Stimulating Thought Rather Than Appetite: On TAKAHATA Isao’s Animation Aesthetics Gan Sheuo Hui ■ Stimulating Thought Rather Than Appetite: On TAKAHATA There is an established convention when considering Studio Ghibli, Isao’s Animation Aesthetics that is, to focus on the historical association of Takahata Isao Abstract: and Miyazaki Hayao, their encounter at Toei, which led to their In this paper, I argue that Takahata’s works possess aesthetic qualities collaboration at A Production (later Shin-Ei Animation, later Nippon that have not been addressed sufficiently, partly due to the lack of an Animation) and finally co-founding Studio Ghibli together in the overall recurring theme and specific visual traits that allow viewers mid-1980s. This perception has gradually become a fixed narrative. to easily identify with the characters. The impact of Takahata’s work rests on their narrative meaning rather than centering on the Takahata is considered an important branded figure but nonetheless personalities and visual charm of the key characters. The meaning alienated in the popular reception and critical study of Studio Ghibli stays within the animation itself, rather than branching out through that emphasize Miyazaki’s qualities and their impact on a variety merchandising or fan activity. Takahata contested the way viewers often engage with the animation medium in a popular context. He of putative successors. In this paper, I argue that Takahata’s works went beyond the light-hearted genre framework to produce narratives possess aesthetic qualities that have not been addressed sufficiently, that do not lead to happy, emotionally satisfying endings.
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Landscapes As Identity and Cultural Heritage in Animation– the Australian Bushland, Japanese Urban Agglomeration and Eurasian Steppes
Landscapes: the Journal of the International Centre for Landscape and Language Volume 9 Issue 1 Landscape: Heritage II Article 5 April 2019 Landscapes as Identity and Cultural Heritage in Animation– The Australian Bushland, Japanese Urban Agglomeration and Eurasian Steppes Zilia Zara-Papp Saitama University, Japan Follow this and additional works at: https://ro.ecu.edu.au/landscapes Part of the Australian Studies Commons, European Languages and Societies Commons, Illustration Commons, and the Japanese Studies Commons Recommended Citation Zara-Papp, Z. (2019). Landscapes as Identity and Cultural Heritage in Animation– The Australian Bushland, Japanese Urban Agglomeration and Eurasian Steppes. Landscapes: the Journal of the International Centre for Landscape and Language, 9(1). Retrieved from https://ro.ecu.edu.au/landscapes/vol9/iss1/5 This Article (refereed) is posted at Research Online. https://ro.ecu.edu.au/landscapes/vol9/iss1/5 Landscapes as Identity and Cultural Heritage in Animation– The Australian Bushland, Japanese Urban Agglomeration and Eurasian Steppes Cover Page Footnote In Memoriam Yoram Gross and Isao Takahata This article (refereed) is available in Landscapes: the Journal of the International Centre for Landscape and Language: https://ro.ecu.edu.au/landscapes/vol9/iss1/5 Zara-Papp: Landscapes as Identity and Cultural Heritage in Animation Landscapes as Identity and Cultural Heritage in Animation – The Australian Bushland, Japanese Urban Agglomeration and Eurasian Steppes Zilia Zara-Papp (Saitama University, Japan) Introduction The world of animation adapted from literature including short stories, folk tales and ancient myths showcases diverse approaches of reinventing and reimagining elements of landscape as cultural identity for the animated works depending on their specific cultural sources.
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Hayao Miyazaki: Exploring the Early Work of Japan’S Greatest Animator
Greenberg, Raz. "Growing Old in an Uncertain Present." Hayao Miyazaki: Exploring the Early Work of Japan’s Greatest Animator. New York: Bloomsbury Academic, 2018. 127– 152. Animation: Key Films/Filmmakers. Bloomsbury Collections. Web. 29 Sep. 2021. <http:// dx.doi.org/10.5040/9781501335976.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 02:31 UTC. Copyright © Raz Greenberg 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. C h a p t e r 6 G ROWING O LD IN AN U NCERTAIN P RESENT Kiki’s Delivery Service became Studio Ghibli’s fi rst true commercial hit, becoming the most successful domestic fi lm at Japan’s box- offi ce in 1989, 1 an achievement that each of Miyazaki’s subsequent fi lms would repeat. Miyazaki was not the only person to direct fi lms at Studio Ghibli; Takahata helmed both Grave of the Firefl ies ( Hotaru no haka , 1988), which follows the struggle for survival of two children during the bombings of Japan in World War II and Only Yesterday ( Omoide Poro Poro , 1991), a contemporary drama about a Tokyo career woman who goes on vacation and through the memories of her past tries to understand where her life is heading. Like Miyazaki, Takahata drew on his experience from working on the diff erent Calpis/World Masterpiece Th eatre shows, but while Miyazaki borrowed diff erent elements from these shows for fi lms that were framed with a strong fantasy setting, Takahata was mostly inspired by these shows’ realistic nature, commenting about the world in a more direct and less metaphorical manner than Miyazaki did in his fi lms.
