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The Wind Rises: a Swirling Controversy
16 The Wind Rises: A Swirling Controversy Sean Mowry ‘16 HST 401: World War II in Cinema Professor Alan Allport In the summer of 2013, Japanese recent history, and its messages are director Hayao Miyazaki released his final important to examine. This is especially the movie as a writer and director, The Wind case in the current context of Japanese Rises.55 Miyazaki is a legend in Japanese desires to remilitarize under its cinema, and is often referred to as the “Walt conservative leadership. 56 Disney of Japan.” He is a founder, and the The Wind Rises tells the story of Jiro most famous member of the Tokyo-based Horikoshi, the real life designer of the animation studio, Studio Ghibli, which has Mitsubishi A6M Zero fighter plane, the produced 5 of the 15 highest grossing most famous airplane in Japanese history 57 anime movies in Japanese history. In fact, and an icon of the Pacific War. The film The Wind Rises takes the tenth spot on that begins in Jiro’s childhood dreams as he list, and it also is the highest grossing flies acrobatically in a plane, but above him 58 Japanese film from 2013. This makes the he sees dark clouds hiding aircraft all influence of this movie very prominent in marked with the Nazi Iron Cross. Jiro’s 55 Roy Akagawa, “Excerpts of Hayao Miyazaki’s 57 “Top Grossing Anime,”Box Office Mojo, News Conference Announcing His Retirement,” Accessed December 16, 2015 The Asahi Shimbun , September 6, 2013 http://www.boxofficemojo.com/genres/chart/?id=a http://ajw.asahi.com/article/behind_news/people/A nime.htm J201309060087. -
From the Desk of the Consul-General
From the Desk of the Consul-General Consul-General Dr. Kazayuki Katayama September 2013-August 2015 The Consulate-General of Japan in Detroit Detroit, MI August 2015 From the Desk of Consul General of Japan in Detroit (Preface) I have served for nearly two years as the Consul General of Japan, in my jurisdiction of both Michigan and Ohio, from September, 2013 to August, 2015. I focused on the promotion of economics, politics, culture, public relations education and consular affairs, as well as the expansion of person-to-person exchanges in various areas between Japan and the 2 states. The consulate opened in 1993 and I am the 10th Consul General. During my term, I often visited local governments, companies, universities and colleges, Japanese weekend schools, branches of the Japan-America Society and the Japanese associations in various parts of the 2 states in order to foster the understanding of Japan’s policies, including its foreign policy, among the Americans here. I traveled to Ohio 66 times and Michigan (beyond Metro Detroit) 45 times. I visited universities/colleges 43 times, companies 24 times and Japanese weekend schools 14 times. I recited approximately 110 speeches and lecture and invited guests to my residence, to serve them Japanese food and Sake, about 200 times. My goals in participating in these activities were twofold. First, I aimed to convince Americans that Japan is a trustworthy and strong partner to the U.S. Second, I earnestly set out to provide quality services to local Japanese residence and portray the Consulate General as both conscientious and dependable. -
(XXXV:12) Hayao Miyazaki the WIND RISES (2014), 126 Min
November 14, 2017 (XXXV:12) Hayao Miyazaki THE WIND RISES (2014), 126 min. (The online version of this handout has color images and hot urls.) ACADEMY AWARDS, 2014 Nominated for Best Animated Feature DIRECTED BY Hayao Miyazaki WRITTEN BY Hayao Miyazaki (comic & screenplay) PRODUCED BY Naoya Fujimaki, Ryoichi Fukuyama, Kôji Hoshino, Nobuo Kawakami, Robyn Klein, Frank Marshall, Seiji Okuda, Toshio Suzuki, Geoffrey Wexler MUSIC Joe Hisaishi CINEMATOGRAPHY Atsushi Okui FILM EDITING Takeshi Seyama ART DIRECTION Yôji Takeshige SOUND DEPARTMENT Howard Karp (dialogue editor), Koji Kasamatsu (sound engineer) Eriko Kimura (adr director), Scott Levine, Michael Miller, Cheryl Nardi, Renee Russo, Brad Semenoff, Matthew Wood Stanley Tucci…Caproni ANIMATION DEPARTMENT Hiroyuki Aoyama, Masaaki Endou, Mandy Patinkin…Hattori Taichi Furumata, Shôgo Furuya, Makiko Futaki, Hideki Hamazu, Mae Whitman…Kayo Horikoshi / Kinu Shunsuke Hirota, Takeshi Honda, Kazuki Hoshino, Fumie Imai, Werner Herzog…Castorp Takeshi Imamura, Yoshimi