Animated Ecosophy

Total Page:16

File Type:pdf, Size:1020Kb

Animated Ecosophy アニメーションにおける生態学的哲学 Animated Ecosophy A dissertation by Alexander Forsey BA (Hons) Graphic Design Still from Nausicaä of the Valley of the Wind (1984). Published by Alexander Forsey in Falmouth, England March 2020 Type used is Ghibli by Eyad Al-Samman Designed & produced by the author Animated Ecosophy: To what extent is ecosophical theory published in the 20th century applicable to animated media produced by Studio Ghibli between 1984–2015. (6289 words) Chapter 1: Introduction of theory 1.1 - Ecology, ecosophy & kinship (p.2) 1.2 - The Gaia Hypothesis & animism (p.3) 1.3 - Land Ethic (1949) & Silent Spring (1962) [p.6] Chapter 2: Application of theory 2.1 - Historical context & eco-cosmopolitanism (p.14) 2.2 - Studio Ghibli & Nausicaä of the Valley of the Wind (1984) [p.14] 2.3 - Animism & Pom Poko (1994) [p.18] 2.4 - Further animism within Spirited Away (2001) & Princess Mononoke (1997) [p.22] 2.5 - Nature & Ronja, the Robber’s Daughter (2014–2015) [p.25] 2.6 - The ocean & Ponyo (2008) [p.26] 2.7 - Conclusions (p.29) Parting notes (p.35) Further watching (p.36) 第 1章:理 論 の 紹 介 Chapter 1: Introduction of theory 1.1 - Ecology, ecosophy & kinship viewpoint of the Earth and its resources existing purely for our benefit; whilst Deep Ecology argues that every living organism has inherent worth irrespective of Author’s note: The addition of images to Chapter 1 was potential benefit, though this is up to interpretation, done post-submission for the sake of publication. with Næss writing in 1990 “I do not think it is desirable to do more than tentatively suggest what might be the In the following dissertation I will be exploring the essential ingredients of a deep ecology theoretical point recurring theme of ecological coexistence within Studio of view” (Devall and Næss, 2010). An example of a Ghibli’s animated portfolio (1984–2014), and comparing deep ecological relationship can often be observed best it against philosophical and ecosophical theories within indigenous tribes and communities, untouched proposed throughout the 20th century, identifying by consumerism and greed, but perhaps most notably direct correlations and potential applications. within aboriginal tribes, where anthropomorphism of the natural environment plays a key role in illustrating The term ecology refers to a branch of biology that their belief system. This extension of the moral compass specialises in the interactions and relationships beyond anthropocentrism towards the subjectivity of between living organisms to both each other and nature is referred to as philosophical post-humanism, their environment (Random House, 2005). The an antithesis of humanism (emphasis on human value) roots of ecology can be traced back to Aristotelian [English Wiktionary, Unknown]. observational philosophy in the 4th century, before evolving into a more scientific realm in the 18th and The fundamentals of deep ecology and philosophical 19th centuries (Egerton, 2001). Charles Darwin is post-humanism for some imply an associative kinship, widely known for nurturing the notion of evolution and a belief that all nature maintains commonality ecology in its infancy (Darwin 1859) and growing it into (Cambridge University Press, 1995) and therefore value a form more closely related to what people understand (to some). Whilst perhaps an idealistic notion, it also today. It’s important to note the relationship between faces challenges from the viewpoint that if everything ecology and environmentalism when discussing either. holds equal value, then it also holds no value at the However whilst a distinct overlap exists, the terms are same time. If an expensive/luxury item is suddenly not interchangeable. Ecology refers to a more scientific made free and widely available to the masses, by viewpoint, while environmentalism refers to a more definition it doesn’t maintain its luxury status. The philosophical one. The term ecosophy (ecological + attribution of value to an object is arguably a social philosophy) has instead been proposed as a middle construct, but by the same logic attribution of value to ground, being described by Norwegian philosopher a river, a plant, or even a person is too. If one foregoes Arne Næss (one of the key figures attributed with the idea of equal value, and instead looks at it from coining and developing the term) as a philosophy of a quantitative perspective, then how can value be “ecological harmony or equilibrium” (Drengson and measured? By the pleasure it gives us (utilitarianism)? Inoue, 