User talk:Eishagishi

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Book series should be split into individual volumes (film comic 1, film comic 2, etc).

Thanks for helping out!

--LLin 18:35, 15 May 2008 (UTC)

Will do!

Eishagishi 19:30, 15 May 2008 (UTC)

Well, I'm out of work again - forced to resign from the airline (sigh). Should become much more active here again after getting various home PC and network issues sorted out over the next week or so.

--Eishagishi 18:53, 1 June 2009 (UTC)

Blocking anon IPs

Blocking anonymous IPs is useless as they just come back under a different IP. What we need to do is disable anonymous editing for the entire site. --nihonTalk 09:00, 6 July 2009 (UTC)

--After this morning's vandal editing swarm, I'm inclined to agree. I'm still an admin noobe - how do we go about this? Bounce it off of LLin for discussion first? --Eishagishi 19:32, 13 July 2009 (UTC)

Sorry I wasn't available last weekend

Thanks guys for cleaning up that mess. Sorry I wasn't around to help out. Not that it matters now, but I had a good excuse - was carrying the torch of Ghibli evangelism ^_^ at Anime Vegas 2009. Had two galleries worth of movie posters from my collection on display - 41 Ghibli-related ones in Gallery 1, plus another 4 Ghibli and 25 from other studios in Gallery 2. I think it was fairly well received. Now it's back to looking for a job. --eishagishiTalk

To-do's

Ghibli works - Others

  • 2004 How Miyazaki Produced a CD

Pre-Ghibli and Non-Ghibli works
Building list of documentaries and other projects (except for "Making of" docs)

  • 1977 Tenguri, Boy of the Plains
  • 1988 NHK Girls in Summer Dresses
  • 1993 NTV Living and Loving Movies - Conversation with Miyazaki and Kurosawa
  • 1998 NTV How Studio Ghibli Was Born
  • 2000 Shiki Jitsu Studio Kajino
  • 2003 NHK What Do People Eat? (?)
  • 2004 NHK World Travels of the Heart - Hayao Miyazaki
  • 2004 NHK World Travels of the Heart - Isao Takahata
  • 2004 NHK Yoshie Hotta - People and the Age (?)
  • 2005 NHK Shuichi Katou - Japan - The State of Its Culture (?)

Japanese title gifs for possible use on feature-length film top pages

Sidebar Weirdness

Is the sidebar pushed to the bottom of the main window on your computer?

--LLin 19:13, 25 January 2012 (UTC)

Yes it is - on both machines I use for looking at this site. Been that way for a couple of weeks.

--Eishagishi 19:43, 25 January 2012 (UTC)

Turns out it was a Firefox 9/MW CSS issue, deleting KHTMLFixes.css solved the issue.

--LLin 23:15, 25 January 2012 (UTC)

Other Books scratch page

This page contains a listing of other books related to Hayao Miyazaki and Isao Takahata that don't really fit in on the other book pages. You can order these books through anime import stores listed in our Shopping Guide, though some of these titles may be out of print. If you have additional information on any of these titles, information on any titles we missed, or scans of any of the covers, please sign up and in and contribute your knowledge to the Ghibli Wiki!

Prices may not include the Japanese consumption tax.

Japanese

Prince of the Sun: The Great Adventure of Hols

Puss 'n Boots

Miscellaneous Titles


[[Category:Other books]] [[Category:Books]]

Testing for new page 'How Do You Live?"

This page is a stub. Please help GhibliWiki by adding additional details.



300px
Feature Film: 2023 (Estimated) / 125 minutes (Estimated)
Screenplay, Storyboards, Direction: Hayao Miyazaki
Based on Miyazaki's favorite childhood book, the 1937 novel by Genzaburo Yoshino.


File:Dou Ikiru ka poster JapanA.jpg
Japanese roadshow poster
Credits & Film Information
Figures; data; weekly BO #
Story
Plot, project proposal & theme
Scripts & Lyrics
What they say & sing
Synopsis
Summary of the film
Availability
Books, CDs, Videos, etc.
FAQ
Answers to questions; tidbits
Impressions
Reviews & articles
Related Webpages
Gateway to external resources
Related Media
Movie clips and the like
Hayao Miyazaki
All about the director

How Do You Live? (君たちはどう生きるか Kimitachi wa Dou Ikiru ka?) is the 12th animated theatrical film directed by Hayao Miyazaki at Studio Ghibli. Based on Miyazaki’s favorite childhood book, the 1937 novel of the same name by Genzaburo Yoshino. The story concerns a 15-year-old boy named Junichi Honda, a junior high school student in Tokyo, small for his age and fond of mischief, whose father has recently died. In the English translation by Bruno Navasky, published in October 2021, the boy gazes out at the city and is overwhelmed: “The watching self, the self being watched, and furthermore the self becoming conscious of all this, the self observing itself by itself, from afar, all those various selves overlapped in his heart, and suddenly he began to feel dizzy.”


