STUDYGUIDE CHRISTINE EVELY SCREEN EDUCATION

1 INTRODUCTION > This guide aims to support the viewing of the Japanese Howl’s Moving Castle by students from years 5-9. It provides information and suggestions for learning activities across the curriculum areas of English, the Arts, SOSE, Science and Mathematics. > Howl’s Moving Castle has a complex and multi-layered narrative that will be understood in a variety of ways depending upon the ages and cultural backgrounds of viewers and their previous experiences, especially with anime and manga.

The story However, as 18-year-old Sophie With such serious thoughts to ponder (Chieko Baisho/Emily Mortimer) soon – Sophie walks home, taking care he Royal Arms are heading for discovers, the castle belongs to the to avoid the crowds, but gaining the the battlefront and patriotic feel- charming, but seemingly self-indulgent unwanted attentions of a soldier. As Tings are running high. Cheering and irresponsible wizard Howl (Takuya she tries to escape she encounters the crowds shower the soldiers with flow- Kimura/Christian Bale), who is ru- dashing wizard Howl, who it seems ers as they march past. mored to devour the hearts of beauti- is being mysteriously pursued. The ful young women. young Howl suddenly soars high into In this magical land, spells and the air, literally sweeping Sophie off invisible cloaks seem unremarkable, After working all day in the hat shop of her feet and takes her on a brief magi- but the Witch of the Waste (Akihiro her deceased father, Sophie ponders cal stroll above the town. Sophie’s Miwa/Lauren Bacall) strikes terror into the life of her vivacious younger sister heart is soon swept away too. the hearts of everyone. So when a Lettie. Working at Cesari’s, the finest castle with dark smoke billowing from café in town, Lettie’s popularity and Suddenly the Witch of the Waste SCREEN EDUCATION its turrets is seen moving across the charm attracts many customers. appears and sees Howl and Sophie horizon, people warn one another not Meanwhile, feeling dowdy and bor- together. That evening the witch ap- to wander the streets alone. They think ing, Sophie slaves over her hats and pears at Sophie’s home and casts a the Witch has returned to terrorize folk wonders what it is she really wants to spell on the young girl – transforming from this small town on the edge of do with her life. her into a 90-year-old woman. Unable the wasteland. to stay in her village lest her curse 2 B

A C

is discovered, Sophie packs up and Sophie deepens, our heroine must As the eldest daughter of the Hatter heads toward the desolate Wasteland, fight to protect them all from a danger- family, Sophie believes it is her duty where she eventually finds herself in ous war of sorcery that threatens their to slave over hat designs, but she Howl’s castle… world. wonders what she really should be do- ing. Her life changes after she meets But this is only the beginning. As the Based on the book of the same name the magical Howl and finds herself clues in this mystery are slowly re- by Diana Wynne Jones. This amazing transformed into a 90-year-old woman vealed, we learn things are not always fantasy is filled with incredible sur- by the Witch of the Waste. as they appear. People, identities, prises, and when the final stormy duel lovers and destinies are confused and between the Witch and the Wizard is Old Sophie intertwined. The Witch has also placed over, all the clues magically come to- • Chieko Baisho (Japanese version) a spell on Howl. Will the spells be bro- gether to solve the mystery and bring • Jean Simmons (English language ken and what will happen to Sophie peace to the kingdom. version) once she enters Howl’s castle? The characters After being transformed into a 90-year- Without revealing her true identity, old woman by the Witch of the Waste, Sophie becomes cleaning lady for Young Sophie grey-haired and stooped Sophie stum- Howl and his apprentice, Markl. Sur- • Chieko Baisho (Japanese version) bles into Howl’s moving castle…and prisingly, she develops a new, feisty • Emily Mortimer (English language her adventure begins. (See A & B) attitude that defies her aged looks version) and stooped body. Along the way Howl she must deal with Calcifer, a feisty Sophie, the 18-year-old film’s female • Takuya Kimura (Japanese version)

fire demon, who lives in the hearth in protagonist, starts out as a girl who • Christian Bale (English language SCREEN EDUCATION Howl’s castle. Bound by a secret con- feels burdened by what she considers version) tract with Howl, Calcifer bargains with her plain looks, her youthfulness, the Sophie to break the curse upon her. hard work of her dull and ordinary life Howl, the mysterious and handsome as a hat designer in the family busi- young wizard and the master of a As the true power of Howl’s wizardry ness and her uncertainty about what moving castle, also goes by the names is revealed, and his relationship with to do with herself. (See C) Jenkins and Pendragon. Though he 3 E