1995). In cultures that practice Hinduism cows are regarded Næss (1912–2009) is widely associated with fathering as sacred, but in the UK 2.6 million are slaughtered the modern Scandinavian environmental movement, each year for meat (Humane Slaughter Association, but also for his teachings relating to the relationship unknown). Which attribution of value is correct? In between Earth and its inhabitants. When illustrating the context of cultural relativism- the idea that a ecosophy Næss described a distinct difference in how culture’s traditions and beliefs cannot be judged from we interact with our home, separating approaches the position of another, invalidating the existence of or into either shallow or deep forms of ecology (Næss need for external moral absolutes (Oxford, Unknown), and Sessions, 1984). Shallow Ecology refers to a more neither is; but if the idea of cultural relativism was exploitative and surface-level relationship, with a 2 created out of a necessity to address disparities regarded to scientists as a weak and unfounded between cultures from an ethical standing, is kinship argument, with little evidence of self-regulation even possible in the face of sometimes very stark existing. Unlike the credibility of the theory however, cultural differences? One prominent thinker, French the fantastical and sometimes horrific notion of an anthropologist (study of humans) Claude Lévi-Strauss adaptive and self-sustaining planet became a popular proposed that all cultures are connected by immutable trope across many international creative sectors structures. Later referred to as structural anthropology, throughout the latter half of the 20th century. Lévi-Strauss’ theory suggested that as a result of these inherent structures, seemingly unique cultural The attribution of essence to an inanimate object traditions often had equivalent practises elsewhere, is often referred to as animism (derived from the often as a result of homology (independently developed Latin word anima, translated loosely to life or spirit) systems derived from common ancestors) [Lévi-strauss, [Oxford Latin Dictionary, 1982], and despite being 1974]. In the context of ecology and kinship, despite observed predominantly in religious cultures has our sometimes immeasurable differences, cultures are seen a resurgence within modern environmentalist linked by a deeper, hereditary connection. movements as a vehicle for positive change, and in one case, resulted in the attribution of personhood 1.2 - The Gaia Hypothesis & upon a lake. In February 2019, following decades of abuse at the hands of local farmers, Lake Erie in Ohio animism became a legally recognised person. Local residents of Toledo drafted an impassioned plea advocating for the The view of the planet as a whole, living being can be necessity of action before the lake became unsaveable, traced back to Greek and Roman mythology, but would after water access was stopped during a heat wave later be revisited in the 20th century within the work following a phosphorous leak in 2014 (Macfarlane, of James Lovelock & Lynn Margulis, who in the 1970’s 2019). In a capitalism-dominated, western civilisation put forward the Gaia Hypothesis (Lovelock, 1967). with little presence of more environmentally conscious Named after the Greek goddess and personification religions such as Buddhism, the action of the Toledo of the Earth, it proposes that the Earth exists and residents to protect the lake stands out a notable operates as a unified and complex system, built up of victory for the validity of contemporary western both living and non-living organisms. Living in synergy environmentalism. Similar application of personhood with its inhabitants, the Earth is able to self-regulate its to natural objects has been observed globally, ranging conditions to maintain a state of habitable homoeostasis from cultural reasons, such as the Whanganui River irrespective of adversity (Lovelock and Margulis, 1974). in New Zealand, ancestral home to many Maori tribes Under this theory, it’s sometimes proposed that in (Warne 2019); to a necessity to protect the entirety the face of human-caused ecological stress the planet of nature, as included in the constitution of Ecuador can adapt accordingly. This observation is inherently (GARN, 2008). harmful and to an extent promotes the sustainability In Articles 71–74 of their 2008 Constitution, the of a shallow ecological belief system. There’s also a country decreed that “nature, or Pacha Mama [Mother distinctly selfish and anthropocentric narrative woven Nature], where life is reproduced and occurs, has into the Gaia Hypothesis, leading to the question of who the right to integral respect for its existence and for the optimal conditions for survival are for? Humans? the maintenance and regeneration of its life cycles, Animals? Bacteria? Given the irreversible harm humans structure, functions and evolutionary processes.” have caused to the planet, could climate change be (Ecuadorian Constituent Assembly, 2008) Drafted over the
