介紹宮崎駿英語演講課件

Classreport

1Classreport122MiyazakiHayao3MiyazakiHayao3Oneofthecountry’smostpopularanimators,HayaoMiyazaki,hasproducedsomeofthegreatclassicsofJapaneseTVanimation.Nevertheless,hefindstelevisiontoorestrictive,andpreferstomakefull-lengthanimatedmovies.宮崎駿是日本最受歡迎的漫畫家之一，他曾制作了多部日本電視動畫的經(jīng)典巨作。然而，他發(fā)現(xiàn)電視創(chuàng)作太受限制，因而更喜歡創(chuàng)作正片長度的動畫電影。4Oneofthecountry’smostpopu

HayaoMiyazakiwasborninTokyoin1941.Hisfamilyownedafactorythatbuiltairplanes,andhefellinlovewithplanesandflyingatanearlyage.Anyonefamiliarwithhisfilmshasseentheoftenbreathtakingflyingscenesthatarehispersonaltrademark.1941年宮崎駿出生于日本東京。他的家族擁有一座制造飛機的工廠，他早年也曾醉心于飛機及飛行。熟悉宮崎駿電影的人，都很熟悉他影片中經(jīng)常出現(xiàn)的常令人嘆為觀止的飛行場景，那正是宮崎駿動畫的一大特色。5HayaoMiyazakiwasborninToInthefilmwecansee,HayaoMiyazaki'sthinkingisdividedintotwolevels:Atthefirstlevel,Miyazakithinksthattherelationshipbetweencivilizationandnature,justassameastherelationshipbetweentreesandsoil.Ifthesoilisnotrootedintheearth,eventalltreescannotsurvive.我們可以看出，在本片中，宮崎駿的思考是分為兩個層次的：在第一個層次中，宮崎駿認為文明與自然的關(guān)系，就如同樹木與泥土的關(guān)系一樣。如果不植根于大地的泥土，即使是參天大樹也無法存活。6Inthefilmwecansee,HayaoInthesecondlevel,Miyazakithinkthatthevitalityofcivilizationwillbegivenbynaturally,thenthevitalitywillbedestroyedbygreeduntilthecompletedestructionofcivilization.在第二個層次中，宮崎駿認為如果說自然會賜予文明以生命力的話，那么貪欲則會奪取文明的生命力直至徹底毀滅文明。7Inthesecondlevel,MiyazakiValleyoftheWind,1984film《風之谷》CastleintheSky,1986film《天空之城》MyNeighborTotoro,1988film《龍貓》Kiki'sDeliveryService,1989film《魔女宅急電》PrincessMononoke,1997film《幽靈公主》SpiritedAway,2001film《千與千尋》(winner,AcademyAwardforBestAnimatedFeature,2002)Howl'sMovingCastle,2004film《霍爾的移動城堡》(nominee,AcademyAwardforBestAnimatedFeature,2005)Ponyo,2008film《懸崖岸上的金魚姬》8ValleyoftheWind,1984filmMiyazaki’sStyles