D F

possesses great magical powers, he like an over-indulged society matron, Howl’s apprentice, Markl has no is reluctant to respond to calls from she now lies low in the Wastelands, family and lives in the moving castle. the Royal Palace to help them with the pursuing Howl. When summoned to A master of disguise, he is quick to war and seems to spend his days idly the Palace by Madame Suliman, this transform himself into a bearded old and selfishly amusing himself…until he larger than life troublemaker is in for a man when ordinary people and Royal can refuse no longer. few surprises of her own. (See D) messengers call on Howl, Pendragon and Jenkins for magic potions and Howl is rumored to devour the hearts Calcifer other wizardly supplies. Harkl calls the of beautiful young women, but in • Tatsuya Gashuin (Japanese ver- castle his home and considers Howl reality he is an emotionally complex sion) his only real family. (See F) wizard who can be maddeningly vain, • Billy Crystal (English version) yet gentle. A singularly powerful magi- Madame Suliman cian, Howl isn’t quite himself anymore. A feisty little fire demon, Calcifer • Haruko Kato (Japanese version) A strange bargain with the fire demon, inhabits the hearth of Howl’s moving • Blythe Danner (English version) Calcifer, lies at the heart of the matter. castle and moves both Howl’s castle When old Sophie takes up residence and the story along. His Majesty’s head sorceress and the in his castle, she has a big impact on Royal Wizard of Kingsbury, Madam his life and his ability to overcome his Calcifer’s magic is what moves the Suliman was once Howl’s master. This personal demon. castle, and he is bound to the fire- shady, ambiguous character has a place by a contract with Howl. In true strong personality, possesses great Witch of the Waste devilish form he banters with Sophie, magical powers and has great influ- • Akihiro Miwa (Japanese version) telling her if she can unlock the secret ence in the Royal Palace.

• Lauren Bacall (English version) of his contract with Howl, her wish will SCREEN EDUCATION be his command.(See E) Madame Suliman is in love with Howl Once a magnificent sorceress, the and tries to control him. Howl’s refusal mischievous Witch of the Waste once Markl to obey the King’s orders to lend his served at the Royal Palace in Kings- • Ryunosuke Kamiki (Japanese magical powers to the war effort sees bury but after falling prey to the de- version) him in trouble with this mystical Mad- mon of greed, was dismissed. Looking • Josh Hutcherson (English version) ame and sets the stage for the film’s 4 G

H I

powerful final act. (See I) together. Following the wishes of her Away. This strange, magical adventure parents who were both educators, she set in a world inhabited by demons, Turnip grew up reading classic literature and witches and other unearthly creatures • Yo Oizumi (Japanese version) studied under J.R.R. Tolkien at Oxford captivated the imaginations of • Cripsin Freeman (English version) University, Saint Ann’s College. Diana audiences world-wide. married soon after graduation and is A scarecrow with a turnip for a head, the mother of three children. seems compelled to Turnip is saved by Sophie when she create fantastical, imaginary worlds. finds him wandering in the Wasteland. Like JK Rowling, reading stories to her Well-known for the Japanese anima- Wanting to repay Sophie this kind- children soon led to the writing of her tion films Kiki’s Delivery Service, Prin- ness, he follows her around serving own novels. In England, Diana Wynne cess Mononoke and , her faithfully when the occasion de- Jones is considered to be an author in Miyazaki has once again created the mands. Turnip proves to be a helpful the world of British modern children’s ultimate fantasy journey in Howl’s character to have around, as Sophie literature whose works are original and Moving Castle. comes to appreciate in her time of full of surprises. Along with Howl’s need. (See H) Moving Castle her books include Hayao Miyazaki was born in Guardian Award winners Charmed in 1941. After receiving a degree in Heen Life, Fire & Hemlock and The Time of political science and economics from A mysterious little dog that becomes the Ghost. Harper Collins has pub- Gakushuin University, Miyazaki began attached to Sophie. (See G) lished several of her titles in Australia. his career at Toei Doga (currently Toei Animation), where he worked on scene Author profile - Diana Screenplay and planning and key animation for Little

