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THE PROJECT WAS MADE FOR NON-COMMERCIAL USE AND EDUCATION PURPOSE ONLY. ALL MATERIALS BELONG TO THEIR OWNERS.
THE PROJECT WAS MADE FOR NON-COMMERCIAL USE AND EDUCATION PURPOSE ONLY. ALL MATERIALS BELONG TO THEIR OWNERS.
Hayao is a master who creates not just movies, not just anime, and not even just masterpieces. He creates phenomena
MIYAZAKI'S
UNIQUENESS
MIYAZAKI WORLD
MIYAZAKI WORLD
Hayao is a master who creates not just movies, not just anime, and not even just masterpieces. He creates phenomena
MIYAZAKI'S
UNIQUENESS
Miyazaki never wrote a screenplay. At most, he had a general idea of what the film would be about. He doesn’t think in terms of events, but in terms of characters.
Hayao sees a character in front of him, his environment, and imagines in his head what could happen. The image that his imagination has created, he immediately sketches in pencil and watercolor.
Hayao sees a character in front of him, his environment, and imagines in his head what could happen. The image that his imagination has created, he immediately sketches in pencil and watercolor.
Miyazaki never wrote a screenplay. At most, he had a general idea of what the film would be about. He doesn’t think in terms of events, but in terms of characters.
MIYAZAKI'S CARTOONS ARE ESSENTIALLY A STREAM
OF CONSCIOUSNESS TRANSFERRED TO PAPER
OF CONSCIOUSNESS TRANSFERRED TO PAPER
CHARACTERS
The main characters in most of Miyazaki’s films were children and girls. It was important for the master to show the inner strength of his characters, not their outer strength.
MIYAZAKI'S CARTOONS ARE ESSENTIALLY A STREAM
OF CONSCIOUSNESS TRANSFERRED TO PAPER
OF CONSCIOUSNESS TRANSFERRED TO PAPER
CHARACTERS
The main characters in most of Miyazaki’s films were children and girls. It was important for the master to show the inner strength of his characters, not their outer strength.
Miyazaki wanted to convey to children that real strength is not in muscles, but in mental beauty. And it's through it that you can cope with anything
Hayao Miyazaki made cartoons primarily for children, so his main characters are role models through which he wanted to convey his values. Hayao Miyazaki’s great goal was to restore children’s faith in miracles and to teach them to dream.
Miyazaki wanted to convey to children that real strength is not in muscles, but in mental beauty. And it's through it that you can cope with anything
Hayao Miyazaki made cartoons primarily for children, so his main characters are role models through which he wanted to convey his values. Hayao Miyazaki’s great goal was to restore children’s faith in miracles
and to teach them to dream.
and to teach them to dream.
MAGICAL CREATURES
This term is used to refer to demons, spirits, ghosts, and even animate ancient furniture, such as the ancient myth of the «living» umbrella, which is more than a hundred years old.
The universe of Miyazaki’s films is populated by all kinds of creatures, from talking frogs to gods. Almost all of them are based on characters from Japanese folklore called «yokai».