Itazu, Megumi Kagawa, Katsuya Jennifer Grey…Mrs. Kurokawa Kondô, Tsutomu Kurita, Kitarô Kôsaka William H. Macy…Satomi Hiroko Minowa Zach Callison…Young Jirô Madeleine Yen…Young Nahoko CAST (all cast are voice only) Eva Bella…Young Kayo Hideaki Anno…Jirô Horikoshi Edie Mirman…Jirô's Mother Hidetoshi Nishijima…Honjô Darren Criss…Katayama Miori Takimoto…Naoko Satomi Elijah Wood…Sone Masahiko Nishimura…Kurokawa Ronan Farrow…Mitsubishi Employee Mansai Nomura ...Giovanni Battista Caproni David Cowgill…Flight Engineer Jun Kunimura…Hattori Mirai Shida…Kayo Horikoshi HAYAO MIYAZAKI (b. January 5, 1941 in Tokyo, Japan) grew up Shinobu Ohtake ...Kurokawa's Wife surrounded by planes. His father was the director of Miyazaki Morio Kazama…Satomi Airplane, a manufacturing concern that built parts for Zero Keiko Takeshita…Jirô's Mother fighter planes. -
Mitsubishi A6m Zero
MITSUBISHI A6M ZERO JAMES D’ANGINA ABOUT THE AUTHOR AND ILLUSTRATOR JAMES D'ANGINA is the former Curator for the US Army's Air Defense Artillery Museum, Fort Bliss, and has written multiple articles for the US Air Force and the US Marine Corps. This is his third book for Osprey. ADAM TOOBY is an internationally renowned digital aviation artist and illustrator. His work can be found in publications worldwide and as box art for model aircraft kits. He also runs a successful illustration studio and aviation prints business. AVG 19 Inner Cover v2.indd 1 MONO AIR VANGUARD 19 MITSUBISHI A6M ZERO JAMES D’ANGINA AVG 19 v7.indd 1 23/06/2016 14:50 COLOUR This electronic edition published in 2016 by Bloomsbury Publishing Plc AUTHOR’S NOTE I would like to thank the following individuals for their contribution First published in Great Britain in 2016 by Osprey Publishing, towards this volume: Dr Ian Spurgeon, military historian; Mr Stephen PO Box 883, Oxford, OX1 9PL, UK Ove, USAF historian; Mrs Sayaka Higa, Kadena Air Base, Public Affairs. 1385 Broadway, 5th Floor, New York, NY 10018, USA Also, I would like to thank the staff at the Pacific Aviation Museum, Pearl Harbor, and the staff of the National Museum of Naval Aviation E-mail: [email protected] Pensacola. I want to thank my family for their patience with me while writing this volume. Any errors found within this volume are the sole Osprey Publishing, part of Bloomsbury Publishing Plc responsibility of the author. © 2016 Osprey Publishing Ltd. All rights reserved You may not copy, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or by any means (including without limitation electronic, digital, optical, mechanical, photocopying, printing, recording or otherwise), without the prior written permission of the publisher. -
Miyazaki's New Animated Film and Its Antiwar Pacifism: the Wind Rises
COMMENTARY: Miyazaki’s new animated film and its antiwar pacifism: The Wind Rises ( Kaze Tachinu ) Daisuke Akimoto 1 Abstract The latest Ghibli animation film, ‘The Wind Rises’ (Kaze Tachinu ) released on 20 July 2013, illustrates a ‘difficult time to live’ during which the Japanese people suffered from the Great Kanto earthquake that killed 10,000 people, worldwide economic depression that resulted in high unemployment rates, and the following Second World War. Miyazaki stated that the film does not attempt to ‘denounce’ war or to beautify the Japanese Zero Fighter plane, but to portray a Japanese young man who chased his dream and cherished his love despite the difficult age he lived in. Although Miyazaki might have intended to make an apolitical animation, his viewpoint on Japan’s involvement in the Pacific War is that “it was wrong from the beginning” but also “useless to blame Jiro for it”. However, Japan’s ‘war responsibility’ as an important historical lesson should not be forgotten. ‘The Wind Rises’ has a clear message for the Japanese constitutional revision debate, especially the revision of Article 9. Key words : Antiwar pacifism, Film review, Miyazaki animation, War responsibility. This is a review 2 of the Japanese animation film directed by Hayao Miyazaki from Studio Ghibli, released in 2013, in 126 minutes. It has been about two years since the release of the previous animation film by Studio Ghibli, ‘From the Red Poppy Hill’ (Kokuriko zaka kara ) which nostalgically depicted the “good old days of Japan” (Askew, 2013). By contrast, the latest Ghibli animation film, ‘The Wind Rises’ (Kaze Tachinu ) released on 20 July 2013, illustrates a “difficult time to live” (ikiru noni tsurai jidai ) during which the Japanese people suffered from the Great Kanto earthquake that killed 10,000 people, worldwide economic depression that resulted in high unemployment rates, and the following Second World War (Miyazaki, 2011a). -