Wynne Jones Directing - Hayao Norse Prince Valiant (1968). Later, SCREEN EDUCATION Miyazaki he moved to A Pro, where he was Diana Wynne Jones was born in responsible for the original concept, London, England on 16 August 1934. Japanese animation master Hayao screenplay, layout, and key animation She began writing as a child and cre- Miyazaki became popular with for Panda! Go Panda (1972). In 1973, ated exciting and interesting stories western audiences in 2001 with the he, along with and oth- for herself and her sisters to read Academy Award-winning Spirited ers, moved to Zuiyo Eizo. Miyazaki 5 went on to work for Nippon Animation live action film Ritual (2000) and the Directed by Hayao Miyazaki and Telecom until he took part in the Ghibli , Mitaka (opened in 124 minutes founding of in 1985. Dur- 2001 in Mitaka, Tokyo), and as co- Released July 1, 2004 (Miyazaki ing these pre-Ghibli years, he worked producer for Mamoru Oshii’s animated Showcase) on the scene planning and layout for feature Innocence: Ghost in the Shell Heidi (1974), and directed Future Boy 2 (2004, a Production I.G. film). Suzuki (Tonari no Conan (1978) and The Castle of Cagl- is the Managing Director of Tokuma Totoro) iostro (1979). For several years, Miya- Shoten and President of Studio Ghibli. Original story and screenplay by zaki worked on the manga, wrote the Hayao Miyazaki screenplay for and directed Nausicaä Music - Music by Joe Hisaishi of the Valley of the Wind (1984). The Produced by Yasuyoshi Tokuma film is based on the original manga Born 6 December 1950, Hisaishi Directed by Hayao Miyazaki which was serialized in Animage started his career as a composer of 86 minutes magazine. Since then he has directed modern music when still a student at Released July 1, 2004 (Miyazaki Studio Ghibli’s animated feature films the Kunitachi College of Music. He Showcase) Laputa (1986), My composed, performed in and pro- Neighbor Totoro (1988), Kiki’s Delivery duced many concerts, establishing his Kiki’s Delivery Service (Majo no Service (1989), (1992), unique style. Since the film Nausicaä Takkyubin) (1997), and Spirit- of the Valley of Wind, (Hayao Miyazak Original story by Eiko Kadono ed Away (2001). Miyazaki is the author 1984) Hisaishi has composed music Screenplay by Hayao Miyazaki of the books The House Where Totoro for over forty films including director Music by Joe Hisaishi Lives, Shuna’s Journey, Mononoke Hayao Miyazaki’s works, as well as di- Theme songs by Yumi Arai Hime, and From This Point Forward. rector ’s Hana-bi (1997) Produced and directed by Hayao He also serves as executive director of and Kikujiro (1999). Miyazaki the Ghibli Museum, Mitaka. 102 minutes Hisaishi is one of Japan’s leading Released July 1, 2004 (Miyazaki Producer - Toshio composers. His work has won many Showcase) Suzuki awards including the Japanese Acade- my Prize for Best Music, which he has Porco Rosso (Kurenai no Buta) Born in Nagoya, Japan in 1948, Su- won five times. His music for Spirited Original story and screenplay by zuki graduated from Keio University, Away won at the 56th Mainichi Motion Hayao Miyazaki Faculty of Letters in 1972, and joined Picture Awards for Best Music in 2001 Music by Joe Hisaishi Tokuma Shoten Co. Ltd. After working and he won the Tokyo International Theme song performed by Tokiko Kato for the weekly magazine Asahi Geino, Anime Fair Award for Best Music for Produced by Suzuki became one of the founding Theatrical Films. The same soundtrack Directed by Hayao Miyazaki staff of monthly animation magazine was selected at the 16th Japan Gold 93 minutes Gekkan Animage. While working as Disc Awards as the Animation Album Released July 1, 2004 (Miyazaki vice editor and later, chief editor for of the Year 2002. Showcase) this magazine for twelve years, he took part in the production of films by Hayao Miyazaki Princess Mononoke (Mononoke Isao Takahata and Hayao Miyazaki Filmography Hime) such as Nausicaä of the Valley of the Original story and screenplay by Wind (1984), Laputa Castle in the Sky Nausicaä of the Valley of the Wind Hayao Miyazaki (1986), Grave of the Fireflies (1988), (Kaze no Tani no Nausicaä) Music by Joe Hisaishi My Neighbor Totoro (1988) and Kiki’s Original story and screenplay by Produced by Toshio Suzuki Delivery Service (1989). Hayao Miyazaki Directed by Hayao Miyazaki Music by Joe Hisaishi 133 minutes Suzuki was one of the founders of Produced by Isao Takahata Released February 8, 2001 Studio Ghibli in 1985, and has worked Directed by Hayao Miyazaki full-time at the Studio since 1989. 116 minutes Spirited Away (Sen to Chihiro no Suzuki has served as producer for Released July 1, 2004 (Miyazaki Kamikakushi)

Only Yesterday (1991), Porco Rosso Showcase) Original story and screenplay by SCREEN EDUCATION (1992), (1994), Whisper of Hayao Miyazaki the Heart (1995), Princess Mononoke Laputa: Castle in the Sky (Tenku no Music by Joe Hisaishi (1997), My Neighbors the Yamadas Shiro Laputa) Produced by Toshio Suzuki (1999), Spirited Away (2001), The Cat Original story and screenplay by Directed by Hayao Miyazaki Returns and The Ghiblies episode 2 Hayao Miyazaki 125 minutes (2002). He has also served as produc- Music by Joe Hisaishi Released December 12, 2002 er for projects such as ’s Produced by Isao Takahata 6 Suggested Teaching • As a class, read the book Howl’s • Howl’s Moving Castle is an ani- And Learning Moving Castle by Dianna Wynne mated film. Begin a large class Activities Jones. ‘graffiti’ wall chart detailing what • After reading the book, work in students know about animation. List Select from the following activities de- groups of three or four to create: animated films students have seen. pending upon the interests and abili- - an A3 size story map showing Add information as new discover- ties of your students and relevance to key settings from the novel ies are made about the people and your curriculum. - a character profile describing the processes involved in animation. main characters in the novel • Howl’s Moving Castle comes from Before viewing the film - a story ladder showing key events Japan. Work in pairs to record that occur in the novel. Share and what you know about Japan. Work

• As a class discuss and record discuss each group’s work. together to conduct research to SCREEN EDUCATION ideas about what the film might • Work with the same group to sur- enable you to create a short non- be about, based on the film’s title vey teachers, parents and students fiction book providing background Howl’s Moving Castle. What type to find out what they know about information about Japan’s history, of film do you think it will be? Will it the film Howl’s Moving Castle. Ask geography, economy and culture, be happy or sad? Inspiring? Fright- them to explain how they gained including arts. ening? Depressing? What is giving their information. Create a chart you these ideas? summarizing your findings. 7 Opening Middle Closing

Are the setting/s How are they introduced? Do we leave the setting/s? introduced? How?

What characters are How are they developed? What growth or changes introduced? have they experienced?

What problem/s are How are they explored How are they resolved? introduced?

CHART 1 J Character Challenges, conflict Who or what is the How is the con- or problems character in conflict flict overcome or with? resolved?