Recommended publications
  • La Notion ''D'habiter'' Ou Comment Aborder En Classe Les Spécificités
    La notion ”d’habiter” ou comment aborder en classe les spécificités des occupations géographiques humaines à travers l’animation japonaise Audrey Jaux To cite this version: Audrey Jaux. La notion ”d’habiter” ou comment aborder en classe les spécificités des occupations géographiques humaines à travers l’animation japonaise. Education. 2017. hal-02386034 HAL Id: hal-02386034 https://hal-univ-fcomte.archives-ouvertes.fr/hal-02386034 Submitted on 29 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Mémoire présenté pour l’obtention du Grade de MASTER “Métiers de l’Enseignement, de l’Education et de la Formation” Mention 1er Degré Professeur des Ecoles Sur le thème La notion « d’habiter », ou comment aborder en classe les spécificités des occupations géographiques humaines à travers l’animation Japonaise. Projet présenté par Audrey Jaux Directeur Professeur : Michel Vrac (Ecole supérieure du professorat et de l'éducation. ESPE Montjoux) Numéro CNU : 23 Année universitaire 2016-2017 1 Remerciements : A Michel VRAC pour la richesse de documentation qu’il m’a proposé et pour sa disponibilité et son aide.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power
    View metadata, citation and similarbrought COREpapers to youat core.ac.ukby provided by University of Tasmania Open Access Repository 1 Wings and Freedom, Spirit and Self: How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power Shadow (BA Hons) 195408 Submitted in fulfilment of the requirements for the Degree of Masters of Journalism, Media and Communications University of Tasmania June, 2015 2 Declaration of Originality: This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of the my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. X Shadow Date: 6/10/2015 Authority of Access: This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. X Shadow Date: 6/10/2015 3 Declaration of Copy Editing: Professional copy was provided by Walter Leggett to amend issues with consistency, spelling and grammar. No other content was altered by Mr Leggett and editing was undertaken under the consent and recommendation of candidate’s supervisors. X Shadow Date: 6/10/2015 4 Contents Abstract ...................................................................................................................................... 7 CHAPTER 1 .............................................................................................................................
    [Show full text]
  • Hayao Miyazaki Film
    A HAYAO MIYAZAKI FILM ORIGINAL STORY AND SCREENPLAY WRITTEN AND DIRECTED BY HAYAO MIYAZAKI MUSIC BY JOE HISAISHI THEME SONGS PERFORMED BY MASAKO HAYASHI AND FUJIOKA FUJIMAKI & NOZOMI OHASHI STUDIO GHIBLI NIPPON TELEVISION NETWORK DENTSU HAKUHODO DYMP WALT DISNEY STUDIOS HOME ENTERTAINMENT MITSUBISHI AND TOHO PRESENT A STUDIO GHIBLI PRODUCTION - PONYO ON THE CLIFF BY THE SEA EXECUTIVE PRODUCER KOJI HOSHINO PRODUCED BY TOSHIO SUZUKI © 2008 Nibariki - GNDHDDT Studio Ghibli, Nippon Television Network, Dentsu, Hakuhodo DYMP, Walt Disney Studios Home Entertainment, Mitsubishi and Toho PRESENT PONYO ON THE CLIFF BY THE SEA WRITTEN AND DIRECTED BY HAYAO MIYAZAKI Running time: 1H41 – Format: 1.85:1 Sound: Dolby Digital Surround EX - DTS-ES (6.1ch) INTERNATIONAL PRESS THE PR CONTACT [email protected] Phil Symes TEL 39 346 336 3406 Ronaldo Mourao TEL +39 346 336 3407 WORLD SALES wild bunch Vincent Maraval TEL +33 6 11 91 23 93 E [email protected] Gaël Nouaille TEL +33 6 21 23 04 72 E [email protected] Carole Baraton / Laurent Baudens TEL +33 6 70 79 05 17 E [email protected] Silvia Simonutti TEL +33 6 20 74 95 08 E [email protected] PARIS OFFICE 99 Rue de la Verrerie - 75004 Paris - France TEL +33 1 53 01 50 30 FAX +33 1 53 01 50 49 [email protected] PLEASE NOTE: High definition images can be downloaded from the ‘press’ section of http://www.wildbunch.biz SYNOPSIS CAST A small town by the sea. Lisa Tomoko Yamaguchi Koichi Kazushige Nagashima Five year-old Sosuke lives high on a cliff overlooking Gran Mamare Yuki Amami the Inland Sea.
