Miyazaki Hayao primary school studies in Utsunomiya primary school from grade one to grade three. Later, they moved back to Tokyo and went to school in Tokyo. 1947, Miyazaki Hayao's mother suffered from tuberculosis and stayed in bed for nine years. From the movie My Neighbor Totoro, we can see the shadow of the gloomy days of the Miyazaki Hayao family.
1958, The Legend of the White Snake, the first full-length color film animation in Japanese film history, was released. Miyazaki Hayao, who was a senior three student at that time, was fascinated by this film, and he became interested in animation. Miyazaki Hayao used to like to draw some warships and planes, but he was not very good at drawing people. He also decided to become a cartoonist.
After graduating from high school, Miyazaki Hayao entered Tokyo University, majoring in political economy. 1963, graduated from Miyazaki Hayao University and entered the animation work of Dongying. The first work involved in the production was the theatrical animation "Wan Wan Zhong Chen Tibet", which was released in June 5438+February of the same year. Then Miyazaki Hayao participated in the first TV animation "Wolf Child Ken" produced by Dongying for the first time.
At that time, some of his plans were often rejected, but Miyazaki Hayao stuck to his ideals. After watching the Russian cartoon Snow Queen, Miyazaki Hayao's creative enthusiasm was even higher. Later, he recalled: "I saw how cautious and cherished animation is ... animation is a pure and simple art, and we can express it through imagination ... its power will not be lost to other art forms such as poetry, novel or drama.
1964, Miyazaki Hayao became the secretary general of Dongying Animation Labor Association, and Gog was the vice chairman of the association at that time (it is said that Miyazaki Hayao was a socialist). That year, Miyazaki Hayao started dating his colleague, Miss Ota. /kloc-in the autumn of 0/965, Miyazaki Hayao volunteered to help the production team of "Prince of the Sun" directed by Gao Che to do the scene design and original painting. In the same year 10, Miyazaki Hayao married Miss Jumei Ota, and they had their first son in 1967 1 0. After Prince of the Sun 1968 was released, Miyazaki Hayao and his wife participated in the production of puss in boots. In the second year, the two men participated in the production of "Flying Thunder Boat". 1April, 969, the second son was born.
197 1 year, Miyazaki Hayao left Japan Animation to work in A-Pro with Gao 'an and Yoichi Oda. 1973, the animated film Panda, which he and Gao Jihe filmed, was released. In this work, Miyazaki Hayao has four roles-original case, script, scene design and original painting, and his personal style has been greatly exerted. In June, Miyazaki Hayao, Gaucher and Kotabe joined Zuiyo Picture as soon as they left A-Pro. In July, Miyazaki Hayao went to Switzerland to shoot location, seeking inspiration for his next work Heidi in the Alps, where he served as scene design and picture composition. 1975 went to Italy and Argentina for location shooting, prepared to make "Looking for Mother in Three Thousand Miles" and served as a scene designer.
1978, Miyazaki Hayao's first work was broadcast on NHK, which was well received. This film shows Miyazaki Hayao's thoughts and style greatly. 1979 entered the Tokyo Film News Agency, and 1980 directed "The City of Kalliostolo of Lubang III" (theatrical version), which once again showed the adventurous film style of "future teenagers". 1982 The long cartoon "Valley of the Wind" began to be serialized in Animage magazine of Dede Bookstore, and this cartoon was serialized to 1994. 1982165438+10, quit Tokyo Film News Agency and became a freelance writer.
From 65438 to 0983, the animated version of The Valley of the Wind was planned, with Gao Ge as the producer and Topcraft Studio responsible for the whole film production. In July of the same year, Miyazaki Hayao's mother died at the age of 7 1 year.
1March, 984, the cinema animation "Valley of the Wind" was released, which was rich in imagination and profound in content, and shocked the audience and the whole film industry. In April, Miyazaki Hayao and Gao Tianxun jointly founded the "Two Horses" Club.
1985, Studio Ghibli was founded and began to produce "City of the Sky". Miyazaki Hayao has been working in Studio Ghibli since City in the Sky. Up to now, My Neighbor Totoro, The Witch's Home Delivery, Listen, Red Pig, Take your positions, and The Recently Ghost Princess have been made one after another.