K

CHART 2

• Challenge students to work in http://www.nausicaa.net/miyazaki/ who the characters are and where groups of three or four to investigate howl/poster.html the film is set. Often, main locations, the life of Miyazaki and to present • Read and discuss the section Writing conflicts or problems, and the story their findings using PowerPoint or a film review. (see page 16) Write or plot is introduced. In the middle of another ICT presentation tool. a draft review of the film Howl’s the film all of these are connected and Moving Castle. Comment upon the explored in greater detail. Finally in the After viewing the film strategy of minimal publicity about end or nearing the end of the film, the the film’s content or story, prior to the conflicts or problems are resolved. We • Complete the included Film film’s release. Do you think this lack call the ending the closing sequence, Response worksheet explaining of information affected the viewing when the story achieves closure. what you liked/disliked about the experience. Explain your response. film and exploring why you think A classic narrative (one with a clearly Miyazaki made this film. Elements of the film defined beginning, middle and end • Distribute the information (on that travels in a linear fashion as the page 16 ) titled ‘Publicity’ Without Several elements come together to story unfolds) is a common form of Publicity to pairs of students along help a film tell a story, for example, storytelling across cultures. However with the related questions. Pro- there needs to be a setting, characters some filmmakers play with and disturb vide time for students to read and and a plot. The plot usually involves a these conventions. respond, then share and discuss problem being resolved and along the responses as a class. way some important ideas or themes • Use a plot outline like the one on • Visit the website below and exam- are explored such as greed, selfish- page 9 to map out the story, or nar- ine the posters and trailers used ness, the futility of war, self-accept- rative, in Howl’s Moving Castle.

throughout the world to publicize ance, love or loyalty. SCREEN EDUCATION this film. Discuss as a class why you think different images, layouts Most people refer to the beginning of and clips are used to promote the a film as the opening sequence or the film. What meanings or messages opening credit sequence. During this are created by each? sequence the film usually establishes 8

CONTINUED ON PAGE 10 HOWL’S MOVING CASTLE

SETTING/S CHARACTERS

PROBLEM/S OR CONFLICT

EVENTS

RESOLUTION SCREEN EDUCATION

9 Plot in the story? Do they help to move the narrative forward? How? All narratives (stories) in films depend • Discuss with your class who you on cause and effect. Characters trig- consider to be the villains in Howl’s ger and motivate a cause, which has a Moving Castle. Are they easy to subsequent effect and so on. Basically identify? Why or why not? Are the a narrative is a chain of events in a villains in this film represented by cause and effect relationship, which characters, or could enemies in takes place in time and space. L this film be described as human failings, lifestyles or actions? Work • Use the headings and questions in pairs to discuss and give exam- in Chart 1 (on page 8) to track and ‘hearts change’. In Miyazaki films many ples from the film to support your explore the narrative flow from the things undergo transformations; parents ideas. opening to the closing sequence of may become pigs (Spirited Away); wiz- Howl’s Moving Castle. ards may become birds of prey; and a Fairytale conventions • Review students’ responses to the young girl may become old overnight. book created earlier (story map, Many of the films we see today, character profile, story ladder). • List the changes or transformations particularly those considered to be Compare these with their respons- that characters in Howl’s Moving fairy tales, have beautiful heroines or es to the film. Castle undergo during the film. handsome heroes. Often romance is In Japanese animation, or anime, • Each of the main characters In involved. characters face complex journeys. Howl’s Moving Castle faces key Their decisions and how they feel or challenges. Use a chart such as • In what way does Howl’s Moving think about their world is often not Chart 2 (page 8) to record these Castle follow or disregard this pat- simple. The stories are often not black challenges and how they are over- tern? and white, there are complex inter- come. Margaret Talbot (see references) com- weaving decisions and actions. The • What discoveries do the charac- ments on various conventions of tradi- ethics or morals of the characters are ters in Howl’s Moving Castle make tional tales and observes that Howl’s full of depth and intricacy. Good and about themselves, and about oth- Moving Castle has the first kiss ever in evil is not so clear-cut. Sometimes the ers, as the plot unfolds? a Miyazaki film. baddies do something good and the goodies behave a little badly. Characterization • The development of romance between Howl and Sophie, unlike According to the Globe and Mail (see • Use a dictionary to look up the many other films, is not shown as references), Miyazaki creates mysti- meaning of the word protagonist. an instant physical attraction, but cal and magical worlds where spiritual Who would you describe as the is so gradual some viewers may and physical transformations occur. key protagonist in Howl’s Moving take a long time to notice that it is His complicated characters are never Castle? What are the meanings of developing. Do you agree? Why or completely good or completely bad. At hero and heroine? Is the protagonist why not? times his characters seem to be in con- in Howl’s Moving Castle a heroine or • As a class discuss how the plot flict with elements of the natural world, hero? Why do you think this? Who of Howl’s Moving Castle reflects a but often we realize the characters are are the other main characters? traditional tale. You might consider in conflict with themselves. Miyazaki’s • Make a list of films you have seen the use of an intense build up of films express sympathy for human fail- that have a female protagonist. tension to create a climax, fol- ings and imperfections, but remind us Ask your parents to name films lowed by a romantic resolution. that humans are capable of change, or from their childhood with female • List elements of Howl’s Moving of revealing another side to their nature. protagonists. Who found this task Castle that fit traditional fairytale easier, you or your parents? As a conventions, for example, magic, • Explain how the concepts of good class discuss why you think this is transformations. Also list elements and bad can be used to refer to the case. of the film that subvert or do not the main characters in Howl’s Mov- • What do you think is the role or seem to fit traditional fairy tale

ing Castle. Do these characters purpose of Turnip, a scarecrow conventions. SCREEN EDUCATION have failings? If so, what are they? who moves about on a pogo-stick- • Often the protagonists in Miyaza- Are these characters capable of like pole? Does Turnip help to ki’s films are girls who are quite or- change? move the narrative forward in any dinary – but who can also be seen way? Explain your ideas. as quite extraordinary. Is this true ‘One thing you can be sure of,’ says • Consider the roles of other key for Sophie? Explain your response. Turnip towards the end of the film, characters. What is their purpose Use a dictionary to find the mean- 10 ings of ordinary and extraordinary then review your response. • What event/s transform Sophie’s life from being ordinary to extraor- dinary?