    [Show full text]
  • Tesis.Pdf (13.00Mb)
    Programa de Doctorado en Ciencias Sociales y Jurídicas Escuela Internacional de Doctorado 2018 TESIS DOCTORAL Lidia Esteban López Sofia López Hernández, Mario Rajas Fernández y Eduardo Rodríguez Merchán Antonio Sánchez-Escalonilla García-Rico En el transcurso de los últimos dos años han fallecido dos apasionados de la música y el cine sin los que esta tesis hubiera sido completamente distinta. A uno de ellos nunca llegué a conocerlo, al menos no más allá de lo que uno puede conocer a alguien a través de su obra. Se trata de Isao Takahata, protagonista de las próximas páginas. Con el otro sí tuve la fortuna de coincidir. Eduardo Rodríguez Merchán, director inicial de este trabajo de investigación, me dijo que hablara de música, quiso que analizara las películas que más me gustaban (“si estás dispuesta a aprender japonés...”). Pero además fue espectador de mis conciertos, y compartió su sonrisa cálida y sus consejos cercanos en tardes de merienda y cine. No puedo por menos que agradecer enteramente esta tesis a un amigo. I. INTRODUCCIÓN ............................................................................ 1 1. Elección del tema de investigación ............................................ 1 2. Introducción a Studio Ghibli ...................................................... 5 3. Proceso de producción y conceptos básicos ............................ 11 II. METODOLOGÍA ........................................................................... 17 1. Objetivos ................................................................................
    [Show full text]
  • Yoshioka, Shiro. "Princess Mononoke: a Game Changer." Princess Mononoke: Understanding Studio Ghibli’S Monster Princess
    Yoshioka, Shiro. "Princess Mononoke: A Game Changer." Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. By Rayna Denison. London: Bloomsbury Academic, 2017. 25–40. Bloomsbury Collections. Web. 25 Sep. 2021. <http:// dx.doi.org/10.5040/9781501329753.ch-001>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 01:01 UTC. Copyright © Rayna Denison 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. 25 Chapter 1 P RINCESS MONONOKE : A GAME CHANGER Shiro Yoshioka If we were to do an overview of the life and works of Hayao Miyazaki, there would be several decisive moments where his agenda for fi lmmaking changed signifi cantly, along with how his fi lms and himself have been treated by the general public and critics in Japan. Among these, Mononokehime ( Princess Mononoke , 1997) and the period leading up to it from the early 1990s, as I argue in this chapter, had a great impact on the rest of Miyazaki’s career. In the fi rst section of this chapter, I discuss how Miyazaki grew sceptical about the style of his fi lmmaking as a result of cataclysmic changes in the political and social situation both in and outside Japan; in essence, he questioned his production of entertainment fi lms featuring adventures with (pseudo- )European settings, and began to look for something more ‘substantial’. Th e result was a grave and complex story about civilization set in medieval Japan, which was based on aca- demic discourses on Japanese history, culture and identity.
    [Show full text]
  • "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.
    [Show full text]
  • Elements of Realism in Japanese Animation Thesis Presented In
    Elements of Realism in Japanese Animation Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By George Andrew Stey Graduate Program in East Asian Studies The Ohio State University 2009 Thesis Committee: Professor Richard Edgar Torrance, Advisor Professor Maureen Hildegarde Donovan Professor Philip C. Brown Copyright by George Andrew Stey 2009 Abstract Certain works of Japanese animation appear to strive to approach reality, showing elements of realism in the visuals as well as the narrative, yet theories of film realism have not often been applied to animation. The goal of this thesis is to systematically isolate the various elements of realism in Japanese animation. This is pursued by focusing on the effect that film produces on the viewer and employing Roland Barthes‟ theory of the reality effect, which gives the viewer the sense of mimicking the surface appearance of the world, and Michel Foucault‟s theory of the truth effect, which is produced when filmic representations agree with the viewer‟s conception of the real world. Three directors‟ works are analyzed using this methodology: Kon Satoshi, Oshii Mamoru, and Miyazaki Hayao. It is argued based on the analysis of these directors‟ works in this study that reality effects arise in the visuals of films, and truth effects emerge from the narratives. Furthermore, the results show detailed settings to be a reality effect common to all the directors, and the portrayal of real-world problems and issues to be a truth effect shared among all. As such, the results suggest that these are common elements of realism found in the art of Japanese animation.