Miyazaki Hayao began to draw cartoons when he was a child, and worshipped the cartoonist Osamu Tezuka. However, in the later creative process, he found that he had only painted a replica of Osamu Tezuka, and no matter how hard he tried, he could not break through the shackles. Therefore, Miyazaki Hayao criticized Osamu Tezuka's cartoons for undermining the development of Japanese animation industry.
Dance with God and seek salvation.
-Appreciation of the Japanese film Spirited Away.
"Chihiro? This name is very nice. "
"You should cherish your name."
It is worth noting that in Miyazaki Hayao's film Spirited Away, people's names have received unprecedented attention. The story of Chihiro is entangled in the gains and losses of this name from beginning to end. Once upon a time, naming everything was a patent for human beings. Now, the naming rights of human beings have been controlled by the gods. It shows that human beings are losing their legal identity endowed by history. They forgot to give themselves to others because of selfishness. Therefore, Chihiro is atoning for mankind.
Reflection on the human world is the eternal theme of Miyazaki Hayao's films. This is why we are more accustomed to treating his works as art films rather than children's cartoons. He keeps deepening the impression that human beings have been offending some gods. They must pay a heavy price for it. But they can also make up for it with love.
Chihiro just wants to know how to remove the pig magic from his parents. At the same time, she also wants to find her childhood love. Once again, we find that almost all works of art pursue the power of emotion. Hanazono Sakura had to care about the White Dragon and the masked man in order to get a chance to atone for his parents. This is also a hint: the hope of human beings lies in kindness.
The city of dreamland is a place where immortals take a bath and rest. Bathroom as a narrative context is intriguing. This is not only because there are several basic binary opposites, such as God (bather) and man (bather), cleanliness and pollution, beauty and ugliness. These opposing concepts gathered around the bathroom, forming the context of the story. In the dark shadow, the bathroom also constitutes a closed hierarchical place. There, human beings lost their inherent social status, frogs and chickens rose to be gods, and people could only serve as the lowest slaves. But in fact, they have always been human sacrifices. This contradictory identity setting shows the director's subversion of human egoism. Miyazaki Hayao's films always endow nature with divinity. Similarly, Princess Ghost shows the relationship between man and nature. Every tree in the forest has a soul, and the forest and the animals in the forest are gods. When the head of the forest god was cut off, all the trees and grass died. Nature is sacred, so are those animals slaughtered by others. Ignoring nature is contempt for the gods and will be punished.
On the other hand, as representatives of slaves, Chihiro and Bailong are resisting the newly established new authority.
Hegel said that the real self-awareness is not the master, but the slave. Because slaves have a sense of their own abilities compared with masters who rely on slaves to obey. Hanazono Sakura and White Dragon are completely self-conscious images. From the beginning, Bailong broke through Tang's ban, gave her a lot of help, gave her advice on her work, took her to see her parents, reminded her to remember her name, taught her how to survive in this place, and asked Tang to keep his promise and lift her parents' spell. Chihiro's self-awareness is manifested in her determination to save her parents, her attitude towards Luo Shen, and taking the train to ask for help when Tang wanted to kill Bailong. While devoting ourselves to others, we have reached a unity with others. The basis of resisting self-alienation is unity. This unity is established by the sense of ability.
As the ruler of the Oil Palace, Tang has a strong desire for possession and control. In order to maintain their power, those in power will inevitably fall into self-loneliness. Tang is always cruel to others, but gentle and considerate to the baby. This is not surprising. Without emotional support, she will not only alienate herself. She needs to rely on her children to get rid of autism. When the fake baby shows three heads, he is hysterical, and his hair and beard are white, just like a real neuropathy. By borrowing Tang, the director tried to blame the expansion of selfish desires caused by human inner vanity. Humans are neither masters nor slaves; But should always live in harmony with nature.
