Showing posts with label ghibli. Show all posts
Showing posts with label ghibli. Show all posts

Monday, March 6, 2017

LEGENDS OF ANIMATION: HAYAO MIYAZAKI (2012, Jeff Lenburg)




Jeff Lenburg. Hayao Miyazaki: Japan's Premier Anime Storyteller (Legends of Animation). New York, Chelsea House, 2012.

PDF / English / 160 pages / 1604138416 / 978-1604138412

Ok, so... another biography... Very useful as an introduction into Hayao's life and deep enough
to satisfy a hardcore fan. 
His early life in Bunkyo, Tokyo, were his father was director of Miyazaki airplanes, a plane parts manufacturer. His mother sickness, all things that had of course a profound influence on him. 
One of his primary inspirations: Osamu Tezuka. Discovering Hakujaden (1958) and deciding on becoming an animator.

Work in Toei Douga

Joining the staff of Toei Douga, working as an in-betweener in Wanwan Chûsingura (1963), 
Shonen Ninja Kaze no Fujimaru (1964), Ookami Shounen Ken (1965), 
Gulliver no Uchu Rkyoko (1965); then being elevated to key animator and working on Hustle Punch (1965), Rainbow Sentai Robin (1966), Mahotsukai Sally (1968).
As part of the production team of Taiyou no Oji Hols no Daiboken, Hols Prince of the Sun (1968), a landmark in japanese animation history and the first of many collaborations with Isao Takahata Producing key animation, designs and storyboards for Nagagutsu o Haita Neko, Puss in Boots (1969) a prototype for Hayao's later feature Cagliostro. Screenplay, animation, design contributions in The Flying Phantom Ship (1969)

Leaving Toei - Pre Ghibli 

He joined Takahata and Yoichi Otabe in Toei's rivals A-Pro (a studyo that animated for Tokyo Movie Shinsha), making two shorts: Panda Kopanda (1972) and a sequel Panda Kopanda: Amefuri Saakasu no Maki (1973) Both considered prototypes for Totoro. Then producing arguably the first animated TV series intended for teenagers, Lupin III.
 Designs and layouts for Alps Girl Heidi (1974) and Three Thousand Miles in Search of Mother (1976) Anne Green Gables (1979)... all representative works of Takahata 

Being promoted to Director and breaking through with Future Boy Conan (1977) Directing his first feature anime Lupin III: The Castle of Cagliostro (1979)


Studio Ghibli

The making of Nausicaä of the Valley of The Wind (1984), Miyazaki's environmental concerns, his love for aircraft and flight; his pacifist and anti military attitude; and his morally ambiguous characters. On the strength of the success of Nausicaä, he and Takahata co found their own animation studio.
Their first project an original anime Laputa: The Castle in the Sky (1986) an animation with a strong Welsh influence and partly rooted in Celtic culture.

His greatest triumph to date My Neighbor Totoro (1988) the story of two sisters befriending a mythical furry creature in a traditional village life environment. Following the success of Totoro another masterpiece Kiki's Delivery Service (1989), the story of a 13 year old witch in training who, in witch tradition, leaves home to spend a year alone in a new town in order to establish herself as a full witch.

Porco Rosso a high flying adventure about an Italian air force pilot turned into a crimson pig, and a bounty hunter protecting ships from marauding air pirates where he combined two passions: flying and Italy. He intended the film for middle-aged people but kids loved it. In 1995 Ghibli streak a deal with Disney to distribute their films outside Japan.
Then comes Princess Mononoke (1997) a very dark film about the destructive power of greed in an ancient mythical setting. And finally Hayao's greatest financial success Spirited Away (2001) about a 10 year old girl discovering a mysterious bathhouse full of ghosts and spirits... and a little more, well a lot more. Enjoy (pelida77)



Thursday, November 24, 2016

THE ANIME ART OF HAYAO MIYAZAKI (2006, Dani Cavallaro)




Dani Cavallaro. The Anime Art of Hayao Miyazaki. London, Macfarland, 2006.