In traditional fairytales the youngest child is usually the child most likely to succeed when seeking his or her for- tune. Since Sophie is the eldest, she is not likely to have much chance of success, so it is her duty to stay on to work in the family hat shop, which she will most likely inherit one day.

M • Do you think Sophie sees her position as eldest in the family as a burden? Why do you think this? old women are stars with such • If this is the case in Howl’s Mov- Support your opinion with evi- positive qualities? Why do you ing Castle calculate how many dence from the film. think Miyazaki based this film on drawings would be needed for • Do you think Sophie thought that an old woman with these charac- the whole film. You might need a being turned into an old woman teristics? What do you think are calculator! was a good or a bad thing at the the messages of this film? beginning of the film? at the end of • If this film had been a Hollywood In cel animation characters and other the film? Why do you think this? film how do you think it may have moving features are created on trans- ended? Why do you think this is parent sheets called cels. A separate Margaret Talbot reports that Miyazaki the likely ending for a Hollywood background or setting is created, then didn’t want the idea of being old to version of the film? Explain your each time you want to create move- be seen as a bad thing. He believes response by comparing this film ment a new cel drawing is filmed it would be a lie to say that turning with other Hollywood films. against the background. young again would mean living happily ever after. Animation • Create a background and make your own action cels using plastic • What do you think? Are young The art of animation is all about bring- transparency sheets, permanent people happier than old people? ing things to life. Animation is like a pens or oil based paints. Draw a • Do you think Miyazaki showed magic trick or an illusion. It involves storyboard first to plan your cels. that being old has its good points? showing lots of slightly different still • Students can also create flip- Why or why not? images one after the other in quick books to explore animation. • What do you think Sophie learned succession. While there are many Instructions can be found in the by being old? What sort of a ways to animate pictures, they all rely Spirited Away study guide (see grandmother do you think she will on the same idea. When people view references). make when she does become old? lots of such images quickly, one after • If students have access to a video • The character of the old Sophie the other, they are not able to separate camera they could create a simple seems to have greater patience pictures out individually, but are fooled stop motion action. For instruc- and wisdom, more energy, takes into believing they are seeing a moving tions refer to the Spirited Away on greater responsibilities and image. study guide (see references). speaks her mind more confidently. Do you agree or disagree? Give With live action film the camera runs at Anime and manga examples to support your ideas. a constant speed, but with animation, film sequences are built up one frame In Japan, people of all ages go to see Margaret Talbot also reports Miya- at a time. When small changes are Japanese animations, or anime, even zaki’s liking for the way in which the made to each image between shots adults! Anime, once known as Japani- SCREEN EDUCATION witch’s spell transforms Sophie from this is called stop-motion animation. mation, and mangas are both popular an average uncertain, shy and mousy forms of entertainment in Japan. teenager into a forthright, honest and Films usually run at 24 frames per Mangas are Japanese comics. But action-oriented woman. second with each drawing shot for unlike many other comics, mangas are two frames. So, every second of film more like novels with pictures. People • Can you think of other films where needs 12 drawings. everywhere and of all ages read them. 11 There are many different mangas, Japan have never been seen in Aus- film leave on you? pitched at different audiences. Many tralia; although there have been anime of the anime screened on TV or at the films on Australian TV since the 1970s. The anime of Miyazaki demonstrate cinema are based on manga. a broad range of influences including • Ask your parents or carers if they images reflecting the devastation of • Have you read any mangas? remember Astro Boy, Princess war and the more recent ravages of Explain how they are similar to or Knight or Kimba the White Lion industry. Creating a strong contrast, different from other comics. (which the Lion King is reported to many of his fantasies include extraor- • As a class list the Japanese ani- be based on). Osamu Tezuka cre- dinary backgrounds that resemble the mes seen by students, for exam- ated these anime films. Try to view paintings of talented artists, featuring ple, Pokemon or Dragon Ball Z or some of these yourselves. mountains and fields of wildflowers. Sailor Moon. • Conduct some research and write Unlike large Hollywood production • Investigate the folktales of Russian your own definitions of ‘anime’ and studios, early Japanese studios had animators Lev Atamanov and Yuri ‘manga’. small budgets. To save money the ani- Norstein. Explain whether you think mators drew fewer cels. Consequently the work of these animators has in- Many people regard Osamu Tezuka as films had jerky movements and tended fluenced Miyazaki. What other influ- the 'godfather' of anime, and like Mi- to linger on close-ups, often with ex- ences can you detect in his work? yazaki, admire his work. Like Tezuka, treme close-ups filling the screen. Support your ideas with evidence. Miyazaki has produced many mangas. Miyazaki created a beautiful manga In animated films emotions and ideas According to Toshio Suzuki, Miyazaki’s called Nausicaa that ran for over are mostly carried by the expression starting point for a film is often a small twelve years! of characters’ eyes. Large eyes are a visual detail. Five