A giant, furry beast that rattles through the woods and makes strange sounds like «to-to-ro»
A water dragon transforming
into a cute green-haired young man who, risking his life, saves Chihiro from paper birds
into a cute green-haired young man who, risking his life, saves Chihiro from paper birds
An unusual creature with 12 paws and moon's eyes, incorporating both the mythology of Bakeneko and the Cheshire Cat from
«Alice in Wonderland»
«Alice in Wonderland»
The forest spirits who live
in the trees, like the ancient Greek Dryads. If you hear echoes in the woods, it's probably them
in the trees, like the ancient Greek Dryads. If you hear echoes in the woods, it's probably them
The deity Shishigami, the forest spirit in the form of a deerby
day and the huge wanderer Daidarabochi by night
day and the huge wanderer Daidarabochi by night
Grandpa stoker or Tsuchigumo are a species of spider-like yokai demons in Japan, vicious mythological creatures
The anthropomorphic cat
Baron Humbert von Dzingen
is a statuette in an antique shop, when the light falls on him successfully, his eyes seem
to fill with life
Baron Humbert von Dzingen
is a statuette in an antique shop, when the light falls on him successfully, his eyes seem
to fill with life
A powerful wizard and master
of the Walking Castle who made a mysterious deal with the fiery demon Calcifer. A blue-eyed blond, pacifist and «devourer
of maidens' hearts»
of the Walking Castle who made a mysterious deal with the fiery demon Calcifer. A blue-eyed blond, pacifist and «devourer
of maidens' hearts»
Mountain witch Baba-Yaga
or Yamauba in Japanese,
steals names and turns
into a huge scary bird
or Yamauba in Japanese,
steals names and turns
into a huge scary bird
The faceless god Kaonashi is one of the most mysterious beings who has no face and whose counterparts do not exist
in Japanese folklore
in Japanese folklore
Her real name is Brunhilde,
a magical red mermaid fish capable of transforming into human and causing hurricanes. The daughter of the powerful sorcerer Fujimoto and the sea goddess Gan-maru
a magical red mermaid fish capable of transforming into human and causing hurricanes. The daughter of the powerful sorcerer Fujimoto and the sea goddess Gan-maru
A grumpy, but not evil sorcerer, Father Ponyo. He often panics and can be very emotional. Claims to have once been human, but can't stand people
A giant, furry beast that rattles through the woods and makes strange sounds like «to-to-ro»
A water dragon transforming
into a cute green-haired young man who, risking his life, saves Chihiro from paper birds
into a cute green-haired young man who, risking his life, saves Chihiro from paper birds
An unusual creature with 12 paws and moon's eyes, incorporating both the mythology of Bakeneko and the Cheshire Cat from
«Alice in Wonderland»
«Alice in Wonderland»
The forest spirits who live
in the trees, like the ancient Greek Dryads. If you hear echoes in the woods, it's probably them
in the trees, like the ancient Greek Dryads. If you hear echoes in the woods, it's probably them
The deity Shishigami, the forest spirit in the form of a deerby
day and the huge wanderer Daidarabochi by night
day and the huge wanderer Daidarabochi by night
Grandpa stoker or Tsuchigumo are a species of spider-like yokai demons in Japan, vicious mythological creatures
The anthropomorphic cat
Baron Humbert von Dzingen
is a statuette in an antique shop, when the light falls on him successfully, his eyes seem
to fill with life
Baron Humbert von Dzingen
is a statuette in an antique shop, when the light falls on him successfully, his eyes seem
to fill with life
A powerful wizard and master
of the Walking Castle who made a mysterious deal with the fiery demon Calcifer. A blue-eyed blond, pacifist and «devourer
of maidens' hearts»
of the Walking Castle who made a mysterious deal with the fiery demon Calcifer. A blue-eyed blond, pacifist and «devourer
of maidens' hearts»
Mountain witch Baba-Yaga
or Yamauba in Japanese,
steals names and turns
into a huge scary bird
or Yamauba in Japanese,
steals names and turns
into a huge scary bird
The faceless god Kaonashi is one of the most mysterious beings who has no face and whose counterparts do not exist
in Japanese folklore
in Japanese folklore
Her real name is Brunhilde,
a magical red mermaid fish capable of transforming into human and causing hurricanes. The daughter of the powerful sorcerer Fujimoto and the sea goddess Gan-maru
a magical red mermaid fish capable of transforming into human and causing hurricanes. The daughter of the powerful sorcerer Fujimoto and the sea goddess Gan-maru
A grumpy, but not evil sorcerer, Father Ponyo. He often panics and can be very emotional. Claims to have once been human, but can't stand people
THAT THESE CREATURES LOOK LIKE IS MIYAZAKI'S IMAGINATION. IN MYTHOLOGY, ONLY THE ESSENCE OF THE YŌKAI IS DESCRIBED, AND IN THE VAST MAJORITY OF CASES, HAYAO INVENTED THE FORMS THEY CAN TAKE ON HIS OWN
THAT THESE CREATURES LOOK LIKE IS MIYAZAKI'S IMAGINATION. IN MYTHOLOGY, ONLY THE ESSENCE OF THE YŌKAI IS DESCRIBED, AND IN THE VAST MAJORITY OF CASES, HAYAO INVENTED THE FORMS THEY CAN TAKE ON HIS OWN
NATURE
Of course, this is a highly simplified view of nature, but nevertheless, the main idea is conveyed through the image of Totoro very clearly: if a person treats nature with love, respect and admiration, then nature will treat him similarly, opening for him a world of miracles and magic.