/ PDF / English / 212 pages / 0786423692 / 978-0786423699

"Works of art are created by those who are prepared to go to the limit" (Hayao Miyazaki)

A look at the life and work of one of the greatest animators of all time, the japanese master film-maker Hayao Miyazaki. This book opens with an introduction to Miyazaki’s work describing his visual repertoire, themes and cinematographical style. The first two chapters situate the films in relation to two complementary contexts: manga and anime, and the principal features of traditional and digital animation.
Miyazaki’s early experiences in the realms of comic books and animation, as well as his roles in pre–Ghibli productions, are thereafter examined. The rest of the text focuses on the Ghibli era, assessing the company’s development and discussing in depth Miyazaki’s output between Nausicaä of the Valley of the Wind (1984) and Howl’s Moving Castle (2004). Each film is appraised with reference to its themes, narrative structure, topical relevance and place within the broad context of Miyazaki’s corpus. Close attention is also devoted to specific animation techniques and cinematographical operations, through detailed analyses of the film texts themselves and parallel assessments of the storyboards, concept art and model sheets executed for the various productions by Miyazaki and his team. Data regarding production schedules and achievements at the box office are also supplied where appropriate. 
Various chapters, chronologically situated throughout the text, explore other productions emanating from Studio Ghibli, or otherwise involving Ghibli staff but realized for other studios, to which Miyazaki has directly or indirectly contributed, e.g., in the capacities of concept and storyboard designer or producer.  These chapters are integral parts of the book’s content and structure as reflections on Studio Ghibli’s eminently collaborative nature. 
The Filmography supplies additional information about Ghibli’s engagement in the production of tie-ins, the fandom phenomenon and filmographical details. (Dani Cavallaro)



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Monday, May 30, 2011

THE ART OF PONYO (*INCOMPLETE)


JPEG / 370 MB / Eng / 134 pp. /
1421530643 / 978-1421530642 (*Incomplete)

- Células, diseño de personajes, background etc. pero ¡Alas! lamentablemente sin comentarios.


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THE ART OF HOWL’S MOVING CASTLE


[S.A.], The Art of Howl moving Castle: A Film by Hayao Miyazaki, Viz Media
JPEG / 147 MB / Eng / 205 pp. / 1421500493 / 978-1421500492
- Dibujos iniciales de Miyazaki; Storyboards.
- Entrevistas a animadores, director de arte
- Arte Conceptual y Arte de Background (Yoji Takeshige, Noboru Yoshida), Diseño de Personajes (Akihiko Yamashita, Takeshi Inamura). Con comentarios de sus creadores
- Relato de historia de pre – producción.



A hardback, prestige format book with a generous collection of concept sketches, fully rendered character and background drawings, paintings and cell images. Along with the stunning visuals, the book also presents interviews and comments with the production staff, including key points from the director.

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THE ART OF SPIRITED AWAY


[S.A.], The Art of Miyazaki's Spirited Away, Viz Media.
JPEG / 134 MB / Eng / 240 pp. /1569317771 / 978-1569317778
“Diría que esta película es la historia de una aventura, aún cuando no hay rastro de armas o batallas que involucren superpoderes [...] Es una historia en la que la heroína será arrojada a un lugar donde Bien y Mal conviven juntos, y allí, habrá de experimentar el mundo. Ella aprenderá acerca de la amistad y la fidelidad, y sobrevivirá haciendo uso de su razón [...] triunfa no porque destruya al “mal” sino porque ha adquirido la habilidad de sobrevivir.” (Hayao Miyazaki)
- Bellísima colección de backgrounds (comentadas por Yoji Takeshige), dibujos conceptuales, células.
- Los personajes diseñados por Masashi Ando (con comentarios de éste).
- La mezcla de estilos arquitectónicos utilizados para las distintas escenas.
- La política de Ghibli respecto a las nuevas tecnologías digitales, explicada por Mitsunori Kataama (supervisor de animación digital).