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Japanese Anime Series Gets Whirlwind Showings in 7 Days
Japanese anime series gets whirlwind showings in 7 days By Howard Pousner [email protected] When Hayao Miyazaki's "Spirited Away" won the Academy Award for best an- imated feature in 2003, it was considered not only a victory for Japanese anime but for hand-drawn anima- tion at a time when comput- ers were taking over "toons" everywhere. The Japanese filmmaker was hailed as a master visual storyteller. Reviewing the fantasy ep- ic in The Atlanta Journal- Constitution at the time, critic Eleanor Ringel Gil- lespie wrote: "If Lewis Car- roll were alive today, and making movies instead of writing books, 'Spirit- ed Away' is the movie he'd make. Not since he sent Al- ice tumbling down that rab- bit hole has there been such a rapturous mix of whimsy and the surreal." More Miyazaki films have played the U.S. since, most notably "Howl's Moving Castle." But many of the fea- Original Japanese poster that publicizes "Nausicaa of the tures from Studio Ghibli, the Valley of the Wind," part of the Studio Ghilbi Festival at Tokyo production studio Landmark Midtown. CONTRIBUTED PHOTO he founded in 1985 with fel- low director Isao Takahata and producer Toshio Suzu-' Saturday: "Spirited Away" ki, have never received a full FILM PREVIEW (2001), 2:05,7 and 11:45 p'.m. U.S. release. "The Studio Ghibli Sunday:"My Neighbor Totoro" Starting today, Landmark Collection: 1984 to (1988), 12:15,5 and 9:40 p.m. Midtown Art Cinema gives 2009" Sunday: "Castle in the Sky" metro moviegoers a chance (1986),2:20and7p.m.
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Celebrate Studio Ghibli Films Timetable
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Studio Ghibli a Hayao Miyazaki Jako Auteur
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“Hayao Miyazaki's World”
“Hayao Miyazaki’s World” ‘Best of’ Booklet Japan in Today’s World Program (JTW) Professor Tamah Nakamura Edited by Bobby Recinos and Hiroshi Kudo – February 2013 “In Japan, Miyazaki Hayao is more than just an animation director, he is a thinker and a philosopher” Acknowledgements I would like to express my deep appreciation for Professor Tamah Nakamura who kindly allowed me to undertake this project together with Bobby Recinos. Her heartfelt instruction and encouragement drew out the best of us. Bobby always showed will to express his deeper thoughts far and wide. He studied the essays and advanced this project earnestly. I appreciate his advice. Also, I thank all of the students of the class for their outstanding work. This booklet is theirs. Finally, I want to credit Kyushu University and the JTW (Japan in Today’s World) office at that school for their unconditional support. Hiroshi Kudo Editor My sincere gratitude goes out to professor Tamah Nakamura for inspiring us through word and action to pursue this humble yet valuable enterprise. Your skill and sensibility guided us along the way. Certainly, without her, there would be no “Best of Hayao Miyazaki’s World”. To my colleague and partner in this venture, Hiro-San, I thank deeply for opening the path that led to this project. Your experience, knowledge and selflessness were the key for completing it. I feel privileged to have been able to share the experience of the JTW course “Miyazaki, Hayao’s World” with many beautiful minds from around the world, without whom this booklet would have been impossible to consider.
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Introducing Studio Ghibli James Rendell and Rayna Denison Many
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Introducing Studio Ghibli James Rendell and Rayna Denison Many readers of this special issue of the Journal of East Asian Popular Culture will already feel that they know Studio Ghibli. Famously founded in 1985 by animation film directors Hayao Miyazaki and Isao Takahata, along with then-magazine editor, Toshio Suzuki, Studio Ghibli has dominated Japan’s box office since the mid-1990s. Furthermore, thanks to an international distribution deal with Buena Vista International, a subsidiary of Disney, Hayao Miyazaki’s films have become well-known transnational phenomena, garnering international film festival awards and even an Oscar. This international recognition sits alongside the work undertaken by a legion of active fans who have likewise promoted Miyazaki and Ghibli’s works outside Japan. However, reflecting on the studio’s closure in 2014 – after nearly 30 years of film, television and other kinds of production – there are still many aspects of Studio Ghibli that remain obscure. Despite recent rumours that Miyazaki may be coming out of retirement one last time (a pattern he has been repeating since the late 1990s), the (perhaps temporary) moth-balling of Studio Ghibli’s feature production efforts in 2014 presents the scholars in this collection with an opportunity to reconsider Studio Ghibli’s local and global significance. This special edition of the Journal of East Asian Popular Culture is therefore intended to strategically address some of the gaps in anime scholarship, and in the scholarship around Studio Ghibli.
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Hayao Miyazaki: Exploring the Early Work of Japan’S Greatest Animator
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