The image of nature in Miyazaki's films can be associated with Totoro, the kindest forest spirit. It's not for nothing that Totoro became the logo of Studio Ghibli
Miyazaki’s nature is a full-fledged character, not just a background for the main characters actions. The characters interact with nature, and to a large extent it is the way they behave that shows Miyazaki’s own attitude toward these characters.
NATURE
Of course, this is a highly simplified view of nature, but nevertheless, the main idea is conveyed through the image of Totoro very clearly: if a person treats nature with love, respect and admiration, then nature
will treat him similarly, opening for him a world of miracles and magic.
will treat him similarly, opening for him a world of miracles and magic.
The image of nature in Miyazaki's films can be associated with Totoro, the kindest forest spirit. It's not for nothing that Totoro became the logo of Studio Ghibli
Miyazaki’s nature is a full-fledged character, not just a background for the main characters actions. The characters interact with nature, and to a large extent it is the way they behave that shows Miyazaki’s own attitude toward these characters.
PROGRESS
It’s all about how technology interacts with the world around it. The robot and the castle do no harm and live in perfect harmony, so Miyazaki has no complaints about them. Moreover, Hayao is irrevocably and uncompromisingly in love with aviation technology.
In fact, the way Miyazaki zealously defends nature over technology does not mean that he is an absolute enemy of progress. The robot in Laputa’s Celestial Castle, for example, as well as Howl’s walking castle are positive characters, even though they are a direct manifestation of progress.
It’s all about how technology interacts with the world around it. The robot and the castle do no harm and live in perfect harmony, so Miyazaki has no complaints about them. Moreover, Hayao is irrevocably and uncompromisingly in love with aviation technology.
PROGRESS
In fact, the way Miyazaki zealously defends nature over technology does not mean that he is an absolute enemy of progress. The robot in Laputa’s Celestial Castle, for example, as well as Howl’s walking castle are positive characters, even though they are a direct manifestation of progress.
The main thing in the master's picture of the world is balance, the sacred there must be harmony in everything. The question of balance is one of the main ideological principles that the great Hayao Miyazaki conveys through his paintings
POST
SCRIPTUM
The main thing in the master's picture of the world is balance, the sacred there must be harmony in everything. The question of balance is one of the main ideological principles that the great Hayao Miyazaki conveys through his paintings
POST
SCRIPTUM
In his cartoons, he creates worlds that balance on the edge between fantasy and reality. Even the most impossible things here are worked out in such detail and fit so seamlessly into the environment that you want to believe in them.
Each of Hayao Miyazaki's films is complete and self-contained. But all together they create a harmonious universe that cannot be confused with anything else
Of course, the goal of animation has never been to directly imitate real life. The beauty of animation is the expanded possibilities of the real world. And Miyazaki makes jewel-like use of this functionality. But even more jewel-like, he fills reality with fictional details.
In his cartoons, he creates worlds that balance on the edge between fantasy and reality. Even the most impossible things here are worked out in such detail and fit so seamlessly into the environment that you want to believe in them.
Each of Hayao Miyazaki's films is complete and self-contained. But all together they create a harmonious universe that cannot be confused with anything else
Of course, the goal of animation has never been to directly imitate real life. The beauty of animation is the expanded possibilities of the real world. And Miyazaki makes jewel-like use of this functionality. But even more jewel-like, he fills reality with fictional details.
