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E-book Princess Mononoke : Understanding Studio Ghibli's Monster Princess

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Penilaian

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When it came out in 1997, Hayao Miyazaki’s Mononokehime ( Princess Mononoke ) was a new kind of anime fi lm. It broke long- standing Japanese box offi ce records that had been set by Hollywood fi lms, and in becoming a blockbuster- sized hit Mononokehime demonstrated the commercial power of anime in Japan. 1 F u r t h e r , Mononokehime became the fi rst of Miyazaki’s fi lms to benefi t from a ‘global’ release thanks to a new distribution deal between Disney and Tokuma shoten, then the parent company for Miyazaki’s Studio Ghibli. As a result of this deal, Mononokehime was transformed through translation: US star voices replaced those of Japanese actors, a new market-ing campaign reframed the fi lm for US audiences and famous fantasy author Neil Gaiman undertook a localization project to turn Mononokehime into Princess Mononoke (1999). 2 A s PrincessMononoke, it was the fi rst Miyazaki fi lm to receive a signifi cant cinematic release in the United States. In these ways, as Mononokehime and Princess Mononoke , Miyazaki’s fi lm became a ‘monster’ fi lm event – the source for a long- lasting, wide- spread cultural phe-nomenon refl ective of a general trend towards the globalization of anime. 3 Globalization had already impacted upon Mononokehime before this trans-formation took place, which is perhaps most obvious at the level of its ani-mated imagery. For, despite Studio Ghibli’s reputation for using hand- drawn cel animation, Mononokehime included imagery produced using globalized Computer Generated (CG) animation technologies. Miyazaki aligned the use of these new animation techniques with a deepening thematic concern regard-ing the whole of humanity’s relationship with nature. From its animation style and themes to their translation, from its local blockbuster status to its high profi le global distribution, therefore, Mononokehime was at the vanguard of anime in a period of rapid change. For these reasons and others, twenty years aft er its initial success, it is worth looking back at how Mononokehime marked changes in the Japanese animation industry; at how it shaped, and was shaped, and then reshaped by the cultures with which it came into contact. The essays collected in this volume are therefore intended to reveal just how important Mononokehime has been to the history of Japanese, and global, animation. As this suggests, Mononokehime is worth revisiting because of its excep-tional status within the oeuvre of one of the world’s most respected anima-tors: Hayao Miyazaki. Writing in 1999, for Newsweek , David Ansen claims that, on watching Princess Mononoke , US audiences would ‘see why, in animation circles, Miyazaki himself is considered one of the gods’. 4 In the same year, in one of the fi rst extended critical appraisals of Miyazaki’s work in English, Helen McCarthy argues that ‘Miyazaki now stands at the pinnacle of Japanese artistic achievement.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

791.43 ALE p

Penerbit

New York : Bloomsbury Academic., 2018

Deskripsi Fisik

234 hlm

Bahasa

English

ISBN/ISSN

9781501329739

Klasifikasi

791.43

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Motion Pictures, Movies

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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