The Toronto International Film Festival (TIFF) will host the North American premiere Isao Takahata‘s The Tale of the Princess Kaguya and director Mami Sunada’s The Kingdom Of Dreams And Madness documentary about Studio Ghibli next month. Princess Kaguya will premiere with English subtitles on September 5 with Takahata present for the screening. The Kingdom Of Dreams And Madness will premiere on Monday, September 8.
Studio Ghibli (Page 56)
With Hayao Miyazaki being the most recognized face of Studio Ghibli, and producer Toshio Suzuki the most currently active, there’s usually not a lot of room left in the spotlight for director Isao Takahata. One of Ghibli’s founding members, Takahata served as producer for the company’s first official release, Castle in the Sky, and his written and directed five films for Japan’s most respected animation house including the critically acclaimed Grave of the Fireflies.
Fans of Takahata’s work have learned to be patient, though, as his most recent film, 2013’s The Tale of Princess Kaguya, came 14 years after his previous feature, 1999’s largely forgotten My Neighbors the Yamadas. Foreign fans have had to wait even longer, but Princess Kaguya is almost ready to head overseas, as distributor GKids has announced a release date and put out a teaser trailer to whet North America’s appetite.
Even though anime legend Hayao Miyazaki has been a household name in Japan for decades, his films are still a recent discovery for many foreign viewers. A common question from an enthusiastic newly formed Ghibli fan is to ask, “Which Miyazaki film should I show my friends and family to make them understand how amazing they are?”
It’s a tricky question to answer. For example, My Neighbor Totoro and Princess Mononoke are both incredible films that can evoke emotional responses far beyond what many adults expect from animation. The feelings the films stir, and the ways in which they do so, are extremely different though. It’s hard enough to pick one from just those two, let alone the 11 feature films for which Miyazaki served as director.
So perhaps the best plan isn’t to show the person you’re trying to convert one Miyazaki movie, but all of them, and thanks to one fan’s compilation video, it’ll only take nine minutes.
They do things a little differently at Studio Ghibli. Given the feast or famine realities of life in the anime industry, many production houses take on as many projects as they can, but part of the philosophy behind Ghibli’s founding was that if the staff felt like making something, they would, and if they didn’t, they wouldn’t. That’s not to say Ghibli’s animators don’t give maximum effort though, which the higher-ups recognize and reward with weekly massages on Saturdays.
Ghibli’s uniqueness isn’t limited to its artistic ideologies and rub-down policies, though. Its interview process for new animators is pretty unorthodox, too, with applicants being asked to complete such tasks as sharpening pencils and slicing up watermelons.
In a recent discussion about the future of the Studio Ghibli’s production division, veteran producer Toshio Suzuki recently shocked and confused anime fans worldwide. But hey, what do you expect when you’re talking about the most respected studio in the history of anime, and you bandy about talk of “dismantling,” “restructuring,” and “taking a temporary hiatus,” despite the very different implications each of those entails.
With so many people looking for clarification, Suzuki recently appeared on Japanese television to talk a little more about where Studio Ghibli is going from here, plus to tease and entice the audience with talk of legendary director Hayao Miyazaki’s potential next anime project.
Fans of anime house Studio Ghibli have been on a bit of an emotional roller coaster for the past few weeks. First came the dizzying high that always accompanies a new Ghibli release, in this case director Hiromasa Yonebayashi’s When Marnie Was There. Then came the vague yet nevertheless alarming comments from long-time producer Toshio Suzuki, who reflected on the merits of Ghibli “dismantling,” “restructuring,” or “reconstructing” its anime production department.
This was followed almost immediately by reports that Japanese online media company Dwango was set to purchase and absorb Studio Ghibli into its corporate body. Those rumors have now been quashed, though, and by what seems to be a fairly reliable source: Dwango’s chairman himself.
With schools in both Japan and abroad on summer vacation, we’re right in the prime seasons for pop culture events like San Diego Comic-Con and Chiba Prefecture’s Wonder Festival. We recently attended both, snapping pictures of all the cool cosplay costumes, but the hobby’s most prestigious gathering was yet to come.
Last weekend the 2014 World Cosplay Summit was held in the city of Nagoya. Our own cosplay efforts aren’t quite competition-level, but that didn’t mean we couldn’t enjoy all the awesome costumes that were, so we grabbed our camera and hopped on the Shinkansen.
Just a few weeks ago, When Marnie Was There, the newest anime movie from Studio Ghibli, hit Japanese theatres. Marnie is actually the second Ghibli release since legendary director Hayao Miyazaki retired from the company, but the first with a general, mainstream target market, as 2013’s The Tale of Princess Kaguya was a much more experimental, avant-garde film in visual style and tone.
Just as Miyazaki has stepped away from feature films, Ghibli producer and co-founder Toshio Suzuki is easing into retirement, and so many anime fans have been watching Marnie while looking for clues as to where Ghibli’s films would be going from here. Judging from statements made by Suzuki, though, the better question isn’t what kind of movies Ghibli will be making in the future, but whether the studio will be making any at all, as he feels that maybe it’s time for the Ghibli production team to close up shop.
In Japan, there’s a long, proud tradition of drunken men drawing faces on their bellies, then contorting in order to make them appear to talk or sing. Wait, did we say proud? We mean embarrassing.
This doesn’t mean all abdominal art is automatically silly and repulsive however, as one artist is helping enhance the radiance of pregnancy by painting beautiful works of art on the stomachs of mothers-to-be.
Though there are obviously numerous anime studios in Japan, there is no doubt that Studio Ghibli is among–if not the most–legendary of them all. With tons of famed, beloved, and critically acclaimed films, there’s no doubt that the influence Ghibli has had on the world is massive. Even if you’re not a particularly big fan of their stories, who could deny that the worlds they create are simply stunning? Wouldn’t it be amazing to see those buildings brought to life and given physical form? We certainly wish we could at least get a ride inside the cat bus.
