Bringing animation to life. The one thing that is most impressive about Spirited Away is how alive almost every frame of animation is. Even the hand drawn backgrounds, which are devoid of actual movement, sparkle with life. Every aspect of a big scene like this throbs with motion, creating an animated film that feels more alive than most non-animated ones.
Large scenes, like the introduction to the bath house, play out in animated films all the time, but the smaller scenes that are routinely present in Spirited Away do not. While they play a role in the film, many of the scenes are almost completely irrelevant to the actual plot. Instead of attempting to move the story along as fast as possible Miyazaki pushes instead to establish a world by paying attention to admittedly adorable minutia.
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The family walked into what looks like a small train station or waiting room. Instead of a quick establishing shot to the outside of the building to show where they are, the camera slowly pans across the beautifully painted background as if it is savoring every brush stroke. The answer is obviously very, very invested. No, it is in fact the ability to bend the rules that makes Spirited Away's characters seem so much more alive than some motion-captured bit of CGI. Beyond becoming fully immersed in the world, what is there to understand?
Surprisingly, a lot. Even more surprising, for a film released in , a lot of relevant issues crop up today. Looking at Spirited Away at its most basic level we see an adventure about a girl. Peeling back that level the film opens up to two other interpretations. The first is pretty easy to notice: growing up.source link
Analysis Of The Book ' Spirited Away ' Essay
Taking a cue from Alice in Wonderland , Spirited Away turns the awkward move from childhood to adulthood into a fantasy metaphor. Played against the foil of Yababa this growing up metaphor becomes even stronger.
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What stood out for me upon my re-watching of the film this time around is how much it speaks to societies flaws, the burned economy and the constant pull between the past and the present. Spirited Away still via YouTube. There's a quote on Tumblr somewhere that says "Disney movies touch the heart but Studio Ghibli films touch the soul.
It's surely part of the reason that anime fans across the world will testify that Hayao Miyazaki's Spirited Away is the best animation film of all time. On the 15th anniversary of its release in Japan, Sen to Chihiro no Kamikakushi — translated as "Sen and Chihiro's Spiriting Away" — remains untouched by rivals for its blend of the spiritual, the realistic, the fantastic and the human.
For balancing all of those realms, Miyazaki was the master, and since his retirement we'll continue to look on Spirited Away as the film that was the masterpiece of his life. At its most basic, the film follows a little girl, Chihiro, on a journey to free her parents.
She has to navigate the spirit world she gets trapped in by working in a bathhouse run by an overlord called Yu-baaba. Miyazaki said he'd decided to make it based on the year-old daughter of friend, associate producer Seiji Okuda, who came to stay with him every summer. With this in mind, he made the movie for year-old girls.
This is exactly why it resonates so well with people of all ages and why Chihiro feels so real.
Discussion Questions for Hayao Miyazaki’s SPIRITED AWAY – Planetary
How often can you say a film has been made for young girls, rather than money or mainstream audiences? Many male critics described Chihiro as a "sullen" and "spoilt" girl, and continue to describe her as such. This is hardly a fair criticism, nor is it an accurate one. When we meet Chihiro, she's being driven away from her home and everything she knows to live in a new town. All she has to remember her friends is a bouquet.
Chihiro's Journey: Analyzing "Spirited Away"
How depressing," she says, only to be reminded by her mum that her dad bought her one for her birthday. She shrugs this off, understandably. Few year-olds would behave so well given the upheaval. When the family exit the car, entranced by the lead up to the abandoned theme park which will soon trap them, Chihiro is "whiny" because her intuition is correct. She follows behind her parents, worried by the little shines and the appearance of the food with no vendor, warning that they shouldn't be there.
These critics will see that she spends the remainder of the film labouring not only for their ignorance but also the fact that they ignore the voice of a young girl.
Intuition Versus Knowledge
Still via Wiki. What sets her story apart is that Chihiro isn't forced to triumph over great evil and turn from a "sullen" creature to a good girl. Far better than that, it's a film about honest development. Miyazaki shows her slowly forcing herself to adapt to her environment and be open to the tasks ahead, quietly tackling them as best she can.
She has trouble walking down the steps to the boiler man, Kamaji, but eventually manages to make it down. Kamaji keeps ignoring her but she knows she must get a job at the bathhouse to survive in this new spirit world, so doesn't stop until he helps her.
Her careful thinking and determination quickly reward her when she realises a stinky spirit was actually a polluted river spirit who needed to be freed from all the junk surrounding it.
The fact the film was made without a script only adds to this natural evolution of Chihiro. The film makes itself and I have no choice but to follow. Caught in the flow of narrative are some of the most beautiful stills in modern cinema, let alone animation. As critic Roger Ebert pointed out in his review of the film, each frame is made with an overwhelming amount of "generosity and love". Dozens of different creatures are made for each moment, every last detail penned by hand in the corners or background, where anyone else would make shortcuts.
Importantly, we have time to breathe and live in Miyazaki's world. He said that these scenes where nothing really happens are called "ma", or emptiness.
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