Mitsubishi A6M Zero Ebook Free Download
MITSUBISHI A6M ZERO PDF, EPUB, EBOOK James DAngina | 64 pages | 18 Oct 2016 | Bloomsbury Publishing PLC | 9781472808219 | English | New York, United Kingdom Mitsubishi A6M Zero PDF Book Many Zeros were converted to kamikaze craft in the closing months of the war. Claire Lee Chennault had to notice. To me this is part of the Zero story. Fighters of the 20th Century. By reversing the turn sharply after each attack the leader may get a shot at the enemy while he is climbing away or head on into a scissor if the Jap turns to meet it. In response, the Japanese Navy recalled many veteran fighter pilots back to Japan to train replacements. Traces of both Japanese and American paint can be found on the fuselage and the cockpit, though partly stripped, yields much useful information. Nevertheless, when the first A6M2 was completed in January , the Sakae's extra power pushed the performance of the Zero well past the original specifications. Aircraft of World War Two. By , the performance of the Zero and the quality of its pilots were on irreversible downward spirals. Conquerors of the Air. Only one prototype was produced. United States: iUniverse, Inc.. Jablonski, Edward. Even if the US losses don't match Japanese claims we know that after this engagement, US pilots had instant respect for the George and it's pilots looked upon F6F Hellcats as relatively easy prey. Apparently his warnings were ignored as the superiority of the A6M was a complete surprise to the American forces. Wikimedia list article. Retrieved: 13 October The airplane that started the Pacific war was no longer able to fight it—nor was the nation that conceived it. -
“Lost Inside Empire”: Self-Orientalization in the Animation and Sounds of Hayao Miyazaki’S the Wind Rises
SARE, Vol. 57, Issue 1 | 2020 ______________________________________________ “Lost Inside Empire”: Self-Orientalization in the Animation and Sounds of Hayao Miyazaki’s The Wind Rises Travis R. Merchant-Knudsen North Carolina State University, North Carolina, USA Abstract Japan as a colonial power at the beginning of the twentieth century fell outside of the Eurocentric empires of the West. However, the country found itself preoccupied with ways of elevating its status in the hope of being equal to and, eventually, surpassing the West. The Wind Rises (2013), an anime film written and directed by Hayao Miyazaki, tells the story of Jiro Horikoshi, an aeronautical engineer who created the Mitsubishi A6M Zero used by the Japanese Empire during World War II. The animation and the sound design of the film are two formal elements that paint Jiro as a pacifist with a desire to create airplanes. It is a portrayal of an individual aspiring to be disparate from a colonial power, but the narrative suggests that it is, perhaps, impossible to completely align oneself outside of the imperial force of the Japanese Empire. The article explores how The Wind Rises, through the formal elements of anime and its sound design, carefully navigates Japan’s historical and colonial tensions. Key Words: Miyazaki, self-Orientalization, Japanese, anime, sound, narrative Introduction As Jiro Horikoshi (Hideaki Anno) dreams upon a patch of grass in Japan, he visualizes Italian planes and the man who made them, Giovanni Battista Caproni (Nomura Mansai). The boundary of space disappears, and Jiro recognizes his dream to make planes at the level of Caproni — not for war but the beauty of aeronautics. -
INSTRUMENT of SURRENDER We, Acting by Command of and in Behalf