Miyazaki'sworksarecharacterisedbytherecurrenceofprogressivethemes,suchasenvironmentalism,pacifism,feminism,andtheabsenceofvillains（反派角色）.Hisfilmsarealsofrequentlyconcernedwithchildhoodtransitionandamarkedpreoccupationwithflight.EventhoughMiyazakisometimesfeelspessimisticabouttheworld,hepreferstoshowchildrenapositiveworldviewinstead,andrejectssimplisticstereotypesofgoodandevil.9Miyazaki’sStylesMiyazaki'swEnvironmentalism（環(huán)保主義）Miyazaki'sfilmsoftenemphasizeenvironmentalism.InaninterviewwithTheNewYorker,Miyazakiclaimedthatmuchofmoderncultureis“thinandshallow（膚淺）andfake",“nature—themountainsandrivers—wasbeingdestroyedinthenameofeconomicprogress.“Miyazakiiscriticalofcapitalism,globalizationandtheirimpactsonmodernlife.Commentingonthe1954AnimalFarmanimatedfilm,hehassaidthat“exploitationisnotonlyfoundincommunism（共產(chǎn)主義）,capitalismisasystemjustlikethat.Ibelieveacompanyiscommonpropertyofthepeoplethatworkthere.Butthatisasocialisticidea.“Nonetheless,hesuggeststhatadultsshouldnot"imposetheirvisionoftheworldonchildren."10Environmentalism（環(huán)保主義）101111Pacifism（反戰(zhàn)主義）PrincessMononokeandHowl'sMovingCastlefeatureanti-warthemes.In2003,whenSpiritedAwaywontheAcademyAward（奧斯卡金像獎）forBestAnimatedFeature,Miyazakididnotattendtheawardsshowpersonally.Helaterexplainedthatitwasbecausehe"didn’twanttovisitacountrythatwasbombingIraq".12Pacifism（反戰(zhàn)主義）12Feminism（女性主義）MiyazakihasbeencalledafeministbyStudioGhibliPresidentToshioSuzuki,inreferencetohisattitudetofemaleworkers.Thisisevidentintheall-femalefactoriesofPorcoRosso（紅豬）andPrincessMononoke（幽靈公主）,aswellasthematriarchal（女族長制的）bath-houseofSpiritedAway.ManyofMiyazaki‘sfilmsarepopulatedbystrongfemaleprotagonists（主人公）thatgoagainstgenderrolescommoninJapaneseanimationandfiction.13Feminism（女性主義）13IncontrasttoAmericananimation,thescriptandstoryboardsarecreatedtogether,andanimationbeginsbeforethestoryisfinishedandwhilestoryboardsaredeveloping.Especialcreationprocess：1：exertimagination盡情的想象14IncontrasttoAmericananimat1515Miyazakitakesaleadingrolewhencreatinghisfilms,frequentlyservingasbothwriteranddirector.Hepersonallyreviewedeveryframeusedinhisearlyfilms,thoughduetohealthconcernsoverthehighworkloadhenowdelegatessomeoftheworkloadtootherGhiblimembers.Ina1999interview,Miyazakisaid,"atthisage,IcannotdotheworkIusedto.IfmystaffcanrelievemeandIcanconcentrateondirecting,therearestillanumberofmoviesI'dliketomake."2：Commitment全身心的投入16MiyazakitakesaleadingroleMiyazakiusesveryhuman-likemovementsinhis

animation.Inaddition,muchoftheartisdoneusingwatercolors.個人的畫風17Miyazakiusesveryhuman-likeMiyazakihasusedtraditionalanimationthroughouttheanimationprocess,thoughcomputer-generatedimagerywasemployedstartingwithPrincessMononoketogive"alittleboostofelegance".However,inhis2008filmPonyo,Miyazakiwentbacktotraditionalhand-drawnanimationforeverything,saying"handdrawingonpaperisthefundamentalofanimation."StudioGhibli'scomputeranimationdepartmentwasdissolvedbeforeproductiononPonyowasstarted,andMiyazakihasdecidedtokeeptohanddrawnanimation.

3：insistencetradition對傳統(tǒng)的堅持handdrawanimation18Miyazakihasusedtraditional1919

20

202121LupinIIICastleofCagliostro卡里奧斯特羅之城（1979）.NausicaaoftheValleyoftheWinds

風之谷(1984)22LupinIIICastleofCagliostroLaputa:CastleintheSky

天空之城（1985）Oneday,thegirlfellfromthesky23Laputa:CastleintheSkyOneThisstrangecreature(生物),

perhapsstilllivinginJapanMyNeighborTotoro龍貓（1988）24Thisstrangecreature(生物),My

Iwasreallydownforawhile,butI'moknowKiki‘sDeliveryService魔女宅急便（1989）25IwasreallydownforawhilePorcoRosso紅豬（1992）2626PrincessMononoke幽靈公主（1997）Livetobestrong

27PrincessMononokeLivetobestHowl'sMovingCastle哈爾的移動城堡（2004）28Howl'sMovingCastle28PonyoontheCliff懸崖上的金魚姬(2010)29PonyoontheCliff懸崖上的金魚姬(Wehavenochoicebutprevailintheworldfromthestartofthisflu.——《OnYourMark》我們別無選擇，只能存這個流感盛行的世界出發(fā)。Eveninthehatredandkilling,therearestillsomethingsworthyofpeopleinthelive.Abeautifulencounter,ortotheexistenceofbeautifulthings.