years ago, when Mi- striking feature of many anime char- yazaki read a Japanese translation of When Tezuka’s work screened on TV, acters. the book Howl’s Moving Castle by Di- as now, the voices of characters were ana Wynne Jones, a British author, he dubbed into English rather than having • Compare the eyes of key charac- was immediately taken with the idea subtitles. The American accents of the ters in Howl’s Moving Castle. How of a castle that ambulates around the voice actors still leads some people to do they bring characters to life countryside. ‘The book never explains think these animations are American. and convey feelings, emotions and how it moves, and that triggered his ideas? imagination’, Suzuki recalled. • Discuss: How might the viewing • How do the eyes of characters in experience be affected by listening this film compare with characters He wanted to solve that problem. The to dubbed voices? What advantag- from other Japanese and western first thing he did on the film was to es and disadvantages do subtitles animated films? start to design the castle. How would have over dubbed voices? Do you it move? It must have legs, and he was think it's fair when viewers don't Anime films often look like paintings, obsessed with settling this question. hear the original voices of anime with interesting textures and an almost Would they be Japanese warrior legs? films? Why or why not? 3-dimensional layered appearance, Human-type feet? One day, he sud- even though it is a 2D art form. The denly said, ‘Let’s go with chicken feet!’ Film design backgrounds in anime are often cre- That was, for him, the breakthrough. ated by hand and usually have little Anime are known for their artistic mas- computer-generated work done in From: Talbot, Margaret, Senior fellow, tery in terms of their overall look. The post-production (during editing, after The Auteur of Anime, The New stylized, colourful and vibrant char- the anime is filmed). Yorker, January 17, 2005. http://www. acters often look like live action. This newamerica.net/templets/Documents/ is due to careful selection and crafts- Miyazaki is a traditional artist who print.cfm?pg=article&DocID=2194&P manship related to filmic elements generally avoids using computers for rt=Yes such as camera shots, camera angles his films. Instead hand-drawn anima- and movements of the camera. Anime tions are scanned into a computer. Miyazaki’s worlds are filled with detail. tends to look different to Western Although he has recently begun to Howl’s Moving Castle opens in a animation and the storylines are also incorporate some computer graphics fantasy setting resembling a late-19th SCREEN EDUCATION usually quite different. in his films, he insists that characters century Central European town with and backgrounds are drawn by hand. cobbled lanes and alleyways. The Anime is made for TV and cinema. worlds of Miyazaki are so cleverly Genres and styles vary greatly accord- • What do you remember most created that viewers easily suspend ing to the unique craftsmanship of about the look of Howl’s Moving disbelief, even when they see shark- each animator. Many anime popular in Castle? What impression did the like fighter planes flying overhead and 12 Howl’s odd, rickety castle moving your own special location. Decide • Work with a friend to make a list of about on chicken legs. whether your setting will have a sound effects you remember from fantasy, realism or painterly feel, the film. Why do you think you • Examine the images above. Ex- then provide plenty of detail to show remembered these sound effects? plore the rich detail and comment exactly what your setting is like. How did they contribute to the on the ways these images reflect film story? Do you remember any reality, paintings and/or fantasy. Sound Design scenes where silence was used to • The battle scenes and other scenes create meaning? If so, what mean- of destruction created by Miyazaki The audio part of a film is made up of ing did it create? in Howl’s Moving Castle portray dialogue, sound effects, music and si- grim realism with great detail. lence. This is referred to as the sound Themes and issues within Explain why you agree or disagree design of a film. the narrative with this statement by referring to the film. • What type of music did you notice Margaret Talbot explains that a con- • The rickety castle of Howl provides while you were watching the film? versation with Miyazaki reveals why an incongruous contrast with some Would you describe the music as he is ‘compelled to create imaginary of the beautiful scenery featured in modern, traditional or as some- worlds’. She says he betrayed a pro- the film. Why do you think the fan- thing else? How did the music help found dissatisfaction with modern life, tasy and imagination of some ele- the film to tell its story? Was the complaining, ‘Everything is so thin and ments of the film contrast so greatly music important in understanding shallow and fake’. He lamented that with the realism of other elements? the story? children had become disconnected • Imagine watching Howl’s Moving from nature, and fulminated about the

Howl’s castle not only moves about on Castle with the sound turned off. deadening impact of video games on SCREEN EDUCATION its chicken legs, it has a special door Discuss with your class how this the imagination. Only half in jest, he with a magical dial that allows one to would make you feel as a viewer? said that he was hoping for the day exit to different locations. Why would it have this effect? when ‘developers go bankrupt, Japan Would it make the film seem longer gets poorer, and wild grasses take • Use pastels or paints or a com- or shorter? Why do you think it over’. And the conversation grew only puter drawing program to create would have this effect? darker from there. A man disappoint- 13 Film Setting/s Main character/s Plot Themes or messages

CHART 3 ed, even infuriated, by the ugliness surrounding him, Miyazaki is devoted to making whatever he can control – a museum, each frame of a film – as gorgeous as it can be.