INSTRUMENT OF SURRENDER We, acting by command of and in behalf of the Emperor of Japan, the Japanese Government and the Japanese Imperial General Headquarters, hereby accept the provisions set forth in the declaration issued by the heads of the Governments of the United States, China, and Great Britain on 26 July 1945 at Potsdam, and subsequently adhered to by the Union of Soviet Socialist Republics, which four powers are hereafter referred to as the Allied Powers. We hereby proclaim the unconditional surrender to the Allied Powers of the Japanese Imperial General Headquarters and of all Japanese armed forces and all armed forces under the Japanese control wherever situated. We hereby command all Japanese forces wherever situated and the Japanese people to cease hostilities forthwith, to preserve and save from damage all ships, aircraft, and military and civil property and to comply with all requirements which my be imposed by the Supreme Commander for the Allied Powers or by agencies of the Japanese Government at his direction. We hereby command the Japanese Imperial Headquarters to issue at once orders to the Commanders of all Japanese forces and all forces under Japanese control wherever situated to surrender unconditionally themselves and all forces under their control. We hereby command all civil, military and naval officials to obey and enforce all proclamations, and orders and directives deemed by the Supreme Commander for the Allied Powers to be proper to effectuate this surrender and issued by him or under his authority and we direct all such officials to remain at their posts and to continue to perform their non-combatant duties unless specifically relieved by him or under his authority. -
Misubishi ZERO SEN 52” Wing Span Plan. (Alternative 45” Plan Included)
Misubishi ZERO SEN 52” Wing Span Plan. (Alternative 45” plan included) The Mitsubishi A6M Zero was a long-range fighter aircraft operated by the Imperial Japanese Navy Air Service (IJNAS) from 1940 to 1945. The A6M was designated as the Mitsubishi Navy Type 0 Carrier Fighter (零式艦上戦闘機 rei-shiki-kanjou-sentouki?), and also designated as the Mitsubishi A6M Rei-sen and Mitsubishi Navy 12-shi Carrier Fighter. The A6M was usually referred to by the Allies as the "Zero", from the 'Navy Type 0 Carrier Fighter' designation. The official Allied reporting name was Zeke. When it was introduced early in World War II, the Zero was considered the most capable carrier-based fighter in the world, combining excellent maneuverability and very long range.[1] In early combat operations, the Zero gained a legendary reputation as a dogfighter, achieving the outstanding kill ratio of 12 to 1,[2] but by mid-1942 a combination of new tactics and the introduction of better equipment enabled the Allied pilots to engage the Zero on more equal terms.[3] The IJNAS also frequently used the type as a land-based fighter. By 1943, inherent design weaknesses and the increasing lack of more powerful aircraft engines meant that the Zero became less effective against newer enemy fighters that possessed greater firepower, armor, and speed, and approached the Zero's maneuverability. Although the Mitsubishi A6M was outdated by 1944, it was never totally supplanted by the newer Japanese aircraft types. During the final years of the War in the Pacific, the Zero was used in kamikaze operations.[4] In the course of the war, more Zeros were built than any other Japanese aircraft.[5] Misubishi ZERO SEN 52” Wing Span Plan. -
War Memory, War Responsibility, and Anti-War Pacifism in Director Miyazaki's the Wind Rises (Kaze Tachinu)
45 論 説 War Memory, War Responsibility, and Anti-War Pacifism in Director Miyazaki's The Wind Rises (Kaze Tachinu) Daisuke Akimoto Assistant Professor Soka University Peace Research Institute Abstract The latest Miyazaki animation film, The Wind Rises (Kaze Tachinu) animated by Studio Ghibli Japan, released on 20 July 2013, illustrates a ‘difficult time to live’ during which the Japanese people suffered from the Great Kanto earthquake that killed 10,000 people, worldwide economic depression that resulted in high unemployment rates, and the following Second World War. Director Miyazaki stated that the film does not attempt to‘ denounce’ war or to beautify the Japanese Zero Fighter plane, but to portray a Japanese young man who chased his dream and cherished his love despite the difficult age he lived in. Although Miyazaki might have intended to make an apolitical animation, his viewpoint on Japan's involvement in the Asia Pacific War is that‘ It was wrong from the beginning’ but also‘ useless to blame Jiro for it’. The film The Wind Rises, furthermore, has a clear 46 message for the Japanese constitutional revision debate, especially the revision of Article 9. This paper reviews this animation film as a last will of Director Miyazaki in the light of war memory, war responsibility, as well as Miyazaki's anti-war pacifism. Keywords: Asia Pacific War, anti-war pacifism, memory of war, war responsibility Introduction: This is an academic review of the Japanese animation film directed by Hayao Miyazaki from Studio Ghibli, released on 20 July 2013, in 126 minutes (Akimoto 2013a). It has been about two years since the release of previous animation film by Studio Ghibli, From the Red Poppy Hill (Kokuriko Zaka Kara) which nostalgically depicted the‘ good old days of Japan’ (Askew 2013). -