Though this new exhibition at the Edo-Tokyo Tatemono-en, or called the Edo-Tokyo Open Air Architectural Museum in English, does not quite provide full-size replicas of Ghibli architecture, it does give us an excellent concept of what some of our favorite buildings would like in the real world.
The principal characters of Studio Ghibli’s Laputa: Castle in the Sky are all seeking something. Protagonists Sheeta and Pazu, as well as the villainous Muska, are looking for the titular floating castle, but what they’re really after is a peaceful resolution to a dark heritage, adventure and purpose, and the power to rule the world, respectively.
These days, fans of the 1986 anime film have a search of their own, as the voice-activated Laputa pendant that just went on sale this month is already sold out nationwide.
The works of Studio Ghibli are almost universally loved and respected, but there is one interesting criticism detractors lob against Japan’s premier anime production house. Barring the occasional music video or video game art design project, Ghibli’s body of work consists of feature films, all of which have been financial successes (even the widely panned Tales from Earthsea earned more than triple its budget).
Ghibli obviously can’t be blamed for building on its success by putting in the time, money, and, of course, effort to produce movies of such high quality. At the same time, some have wondered how the studio would fare operating under the notoriously tight time and budget constraints of television anime.
Judging from the recently released preview for Ghibli’s first TV series, Ronia the Robber’s Daughter, the transition, not to mention the lead character’s movements, might not be so smooth.
Some people have a hard time adjusting to life after retirement. Whether it’s the stockbroker who can’t stop checking the market reports or the English teacher who feels the need to correct his grandchildren’s grammar, sometimes old habits die hard.
Maybe that’s why even after announcing his retirement from making feature films, anime legend Hayao Miyazaki has been making frequent visits to Studio Ghibli, the production house where he served as director for so many years.
And by frequent visits, we mean that the guy is there every single day.
Totoro may be the most instantly recognizable Studio Ghibl character, but the exalted animation house has produced a far larger number of memorable heroines than cute critters. From warrior princesses to ordinary schoolgirls who defy anime conventions by actually being ordinary, almost every Ghibli film has had a woman as either its central or most important figure.
Each has her own claim to fame. Spirited Away’s Chihiro remains the studio’s highest-grossing leading lady, Arrietty its shortest, and Princess Mononoke’s San the most violent. Now, a recent poll has bestowed yet another title by asking fans which Ghibli character they’d like to have as a girlfriend.
For any serious anime fan making a trip to Tokyo, a visit to the Ghibli Museum should be at the top of their list. Not only is the design of the building bursting with subtle references to the works of esteemed director Hayao Miyazaki and his compatriots, the on-site theater also screens Ghibli shorts you can’t see anywhere else, such as the heart-warming follow-up to My Neighbor Totoro.
This summer, though, two more Tokyo museums are getting in on the act with special exhibits focusing on the architecture of Studio Ghibli plus artwork for the animation house’s newest film.
With her unique mix of weird and cute, you’d be hard-pressed to find an animation fan who doesn’t recognize Ponyo, the fish-girl from legendary director Hayao Miyazaki’s 2008 film of the same name. On the other side of the Pacific, justabout anyone with even a passing interest in comics at any point in the last 40 years knows who Marvel’s Wolverine is.
While one character is a symbol of innocence and whimsy, and the other of machismo and toughness, Ponyo and Wolverine’s paths have actually crossed, in a small fishing port called Tomonoura, where the mutant superhero made such an impression on the locals they named a rose after him.
And no, this isn’t fanfiction we’re talking about.
A recent scandal in the Japanese entertainment world may have delayed the release of the announced box set of the works of retired anime director Hayao Miyazaki, the latest offering from the production house he helped found, Studio Ghibli, is still on track for its planned July premiere. With the big day coming up fast, producers have released a short teaser of the anime film’s theme song, which is being performed by American folk singer Priscilla Ahn.
Not that we didn’t see it coming, but it was announced on Monday that Disney’s Frozen has officially surpassed 19.8 billion yen (US$194.6 million) in total box office revenue in Japan. Released on March 14 in Japan as アナと雪の女王 (“Ana and the Snow Queen”), months behind its original stateside premiere, the film has held onto its number one position for 11 consecutive weeks.
So how does that stack up with other successful films in Japanese box office history? Keep reading to find out its current ranking plus a list of the highest-grossing films of all time in Japan!
Having grown up in Los Angeles, where celebrity drunk driving arrests are only slightly less common than rainy days, I’m generally not shocked when I hear about an entertainer being in trouble with the law. Things are very different in Japan, though, and whether it’s because those in the public eye are better behaved, more skilful at covering their tracks, or have a cozier relationship with the mass media, stories about major transgressions by performing artists are few and far between.
So when pop musician Aska was recently arrested, it sent shock waves through the country. Of course, if you’re not a fan of Japanese pop music from two decades ago, you probably think the 56-year-old singers legal problems are none of your own.
That’s not the case, though, if you’re a fan of Studio Ghibli anime.
Recently, our Japanese-language reporter Hotaru has been a little down in the dumps. She’s not sure if she’s come down with a cold or is just feeling the doldrums of the dreaded Gogatsu-byou, but either way, she needed a boost.
Realizing that good health and a good mood starts with good food, she headed into the kitchen to whip up a batch of porridge. But not just any old porridge would do for helping Hotaru shake off her funk, she needed to recreate the porridge that picks up the heroine of classic anime Kiki’s Delivery Service.













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