Wedepicthatred,aremoreimportantthingstodescribe.

Wedepictacurse,istodescribethejoyofliberation.——"princessMononoke“即使是在憎恨和殺戮中，仍然有些東西值得人們?yōu)橹钕氯?。一次美麗的相遇，或是為了美麗的事物存在。我們描繪憎恨，是為了描寫更重要的的東西。我們描繪詛咒，是為了描寫解放后的喜悅?！队撵`公主》30WehavenochoicebutprevailThankyou31Thankyou31經(jīng)常不斷地學習,你就什么都知道。你知道得越多,你就越有力量StudyConstantly,AndYouWillKnowEverything.TheMoreYouKnow,TheMorePowerfulYouWillBe寫在最后32經(jīng)常不斷地學習,你就什么都知道。你知道得越多,你就越有力量寫感謝聆聽不足之處請大家批評指導(dǎo)PleaseCriticizeAndGuideTheShortcomings結(jié)束語講師：XXXXXXXX年XX月XX日

33感謝聆聽結(jié)束語講師：XXXXXX33Classreport

34Classreport1352MiyazakiHayao36MiyazakiHayao3Oneofthecountry’smostpopularanimators,HayaoMiyazaki,hasproducedsomeofthegreatclassicsofJapaneseTVanimation.Nevertheless,hefindstelevisiontoorestrictive,andpreferstomakefull-lengthanimatedmovies.宮崎駿是日本最受歡迎的漫畫家之一，他曾制作了多部日本電視動畫的經(jīng)典巨作。然而，他發(fā)現(xiàn)電視創(chuàng)作太受限制，因而更喜歡創(chuàng)作正片長度的動畫電影。37Oneofthecountry’smostpopu

HayaoMiyazakiwasborninTokyoin1941.Hisfamilyownedafactorythatbuiltairplanes,andhefellinlovewithplanesandflyingatanearlyage.Anyonefamiliarwithhisfilmshasseentheoftenbreathtakingflyingscenesthatarehispersonaltrademark.1941年宮崎駿出生于日本東京。他的家族擁有一座制造飛機的工廠，他早年也曾醉心于飛機及飛行。熟悉宮崎駿電影的人，都很熟悉他影片中經(jīng)常出現(xiàn)的常令人嘆為觀止的飛行場景，那正是宮崎駿動畫的一大特色。38HayaoMiyazakiwasborninToInthefilmwecansee,HayaoMiyazaki'sthinkingisdividedintotwolevels:Atthefirstlevel,Miyazakithinksthattherelationshipbetweencivilizationandnature,justassameastherelationshipbetweentreesandsoil.Ifthesoilisnotrootedintheearth,eventalltreescannotsurvive.我們可以看出，在本片中，宮崎駿的思考是分為兩個層次的：在第一個層次中，宮崎駿認為文明與自然的關(guān)系，就如同樹木與泥土的關(guān)系一樣。如果不植根于大地的泥土，即使是參天大樹也無法存活。39Inthefilmwecansee,HayaoInthesecondlevel,Miyazakithinkthatthevitalityofcivilizationwillbegivenbynaturally,thenthevitalitywillbedestroyedbygreeduntilthecompletedestructionofcivilization.在第二個層次中，宮崎駿認為如果說自然會賜予文明以生命力的話，那么貪欲則會奪取文明的生命力直至徹底毀滅文明。40Inthesecondlevel,MiyazakiValleyoftheWind,1984film《風之谷》CastleintheSky,1986film《天空之城》MyNeighborTotoro,1988film《龍貓》Kiki'sDeliveryService,1989film《魔女宅急電》PrincessMononoke,1997film《幽靈公主》SpiritedAway,2001film《千與千尋》(winner,AcademyAwardforBestAnimatedFeature,2002)Howl'sMovingCastle,2004film《霍爾的移動城堡》(nominee,AcademyAwardforBestAnimatedFeature,2005)Ponyo,2008film《懸崖岸上的金魚姬》41ValleyoftheWind,1984filmMiyazaki’sStyles