From: Talbot, Margaret, Senior fellow, The Auteur of Anime, The New Yorker, 17 January, 2005. http://www.newa- merica.net/templets/Documents/print. cfm?pg=article&DocID=2194&Prt=Yes N Margaret Talbot also says that Mi- yazaki worries about today’s young people being raised on virtual reality. • Is any of this true of Howl’s Moving aware of the natural world He thinks they spend too much time Castle? How? Use your viewing around us looking at the world through screens experience to provide evidence for - the need to rediscover some of instead of seeing the real world. He is your opinions. life’s simple pleasures. reported to have said, ‘the best thing • Explain your opinions giving exam- would be for virtual reality just to dis- Sophie is moved to tears by the ples from the film. appear. I realize that with our anima- beauty of the setting of the lakeside • Ask students to read over the tion we are creating virtual things, too. inspired by Alsace, and the old mill reviews of the film they created I keep telling my crew “Don’t watch house where Howl spent his lonely earlier. Have them consider how animation! You’re surrounded by childhood. their close analysis of the film has enough virtual things already”.’ modified their earlier impressions. • Explain how the destruction of this Encourage them to re-draft and • It seems Miyazaki believes that beauty adds to the impact of the then polish their reviews for publi- today’s young people are not really war Howl is trying to end. cation in the school newsletter or free. What do you think he means? • In the book version of Howl’s on the school website. Moving Castle Dianna Wynn Jones The complex storylines of Japanese portrays the Witch of the Waste as Hayao Miyazaki says it is not his role anime leave some people confused a stronger villain. Why do you think to educate people about ecology. Yet and needing to view the film again. Miyazaki reduced the villainy of the he does admit he projects his personal Since anime are often based upon Witch and increased the threat of experiences onto his films. mangas, some information can get the war? lost on an audience who hasn’t read • Work in groups to discuss and Several years ago Miyazaki comment- the manga. It is also a part of the record whether you agree that ed that the world is changing enor- Japanese storytelling tradition to base Howl’s Moving Castle highlights mously. He was concerned that Japan stories on metaphors and symbolism, some of the following ideas: was going through a serious reces- so stories often reference spiritual or - the futility of war sion and that terrorism was rising. He abstract matters and ideas. Anime - the need to protect the natural believes the studio must produce work tend to question the ethics and impact environment that is pertinent, that will ask the right of technology on humans and society - the consequences of selfish- questions, provide some answers, and SCREEN EDUCATION and highlight the need for protection ness and vanity give people hope. of the natural environment. They also - the power of love to transform tend to encourage values such as human nature • What do you remember from compassion, loyalty, honesty, truth, - the resiliency of the human Howl’s Moving Castle that you friendship, strength and bravery. spirit in the face of adversity think might relate to Miyazaki’s - the need to become more experiences and passions? 14 • View two or three Miyazaki films. tional wind into the Japanese world of Useful websites Compare and contrast the set- animation!’ tings, characters, plot and themes • http://www.howlsmovingcastle. or messages. Record your obser- What’s your pitch? com.au/ vations in a chart like Chart 3 on • http://www.nausicaa.net/miyazaki/ page 14. Imagine you are an animator with a fan- howl/ • Create a list of problems you think tastic idea for an anime that you hope • http://www.nausicaa.net/miyazaki/ the world has today. Work with a Studio Ghibli will create. Work in teams ghibli/ group of friends to select one of of four to present a ‘pitch’ to them for • http://www.nausicaa.net/miyazaki/ these problems. Create a graffiti a new film. You need to present the fol- disney/ wall of positive words that capture lowing ideas to the studio. They prefer • http://www.nausicaa.net/miyazaki/ ideas to help solve this problem. you to present your pitch in Power- disney/media-coverage.html Display and share graffiti walls with Point, Hyper Studio or another web- • http://www.madman.com.au/ other class members. based program. It will need: • http://www.nausicaa.net/miyazaki/ miyazaki/ GOING FURTHER 1. A 200 word synopsis (what the film • http://www.leemac.freeserve. is about) co.uk/ • Work in groups of three to plan, 2. A character list with names, what discuss and draft 200 – 250 words the characters look like, who they An excellent anime book exploring one of the following top- relate to, their role in the story, and ics: sketches. • Clements J and McCarthy H, The 3. A description of the setting and anime encyclopaedia a guide to 1. Howl’s Moving Castle has been locations with sketches. Japanese animation since 1917, compared with Alice in Wonderland 4. The music, sound effects and Stonebridge Press, Berkeley Cali- and other Alice adventures by Lewis atmospheres to be used in the fornia, 2001 Carroll. Find three examples from sound design. the film and discuss whether this is a 5. The look of the anime in terms of Japanese organizations relevant comparison. texture, colours and form. 6. An outline of the themes and is- • Consulate-General of Japan 2. Howl’s Moving Castle has been sues explored in the story. http://www.melbourne.au.emb-ja- compared with the film The Wizard of pan.go.jp/index.htm Oz. Find three examples from each Work with a partner to create 10 or 15 • Japanese Seminar House film and discuss whether this is a storyboard frames outlining how your http://www.japansh.com/intronew. relevant comparison. film will meet Hayao Miyazaki’s ideals. htm

