SPIRITED AWAY PICTURE BOOK HC

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Elley, Derek (18 February 2002). "Spirited Away Review". Variety. Archived from the original on 3 February 2021 . Retrieved 2 September 2011. Spirited Away contains critical commentary on modern Japanese society concerning generational conflicts and environmental issues. [39] Chihiro has been seen as a representation of the shōjo, whose roles and ideology had changed dramatically since post-war Japan. [39] Just as Chihiro seeks her past identity, Japan, in its anxiety over the economic downturn occurring during the release of the film in 2001, sought to reconnect to past values. [38] In an interview, Miyazaki has commented on this nostalgic element for an old Japan. [40] There’s some entertaining interviews and descriptions from the art and animation team which animation/Ghibli (esp Miyazaki) fans will find amusing, and aspiring creators will find instructive and illuminating. When there are stills from the film, they’re well-chosen, high quality and relevant to the chapter- not haphazard. There’s a good balance of writing to pictures, feeling neither like the publishers got stingy about putting full colour printing throughtout, nor that they threw together a bunch of pictures and added text to justify releasing a book at all (I’m looking at you, Star Wars and Disney tie-ins!).

The 25 Best Films of the 21st Century So Far". The New York Times. 9 June 2017. ISSN 0362-4331. Archived from the original on 8 July 2017 . Retrieved 12 June 2017.Cavallaro, Dani (2006). The Animé Art of Hayao Miyazaki. Jefferson, N.C.: McFarland & Co. ISBN 9780786423699.

Japanese philosophy plays a huge role in Spirited Away, specifically through concepts like Kami and principles like Mottainai and On. [41] The concept of Kami, for instance, involves various spirits that each represent different elements and aspects of nature. The principle of Mottainai, which is deeply ingrained in Japanese culture, embodies a sense of regret towards waste, valuing the complete utilization of an object or resource. While the principle of On, a key tenet of Japanese ethics that signifies a sense of moral indebtedness, plays a significant role in Chihiro's character development. Studio Ghibli in general has always been interested in environmental themes," says Clements. "Part of it is born out of their own genuine concerns for the environment, and partly it's a geographical awareness born from the fact that the studio itself is based in a new town in the Tama Hills that used to be open countryside. You get a sense of that most poignantly in [Studio Ghibli co-founder] Isao Takahata's Pom Poko (1994), when the creatures briefly return the town to the way it looked before the trees were cut down and the ponds filled in. Miyazaki's Spirited Away (CD). Milan Records. 10 September 2002. Archived from the original on 19 February 2015. The Top 25 Animated Movies of All-Time". IGN Entertainment. Archived from the original on 13 April 2012 . Retrieved 6 May 2010.Spirited Away 2021 Re-release (Spain)". Box Office Mojo. Archived from the original on 9 July 2021 . Retrieved 30 June 2021. Ebert, Roger (20 September 2002). "Spirited Away". Chicago Sun-Times. Archived from the original on 27 September 2011 . Retrieved 16 February 2023. Miyazaki's film setting encapsulates his commentary on modern Japanese values and the erosion of cultural heritage. The bathhouse, situated within an abandoned theme park, symbolizes Japan's distorted cultural identity. This once-traditional locale is marred by neon signs and Westernization, exemplifying cultural degradation. Early scenes highlight economic concerns and consumerism. The film's visuals underscore the commercialization of Japanese culture. The failed theme park serves as a metaphor for the unsuccessful fusion of ideologies. The Meiji design of the park is the setting for Chihiro's parents' metamorphosis– the family arrives in an imported Audi car and the father wears a European-styled polo shirt, reassuring Chihiro that he has "credit cards and cash", before morphing into literal consumerist pigs because of their bad habits. [43] Miyazaki has stated: The major themes of Spirited Away, heavily influenced by Japanese Shinto- Buddhist folklore, centre on the protagonist, Chihiro, and her liminal journey through the realm of spirits. The central location of the film is a Japanese bathhouse where a great variety of Japanese folklore creatures, including kami, come to bathe. Miyazaki cites the solstice rituals when villagers call forth their local kami and invite them into their baths. [8] Chihiro also encounters kami of animals and plants. Miyazaki says of this: Osmond, Andrew (2008). Spirited away = Sen to Chihiro no kamikakushi. Basingstoke [England]: Palgrave Macmillan on behalf of the British Film Institute. ISBN 978-1844572304.

Spirited Away ( Japanese: 千と千尋の神隠し, Hepburn: Sen to Chihiro no Kamikakushi, lit. 'Sen and Chihiro's Spiriting Away') is a 2001 Japanese animated fantasy film written and directed by Hayao Miyazaki, animated by Studio Ghibli for Tokuma Shoten, Nippon Television Network, Dentsu, Buena Vista Home Entertainment, Tohokushinsha Film, and Mitsubishi and distributed by Toho. [7] The film features the voices of Rumi Hiiragi, Miyu Irino, Mari Natsuki, Takeshi Naito, Yasuko Sawaguchi, Tsunehiko Kamijō, Takehiko Ono, and Bunta Sugawara. This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. ( November 2023) ( Learn how and when to remove this template message) Studio Ghibli’s Oscar winning film Spirited Away is re-imagined on stage at the London Coliseum in April 2024. In his book Otaku, Hiroki Azuma observed: "Between 2001 and 2007, the otaku forms and markets quite rapidly won social recognition in Japan," and cites Miyazaki's win at the Academy Awards for Spirited Away among his examples. [116] Accolades [ edit ] Year Denison, Rayna (2008). "The global markets for anime: Miyazaki Hayao's Spirited away (2001)". In Phillips, Alastair; Stringer, Julian (eds.). Japanese Cinema: Texts and Contexts. Routledge. ISBN 978-0-415-32847-0.I created a heroine who is an ordinary girl, someone with whom the audience can sympathize [...]. [I]t's not a story in which the characters grow up, but a story in which they draw on something already inside them, brought out by the particular circumstances [...]. I want my young friends to live like that, and I think they, too, have such a wish." Lastly, I would like to say I think everyone should watch this movie. I think there are things in it for everyone. Callis, Cari. 2010. "Nothing that Happens is ever Forgotten." In Anime and Philosophy, edited by J. Steiff and T. D. Tamplin. New York: Open Court. ISBN 9780812697131.