宫崎骏电影的魔力.docVIP

宫崎骏电影的魔力 　　Often called the Walt Disney of Japan （actually he hates this title）， manga artist and animator Hayao Miyazaki creates gorgeous and bewitching1） animated movies， whose power hinges2） on the drawings rather than the story—but thats not to say his stories arent also brilliant. He begins making his films by building wire frames3） and the stories develop as the drawings progress. The director admits in an interview that its a dangerous way to work， but alas， its a technique that has brought him great success. He prefers hand-drawing his animations， though he has experimented with CGI and digital paint beginning with 1997s Princess Mononoke. 　　He prefers to call himself a true manga artist， rather than a storyteller， as he only became interested in animation after watching films like Taiji Yabushitas The Tale of the White Serpent and a Russian animated version of Hans Christian Andersens The Snow Queen. Formally trained in political science and economics， Miyazaki started his animation career at Toei Animation and A Pro， before founding Studio Ghibli4） in 1985 with director Isao Takahata and producer Toshio Suzuki. Walt Disney Pictures eventually signed a deal with Studio Ghibli in order to introduce Miyazakis films to Western audiences. 　　Knowing that his movies are primarily hand-drawn， the inconspicuously5）-detailed pictures are completely mind-blowing， not to mention incredibly time consuming. His animation style is extremely delicate and realistic， as he makes sure to highlight details like the sparkling reflection of sun on water， the sluggish6） pace of a snail moving up a plant or a wisp7） of hair delicately blowing in the wind. 　　Though often preoccupied with exploring environmentalism， capitalism and other serious political and anti-war themes， he often chooses to reveal his fantastical and monster-ridden stories through the eyes of young， female heroines who are often portrayed as weak or immature at the beginning， but emerge courageous and trium