External links

Testing for new page 'Earwig and the Witch'

This page is a stub. Please help GhibliWiki by adding additional details.



400px
Feature Film: 3 Feburary 2021 / 82 minutes
Direction: Goro Miyazaki
Screenplay: Keiko Niwa, Emi Gunji


Earwig and the Witch poster
Earwig and the Witch poster
Credits & Film Information
Figures; data; weekly BO #
Story
Plot, project proposal & theme
Scripts & Lyrics
What they say & sing
Synopsis
Summary of the film
Availability
Books, CDs, Videos, etc.
FAQ
Answers to questions; tidbits
Impressions
Reviews & articles
Related Webpages
Gateway to external resources
Related Media
Movie clips and the like
Miyazaki Goro
All about the director

Earwing and the Witch (アーヤと魔女 A-ya to Majo?) is the first full-length 3D feature film to be produced by Studio Ghibli. Studio Ghibli co-founder Hayao Miyazaki handled development of this project, directed by his son Goro Miyazaki.


Testing for new page 'World Masterpiece Theater'

World Masterpiece Theater (世界名作劇場 Sekai Meisaku Gekijou?) has been the jewel of Japanese TV animation for more than 40 years. It's a TV animation series based on classic children's literature, animated by Nippon Animation. Takahata and Miyazaki started this series with Heidi, in 1974 (at that time, Nippon Animation was called Zuiyo Enterprises). Usually, a series based on one book took one year to complete (50-52 episodes), and a new series started in the following year.

The titles:

Heidi, Girl of the Alps (アルプスの少女ハイジ Arupusu no Shoujo Haiji?) TV Series: 6 January 1974 - 29 December 1974 / 52 Episodes Miyazaki: Scene design & scene organization / Takahata: Director

A Dog of Flanders (フランダースの犬 Furandaasu no Inu?) TV Series: 5 January 1975 - 28 December 1975 / 52 Episodes Miyazaki: Key Animation (ep. #15) / Takahata: Direction & Storyboards (ep. #15)

3000 Leagues in Search of Mother (母をたずねて三千里 Haha wo Tazunete Sanzenri?) TV Series: 4 January 1976 - 26 December 1976 / 52 Episodes Miyazaki: Scene design & scene organization / Takahata: Director

Rascal the Raccoon (あらいぐまラスカル Araiguma Rasukaru?) TV Series: 2 January 1977 - 25 December 1977 / 52 Episodes Miyazaki: Key animation (eps. #4-6, 10, 12-22, 24-28)

Perinne's Story (ペリーヌ物語 Periinu Monogatari?) TV Series: 1 January 1978 - 31 December 1978 / 53 Episodes Takahata: Storyboards (eps. #3 & 6)

Anne of Green Gables (赤毛のアン Akao no An?) TV Series: 7 January 1979 - 30 December 1979 / 50 Episodes Miyazaki: Scene design & scene organization (eps. #1-15) / Takahata: Director; screenplay

Quicklinks to works


Testing for new article 'Remembering Animation's Legendary Isao Takahata'

Remembering Animation's Legendary Isao Takahata - The Atlantic - 11 April 2018

The renowned Japanese director, who has died at age 82, helped found Studio Ghibli and made films like Grave of the Fireflies.

By David Sims, The Atlantic; Isao Takahata; Shizuo Kambayashi / AP

April 11, 2018

Much of Isao Takahata’s 1991 animated film Only Yesterday is told through vivid recollections: Its Japanese title, Omoide Poro Poro, literally means “memories come tumbling down.” The protagonist, Taeko Okajima, is a 27-year old woman heading to the Japanese countryside on vacation when she is idly struck by memories of her 10-year-old self, formative stories and events that take on new meaning for her in hindsight. The present-day scenes are animated realistically—the characters are less cartoonishly expressive, their facial muscles given greater detail. Meanwhile, the flashbacks are more plainly drawn, with unfinished backdrops rendered in a hazy, half-remembered glow.

In one scene, young Taeko walks home past a boy who, according to some of her giggling schoolmates, has professed that he has a crush on her. Blushing, he stammers out a question: “Rainy day or cloudy or sunny day, which do you like?” She pauses to consider as he stares at his shoes, then replies, “Cloudy,” to his delight. “Me too!” he yells, walking off triumphantly. Taeko runs toward her home, and as she does, she trots into the sky, a burst of magic in a moment that’s otherwise naturalistic. It’s the kind of scene that could only be executed by Takahata, one of the founders of the legendary Studio Ghibli, who time and again mixed the impressionistic joy of animation with an unusually tight grasp on realism and the nuance of human relationships.