Seeing with Eyes Unclouded Representations of Creativity in the Works of Hayao Miyazaki
Seeing With Eyes Unclouded Representations of Creativity in the Works of Hayao Miyazaki By Jonathan R. Lack Examination Committee Melinda Barlow Advisor and Honors Council Representative Film Studies Ernesto Acevedo-Muñoz Film Studies Paul Strom Honors Date of Defense: November 3 rd , 2014 Table of Contents Abstract 3 Prologue: To See With Eyes Unclouded Charting a path of creative reflexivity in the films of Hayao Miyazaki 5 Endnotes 22 Chapter One: Enveloped in Tenderness Kiki’s Delivery Service and the journey towards a creative spirit 26 Endnotes 48 Chapter Two: Country Roads Whisper of the Heart and the search for home 52 Endnotes 79 Chapter Three: Vapor Trail Rectifying the kingdom of cursed dreams in The Wind Rises 84 Endnotes 122 Epilogue: Always With Me Applying the lessons of Hayao Miyazaki’s creative reflection 133 Bibliography 142 Abstract Though Japanese animation director Hayao Miyazaki is best known for creating imaginative fantasy and adventure features, he has also, on multiple occasions, directly engaged with realistic, contemporary, or historical settings in films that examine everyday human issues and present reflexive musings on the nature of creativity. This study explores how Miyazaki represents creativity in relation to fundamental aspects of the human condition through close analysis of three of these films: Kiki’s Delivery Service (1989), Whisper of the Heart (1995, Dir. Yoshifumi Kondo, written by Hayao Miyazaki), and The Wind Rises (2013). Each of these works explores creativity as a dynamic and multifaceted force, and gives way to larger discussions of how individuals find, define, and maintain their personal voice or talent in a world that is complex, demanding, and imbalanced. -
Seeing with Eyes Unclouded: Representations of Creativity in the Works of Hayao Miyazaki Jonathan R
University of Colorado, Boulder CU Scholar Undergraduate Honors Theses Honors Program Fall 2014 Seeing With Eyes Unclouded: Representations of Creativity in the Works of Hayao Miyazaki Jonathan R. Lack University of Colorado Boulder, [email protected] Follow this and additional works at: http://scholar.colorado.edu/honr_theses Part of the Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Lack, Jonathan R., "Seeing With Eyes Unclouded: Representations of Creativity in the Works of Hayao Miyazaki" (2014). Undergraduate Honors Theses. Paper 726. This Thesis is brought to you for free and open access by Honors Program at CU Scholar. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of CU Scholar. For more information, please contact [email protected]. Seeing With Eyes Unclouded Representations of Creativity in the Works of Hayao Miyazaki By Jonathan R. Lack Examination Committee Melinda Barlow Advisor and Honors Council Representative Film Studies Ernesto Acevedo-Muñoz Film Studies Paul Strom Honors Date of Defense: November 3 rd , 2014 Table of Contents Abstract 3 Prologue: To See With Eyes Unclouded Charting a path of creative reflexivity in the films of Hayao Miyazaki 5 Endnotes 22 Chapter One: Enveloped in Tenderness Kiki’s Delivery Service and the journey towards a creative spirit 26 Endnotes 48 Chapter Two: Country Roads Whisper of the Heart and the search for home 52 Endnotes 79 Chapter Three: Vapor Trail Rectifying the kingdom of cursed dreams in The Wind Rises 84 Endnotes 122 Epilogue: Always With Me Applying the lessons of Hayao Miyazaki’s creative reflection 133 Bibliography 142 Abstract Though Japanese animation director Hayao Miyazaki is best known for creating imaginative fantasy and adventure features, he has also, on multiple occasions, directly engaged with realistic, contemporary, or historical settings in films that examine everyday human issues and present reflexive musings on the nature of creativity.