Loneliness is obviously a social problem with modern characteristics that Miyazaki Hayao wants to express. Masked men are the embodiment of loneliness. He wore a mask and a black cloak, and the image of a person standing silently in the rain was fresh in his memory. "No, no, I'm so lonely." Masked people try hard to hide their masks, which is an emphasis on autism. Gadamer said that loneliness is a kind of injury. The phenomenon of self-alienation is similar to loneliness. Alienation is always based on initial trust, and experience is a growing sense of strangeness. This is neither separation nor relationship breakdown, but a growing sense of insecurity, which makes people who were once very close inaccessible. The masked man hopes to regain friendship and intimacy. But apart from Chihiro, others only established an exchange relationship with him. They gave him food not to communicate with him, but to rob him of his money. Besides Chihiro, Chihiro is the only one who refuses self-alienation. And this is the basis of eliminating loneliness. Indeed, the whole human society is facing material invasion, and the spiritual world is becoming barren. Compared with previous works, the profundity of Spirited Away's theme is unprecedented. Show an artist's self-examination consciousness about the future of mankind.
The masked man vomited wildly upstairs and downstairs after taking Luo Shen's pills. In connection with a bath of Luo Shen, we must thoroughly investigate the metaphor behind the filth. In Miyazaki Hayao's films, there are often such detailed descriptions of dirty scenes. The question is, what is his purpose in attracting the audience's attention to filth? Cultural researchers believe that pollution is manifested as dislocation, that is, it destroys the sense of arrangement and leads to pollution. And the destruction of order will cause crisis and fear. Extremely dirty exudes a kind of power, which makes the viewer feel awe. Remind them why they are dirty: masked people eat so hard because of loneliness that they vomit; Luo Shen stinks because he has a lot of artificial garbage in his body; The wild boar in "Ghost Princess" became a demon because it was cornered by human beings, and countless bugs were born in its body. Their filth is forced. From the visual effect of the film, filth also adds interest to the film. Dirty is a fear without blood, which can arouse the excitement of the audience.
In order to save Bailong, I had to take the train to get money. The train is another important image. A two-section intercity train waded in, with its wheels completely submerged and only its body sliding. Blue sea and white clouds dot the sky, and it is unclear whether it is on the water or in the clouds; I can't tell whether it's from the sky or the ground. The train runs silently from day to night. The passengers all went down, and finally Chihiro and the masked man were left sitting quietly without talking. The long journey, the scarcity of passengers and the relatively quiet atmosphere have aggravated the loneliness of masked people. The train is not a symbol of home, it represents the journey and constant wandering, and the homelessness of masked people also indicates the fate of loneliness and wandering of urbanites. But at the same time, lyrical music and Chihiro's gesture of looking out of the window illustrate another kind of feeling, that is, love for the white dragon. These two emotions influence and transform each other. The love for the white dragon deepens the loneliness of the masked man, and loneliness also sets off the more precious love for Chihiro.
With great efforts, Qian forgave the White Dragon and lifted the baby's spell. Chihiro finally remembered the name of White Dragon. A name is a metonymy for people. Names are related to identity, freedom and personality, and are the embodiment of identity. Restoring your name means regaining your identity. And only love is the only way to salvation. Finally, the director pinned his hope of saving mankind on Chihiro. It was her bravery and selflessness that brought back the white dragon, the masked man, the baby and her parents. Because of love, human beings can be endless and full of hope.
Throughout the Miyazaki Hayao series of animated films, its remarkable style is self-evident. First, the mythological background is indispensable. Whether it is My Neighbor Totoro, Little Witch Express, Ghost Princess or Sky City, the sacred world always exists as a part of the human world. However, the relationship between the two hovers between cooperation and confrontation. Nature represented by animals is in a lofty position. It shows the director's Confucian philosophy of harmony between man and nature. Second, represented by Spirited Away, the young girl occupies the position of the hero. However, unlike feminism, the images of these girls show the aura of divinity (only Chihiro is a rare figure without magic). They often appear as saviors or heroes, full of invincible kindness and virtue. Finally, Miyazaki Hayao's animated films bear aesthetic values beyond their forms of expression. Compared with Disney, his works always reflect some important life issues. It is full of all kinds of intriguing symbols, such as forests, tribes, trains, gods and so on. Therefore, we can always feel that Miyazaki Hayao's works have infinite explanatory significance.