Takahata died of lung cancer April 5 at the age of 82, according to a statement from Ghibli. Though he was never quite as renowned (particularly in the U.S.) as one of the studio’s other founders, Hayao Miyazaki, Takahata’s smaller body of work still stands as some of the most impressive filmmaking in the history of animation—a feat that’s all the more fascinating given his background. Having graduated from the University of Tokyo in 1959 with a degree in French literature, Takahata was never an animator himself. By his own admission, he couldn’t even draw. But he was constantly interested in bending the medium, often adopting radically different visual styles from project to project (or, in the case of Only Yesterday, within the same film).

In the 1960s, Takahata worked at Japan’s hugely popular Toei Animation, mostly as an assistant director for TV and movies. There, he met Miyazaki, who like him chafed under the company’s rigid hierarchy. When Takahata got the chance to direct his own film for Toei, 1968’s The Great Adventures of Horus, Prince of the Sun, it was a flop that the company saw as too adult and violent. Now, though, it’s regarded as a groundbreaking entry in Japanese animation. When making the movie, Takahata had set his sights beyond traditional children’s fare. “This was the greatest joy for me and for the entire staff who had unstintingly poured their talents into the project,” Takahata later said, reflecting on the appreciation Horus eventually received. “[Toei] should have aimed this film toward high-school and university students and young adults, those who had not been interested in animation films. But the company made no efforts to do so.”

Takahata left Toei in 1971 and bounced around from company to company, often still collaborating with Miyazaki. In 1985, the pair helped form Ghibli based on the success of Miyazaki’s recently released Nausicaä of the Valley of the Wind. Takahata’s first film for the company was his World War II drama Grave of the Fireflies, released in 1988 as part of a double feature with Miyazaki’s My Neighbor Totoro. While Totoro was an instant, beloved children’s fantasy classic, Grave of the Fireflies was a much more complex, upsetting work, a sober retelling of the last months of the conflict from the perspective of two Japanese children.

In depicting the firebombing of Kobe, Takahata drew on his own childhood memories, which helped make Grave one of the most stark World War II films made in any medium to this day. (It’s wrenching enough that I find it difficult to rewatch.) Though Takahata would never make another movie that was quite as devastating, Fireflies did establish his reputation as the more grounded of the two Ghibli giants. His follow-up, three years later, was Only Yesterday, my personal favorite of his canon and certainly the most underrated of all the studio’s films.

Only Yesterday isn’t nearly as bleak as Grave of the Fireflies, but it does, once again, seem less obviously aimed at children—even though half of its action is centered on the younger version of Taeko as she navigates puberty, family drama, and young love. It’s a melancholy tale that presents Taeko’s memories with swooning romanticism (in an old-fashioned anime style, drawn in a nearly heavenly light), but also probes past the surface to find subtleties she didn’t understand as a child. Only Yesterday went on to be a surprise box-office hit in Japan. But Disney (which at one point owned the American rights to Ghibli movies), didn’t release it in the U.S. until 2016, a move some critics have attributed to Only Yesterday’s discussion of issues like menstruation.

Takahata’s other ’90s movies were more fanciful. Pom Poko (1994) is an environmental allegory dressed up as a children’s film about anthropomorphic, shapeshifting raccoons; it was a colossal hit in Japan. My Neighbors the Yamadas (1999) is an adaptation of a Japanese comic strip, drawn to look like a simple, stylized watercolor. It’s a charming work, presented as a series of whimsical vignettes poking fun at the family unit. But coming in between Miyazaki’s immense box-office smashes Princess Mononoke and Spirited Away, My Neighbors the Yamadas was a financial disappointment for Ghibli. Takahata retreated to producing and mentoring other artists for the next decade, while he slowly put together his final (and most massive) project.

The Tale of the Princess Kaguya (2013), based on a 10th-century Japanese folktale, is a visually flabbergasting work drawn in fluid charcoal strokes and watercolors. Recalling an old painting that has come to life, the film is stunning and elegiac, representing a millennia-old world through advanced animation techniques. Though it’s a mythic story (in which a family finds a young girl growing inside a glowing bamboo shoot, and eventually raises her into a life of nobility, with tragic consequences), its characters feel genuine. That was Takahata’s finest skill as an artist: his ability to draw out the humanity in the most spellbinding of images.

“I’m not saying fantasy is bad. I myself enjoy the genre from time to time. However, I don’t agree with getting an audience excited by seeing a character do something incredible that defies logic,” Takahata said in a 2015 interview. “Too many films these days feature characters who overcome difficulties using nothing more than the power of love.” His movies resisted those simple notions, appealing to viewers not through tales of invented triumph, but rather by speaking to the deepest parts of their imagination.

This vision came through in Takahata’s writing and his visuals, which always relied on a hand-drawn look. In defending two-dimensional animation (over the CGI approach favored by companies like Pixar), Takahata said, “By keeping everything flat, animation allows viewers to imagine what is behind the images.” There is plenty of visual beauty to behold in each of his films, but it’s what’s going on behind them that made Takahata such a titan of both animation and cinema.