    [Show full text]
  • Cineclubuned 24.Pdf
    Asociación Cultural UNED SORIA Presidente Saturio Ugarte Martínez Vicepresidente Carmelo García Sánchez Secretario José Jiménez Sanz Tesorero Cristina Granado Bombín Vocales Mª Desirée Moreno Pérez Anselmo García Martín Jesús Labanda Izquierdo Dario García Palacios Coordinador Carmelo García Sánchez 24 Secciones Pantalla Grande Curso Programación y Textos Roberto González Miguel (RGM) 2017.2018 José María Arroyo Oliveros (JMA) Julián de la Llana del Río (JLLR) Ángel García Romero (AGR) Miradas de Cine Programación y Textos Roberto González Miguel (RGM) José María Arroyo Oliveros (JMA) Edita Soria de Cine Asociación Cultural UNED. Soria Selección y Textos Julián de la Llana del Río (JLLR) D.L. So-159/1994 Cineclub UNED c/ San Juan de Rabanera, 1. 42002 Soria. t. 975 224 411 f. 975 224 491 Colaboradores [email protected] www.cineclubuned.es Colaboración especial Susana Soria Ramas Pedro E. Delgado Cavilla © Fotografías: Alberto Caballero García Cabeceras: Unsplash (diferentes autores) Peliculas: Distribuidoras Producción Audiovisual Visorvideo. Victor Cid (www.visorvideo.tv) Diseño Gráfico/Maqueta Roberto Peña (www.elprincipiokiss.es) Impresión Arte Print Otras colaboraciones José Reyes Salas de proyección Centro Cultural Palacio de la Audiencia (Plaza Mayor) Casa de la Tierra- UNED. (c/ San Juan de Rabanera, 1). 24 OCTUBRE NOVIEMBRE DICIEMBRE ENERO i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do i Lu Ma M Ju Vi Sa Do 01 01 02 03 04 05 01 02 03 01 02 03 04 05 06 07 02 03 04 05 06 07 08 06 07 08 09 10 11 12 04 05 06 07
    [Show full text]
  • Stimulating Thought Rather Than Appetite: on TAKAHATA Isao's Animation Aesthetics
    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.
    [Show full text]
  • LES ÉMOTIFS ANONYMES Un Film De Jean-Pierre Améris
    SOUVENIRS DE MARNIE Un film réalisé par Hiromasa Yonebayashi produit par Yoshiaki Nishimura, Koji Hoshino, Studio Ghibli Durée 103 min. Sortie le 28 Janvier 2015 Dossier de presse: http://www.frenetic.ch/fr/espace-pro/details//++/id/1004 Relations presse Verleih Eric Bouzigon FRENETIC FILMS AG prochaine sa Bachstrasse 9 • 8038 Zürich Tel. 079 320 63 82 Tel. 044 488 44 00 • Fax 044 488 44 11 [email protected] www. Frenetic.ch L’HISTOIRE Anna, jeune fille solitaire, vit en ville avec ses parents adoptifs. Un été, elle est envoyée dans un petit village au nord d’Hokkaïdo. Dans une vieille demeure inhabitée, au cœur des marais, elle va se lier d’amitié avec l’étrange Marnie… NOTE D’INTENTION Par Hiromasa Yonebayashi, réalisateur et scénariste Il y a deux ans, Suzuki-san m’a conseillé de lire un livre intitulé When Marnie Was There. C’était un classique anglais de la littérature pour enfants qui figurait aussi sur la liste des lectures recommandées par Miyazaki-san. Suzuki-san m’a suggéré d’en faire une adaptation au cinéma. Je me suis d’abord dit qu’il serait difficile à adapter. J’ai beaucoup apprécié ma lecture, j’ai été ému par l’histoire, mais ce qui fonctionnait à la perfection en tant qu’œuvre littéraire me paraissait difficile à transcrire sous forme visuelle. Le livre tire sa force du dialogue entre Anna et Marnie. C’est à travers leurs conversations que l’on perçoit les variations des sentiments et de l’état d’esprit des personnages, et c’est là que se situe le plaisir du roman.
    [Show full text]
  • 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.
    [Show full text]