3. In Howl’s Moving Castle, the lead Design a film poster to meet Hayao This study guide was written for character, Sophie, goes on a journey Miyazaki’s ideals. ATOM by Christine Evely, Education of discovery and ultimately discovers Programmer, Australian Centre for the herself. Use examples from the film to REFERENCES Moving Image. For more information support or disprove this statement. about ATOM study guides, The Educa- • Evely, C, Writing a film review, tion Shop, The Speakers’ Bureau or Studio Ghibli Australian Centre for the Moving Screen Hub (the daily online film and Image, 2005. television newsletter) visit our web Studio Ghibli (pronounced jib-lee) • Stranieri V and Evely C, Spirited site: www.metromagazine.com.au or is a Japanese that Away Study Guide, Issue 29, Aus- email: [email protected] creates extraordinary animated films tralian Screen Education, ATOM, Notice: An educational institution may of the highest quality, led by Miyazaki. 2002. make copies of all or part of this Study Studio Ghibli has developed an artistic • http://www.theglobeandmail.com/ Guide, provided that it only makes and style that is known for detailed back- servlet/story/RTGAM.20050610. uses copies as reasonably required for grounds and realistic humans. whowl0610/BNStory/Entertain- its own educational, non-commercial, ment/, A spirited, fabulist journey, classroom purposes and does not sell Ghibli is an Italian word meaning ‘hot Friday, June 10, 2005. SCREEN EDUCATION or lend such copies. wind blowing over the Sahara Desert’. • http://www.newamerica.net/ Italian combat aircraft and some Ma- templets/Documents/print.cfm?p serati sports cars have also used this g=article&DocID=2194&Prt=YesTa name. In a speech at an international lbot, Margaret, Senior fellow, The animated film festival held in 1995 Auteur of Anime, The New Yorker, Suzuki said that Miyazaki, an aviation January 17, 2005. enthusiast, chose the name to express 15 the sentiment ‘Let’s blow a sensa- ‘Publicity’ Without Publicity

There is always publicity kind understanding. now sixty-three. How can too many details about involved with a film release, he understand how young the film’s story and mes- but we decided to not do What is adequate enough girls today feel? I have been sages? any for this film. Well, to be publicity? We had many dis- working closely with this 4. Do you think the deci- more accurate, we decided cussions involving members old scoundrel for more than sion not to release too not to give any details of the of our staff. More time was twenty-six years, and he is many details about the story or explanations of the spent on this, than on the still inscrutable to me. The film’s story and mes- themes or anything like that. content of the publicity. Isn’t rest, I will leave up to you. sages was a good one? publicity just an opportunity Please watch the film, and Explain why or why not. It was Hayao Miyazaki’s to let people know about we look forward to hear- 5. What do you think the fervent wish that the film a film that is coming out? ing your comments and story is about? Write be viewed unaffected by What’s important is what opinions. one or two paragraphs preliminary knowledge of you say, not how much you explaining your ideas. the film. We thought about say, right? When this self- - Toshio Suzuki, Producer, 6. What do you think are what we have done in the evident opinion was given, Howl’s Moving Castle - the main messages of past, and decided that the an expression of relief lit up the film? Why do you publicity for Spirited Away the staff members’ faces. What do you think? think this? was excessive. Very well, 7. Do you think you need this time, we won’t do the In short, the gist of this film 1. Who provided this infor- to see the film more same! is this: A young girl Sophie mation about the public- than once to understand who thought that life is all ity for Howl’s Moving the story and its mes- Once I made this decision, hard work and boring has a Castle and what is this sages? Explain your I received protests from spell cast on her by a witch, person’s role in relation response. people who are involved in and by being turned into to the film? 8. Would more publicity our productions who sup- an old woman, she learns 2. What type of information about the story and the port our films. We want to some things about herself. about Howls Moving film’s messages have support your film! How can Castle was not provided enhanced your viewing you ignore our offer of co- If I say so myself, this is an before its release? of the film? Why do you operation? I tried to explain entertaining and well-made 3. Why did the filmmakers think this? to each and ask for their film. Hayao Miyazaki is decide not to release

Writing a film review

1. Introduction 2. About the film 3. Opinions story and the effectiveness of the editing. It is helpful to begin a film The opening paragraph usu- Your opinions about the review with important infor- ally gives a summary or syn- film are very important. You 4. Conclusion mation such as: opsis of the film. It generally might say whether you think includes characters’ names the film is telling a believ- Your final paragraph will - title of the film and, in brackets, the actors in able story, by commenting sum up your opinions - name of the Director these roles (or the voices for on how the director has about the film. It is usual to - duration of the film an animation). You might also created the film. You might explain whether you would - live action or animation? comment on the personali- comment on the dialogue recommend it to other - country of production ties of main characters and and action in the script; the people, and if so who you - year of production their roles in the film and performances or acting of think would enjoy it and - b/w or colour? give information about key the cast; the look of the film why.

- screening language settings. An important part of or its production design; SCREEN EDUCATION (language of subtitles, if your film review is describ- how the camera has been Adapted from Evely, C, Writing any) ing what happens in the film. used (shots, angles, camera a film review, Australian Centre - rating. You need to include main movement); whether sound for the Moving Image, 2005. events without giving away (soundtrack, sound effects, any surprises or the ending silence) has been used of the film. effectively to help tell the 16 Film Response

Name: ______Date:______

Film title: ______

Year and country of production: ______

What was the film about? ______

What did you like most about this film? ______

What did you like least about this film? ______

Why do you think the filmmakers made this film? ______

______SCREEN EDUCATION ______17