|
|
This is only a preview of the paper
Click here to register and get the full text.
Existing members click here to login
|
|
|
... The director being discussed in this essay is Hayao Miyazaki, a well-respected and greatly talented Japanese director of animated films.
Miyazaki is probably one of the most influential directors of Japanese animation - or anime - of all time, with his distinctive drawing style and strong story-telling prevailing in all of his works to date, even the ones where there may not necessarily have been much room for originality and individuality, such as Castle Of Cagliostro (Japan 1979; Hayao Miyazaki), merely one in a long line of animated features about Arsene Lupin III, creation of the artist Monkey Punch - a gentleman thief and probably the closest to an animated Japanese James Bond there is. Combined with an almost anal attention to detail and stunning looking animation, there is little doubt that Miyazaki is an auteur, despite directors of animation not usually being considered in this way.
Films directed by Miyazaki often have an overall epic feel to them, usually ending on an optimistic note that all but states the story is not ending; rather, the next chapter is just beginning. Consistency of theme shows itself in plots such as those in Princess Mononoke (Japan 1997: Hayao Miyazaki), Kaze No Tani No Nausicaa (Japan 1984; Hayao Miyazaki) and, to a slightly lesser extent, Tenku No Shiro Laputa (Japan 1986; Hayao Miyazaki), which tend to feature two sides in opposition and a young protagonist or two attempting to bring peace to all. ...
It is therefore unsurprising, with plots on such grand scale as these, that Miyazaki films are often, as previously stated, epic adventures of such an all-engulfing nature, that the audience cannot help but become involved and enthralled. ...
Another standard character featured in Miyazaki films is a strong, older female character. ... However, two dimensional characters are almost non-existent in the Miyazaki universe and we later discover that her aggressive personality is driven by the fact she has previously lost limbs, notably her right arm and leg, to the Ohmu and she desires revenge more than anything. ...
It is common knowledge among anime fans that Miyazaki is a rare male feminist in the world of anime (much of which usually has more 15-year old school-girls in short skirts than is strictly necessary! ...
Other recurring characteristics of Miyazaki films are more nature-orientated than the three stock human characters discussed above. ...
In complete contrast to the basic character designs, the landscapes created by Miyazaki are often sweeping, lush and beautiful, the ones in Princess Mononoke being a particularly well portrayed and breath-taking example. ...
A little-known fact about Princess Mononoke is that Miyazaki himself drew, or at least edited in some way, eighty thousand of the one hundred and forty four thousand cels needed to bring the film to life. This suggests that perhaps Miyazaki is more of an auteur than, for example, Hitchcock, who may have appeared in all his own films but never seemed to be as anal about as many frames as Miyazaki.
Approximate Word count = 2365
Approximate Pages = 9.5
(250 words per page double spaced)
|
|
|
|
|
|