Miyazaki'sworksarecharacterisedbytherecurrenceofprogressivethemes,suchasenvironmentalism,pacifism,feminism,andtheabsenceofvillains（反派角色）.Hisfilmsarealsofrequentlyconcernedwithchildhoodtransitionandamarkedpreoccupationwithflight.EventhoughMiyazakisometimesfeelspessimisticabouttheworld,hepreferstoshowchildrenapositiveworldviewinstead,andrejectssimplisticstereotypesofgoodandevil.42Miyazaki’sStylesMiyazaki'swEnvironmentalism（環(huán)保主義）Miyazaki'sfilmsoftenemphasizeenvironmentalism.InaninterviewwithTheNewYorker,Miyazakiclaimedthatmuchofmoderncultureis“thinandshallow（膚淺）andfake",“nature—themountainsandrivers—wasbeingdestroyedinthenameofeconomicprogress.“Miyazakiiscriticalofcapitalism,globalizationandtheirimpactsonmodernlife.Commentingonthe1954AnimalFarmanimatedfilm,hehassaidthat“exploitationisnotonlyfoundincommunism（共產(chǎn)主義）,capitalismisasystemjustlikethat.Ibelieveacompanyiscommonpropertyofthepeoplethatworkthere.Butthatisasocialisticidea.“Nonetheless,hesuggeststhatadultsshouldnot"imposetheirvisionoftheworldonchildren."43Environmentalism（環(huán)保主義）104411Pacifism（反戰(zhàn)主義）PrincessMononokeandHowl'sMovingCastlefeatureanti-warthemes.In2003,whenSpiritedAwaywontheAcademyAward（奧斯卡金像獎）forBestAnimatedFeature,Miyazakididnotattendtheawardsshowpersonally.Helaterexplainedthatitwasbecausehe"didn’twanttovisitacountrythatwasbombingIraq".45Pacifism（反戰(zhàn)主義）12Feminism（女性主義）MiyazakihasbeencalledafeministbyStudioGhibliPresidentToshioSuzuki,inreferencetohisattitudetofemaleworkers.Thisisevidentintheall-femalefactoriesofPorcoRosso（紅豬）andPrincessMononoke（幽靈公主）,aswellasthematriarchal（女族長制的）bath-houseofSpiritedAway.ManyofMiyazaki‘sfilmsarepopulatedbystrongfemaleprotagonists（主人公）thatgoagainstgenderrolescommoninJapaneseanimationandfiction.46Feminism（女性主義）13IncontrasttoAmericananimation,thescriptandstoryboardsarecreatedtogether,andanimationbeginsbeforethestoryisfinishedandwhilestoryboardsaredeveloping.Especialcreationprocess：1：exertimagination盡情的想象47IncontrasttoAmericananimat4815Miyazakitakesaleadingrolewhencreatinghisfilms,frequentlyservingasbothwriteranddirector.Hepersonallyreviewedeveryframeusedinhisearlyfilms,thoughduetohealthconcernsoverthehighworkloadhenowdelegatessomeoftheworkloadtootherGhiblimembers.Ina1999interview,Miyazakisaid,"atthisage,IcannotdotheworkIusedto.IfmystaffcanrelievemeandIcanconcentrateondirecting,therearestillanumberofmoviesI'dliketomake."2：Commitment全身心的投入49MiyazakitakesaleadingroleMiyazakiusesveryhuman-likemovementsinhis

animation.Inaddition,muchoftheartisdoneusingwatercolors.個人的畫風50Miyazakiusesveryhuman-likeMiyazakihasusedtraditionalanimationthroughouttheanimationprocess,thoughcomputer-generatedimagerywasemployedstartingwithPrincessMononoketogive"alittleboostofelegance".However,inhis2008filmPonyo,Miyazakiwentbacktotraditionalhand-drawnanimationforeverything,saying"handdrawingonpaperisthefundamentalofanimation."StudioGhibli'scomputeranimationdepartmentwasdissolvedbeforeproductiononPonyowasstarted,andMiyazakihasdecidedtokeeptohanddrawnanimation.

3：insistencetradition對傳統(tǒng)的堅持handdrawanimation51Miyazakihasusedtraditional5219

53

205421LupinIIICastleofCagliostro卡里奧斯特羅之城（1979）.NausicaaoftheValleyoftheWinds

風之谷(1984)55LupinIIICastleofCagliostroLaputa:C