The Art of Spirited Away collects colour illustrations of Spirited Away for the first time in an English edition. This book includes paintings and designs from the Academy Award winning animated film directed by Hayao Miyazaki. Features commentary, colour stills, sketches, storyboards, and illustrations used to envision the rich fantasy world of the film. Also includes a complete English-language script.

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Sunday, May 29, 2011

THE ART OF PORCO ROSSO


[S.A.], The art of Porco Rosso: a film by Hayao Miyazaki, California, Viz Media, 2005.
JPEG / 144 MB / Eng / 145 pag / 1591167043 / 978-1591167044
- La historia en la que se basa Porco Rosso: The age of the Flying boat (manga de Miyazaki)
- La idea original: una película sobre aviones para emitirla durante un vuelo comercial.
- Storyboards y guión traducido al inglés.
- Análisis de cada uno de los personajes del film.
- Diseño de los aviones.
- Background Art.
- Ilustraciones para el final del film.
- Afiches y posters promocionales.



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THE ART OF KIKI'S DELIVERY SERVICE



[S.A.], The Art of Kiki’s Delivery Service: A film by Hayao Miyazaki, California, Viz Media, 2006.
JPEG / 274 MB / Eng / 547 pag / 1421505932 / 978-1421505930
“Kiki representa a toda jovencita que es atraída por el glamour de la gran ciudad pero que luego se encuentra luchando contra su recientemente adquirida independencia [...]
Para muchas mujeres la lucha para alcanzar su independencia es demasiado demandante. Sienten que están nadando contra la corriente. Queríamos explorar este tema de la independencia en el film [...]” (Hayao Miyazaki)
- Todo lo relativo al origen del proyecto y a su producción.
- La adaptación hecha a partir de la novela de Eiko Kadono.
- Los escenarios reales de Visby, ciudad en la isla de Gotland (Suecia) en los que se basa la película.
- Todos los storyboards diseñados por Miyazaki ( pero... ahhh... en japonés, ese idioma incomprensible...).
- Afiches y posters promocionales, logos, células sin procesar, dibujos conceptuales (por Katsyuya Kondo, Shinji Otsuka y Yoshifumi Kondo) Arte Conceptual (Hiroshi Ondo), diseño de personajes (Katsuya Kondo); con comentarios hechos en base a entrevistas con cada uno de los artistas.
- Las novedades en cuanto a la técnica de planos y trabajo de cámaras (fotografía de células)
- El supervisor de color Michiyo Yasuda explica la técnica utilizada en el film para la selección de colores, y la compara con otras piezas de Ghibli.

A 13-year old girl sets off on a journey to become a witch. In the process, she learns how to be a woman. Based on the movie of the same name, this prestige format, lavishly illustrated hard-bound book gives fans a rare glimpse into the creative process of Academy Award-winning director Hayo Miyazaki.

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Saturday, May 28, 2011

THE ART OF MY NEIGHBOR TOTORO


[S.A.], The Art of My Neighbor Totoro: A Film by Hayao Miyazaki, California, Viz Media, 2005.
JPEG / 134 MB / Eng / 175 pag / 1591166985 / 978-1591166986
"Quise que Tonari No Totoro fuera una película cálida que no sólo lograra entretener y conmover a sus espectadores, sino también permanecer junto a ellos mucho tiempo después de dejar los teatros. Quise que el alma de esta película fortaleciera los lazos entre aquellos que se aman; que inspirara fuertemente a los padres a recordar su niñez, y animara a los niños a corretear por los templos o a subir a los árboles."
(Hayao Miyazaki)
El libro contiene ejemplos de:
- Los dibujos y conceptos originales de 1976, por Miyazaki.
- Storyboards de las más importantes escenas.
- Células e imágenes tomadas del Film.
- Arte (Background), los diseños originales a cargo de Kazuo Oga.
- Citas de Miyazaki y de Kazuo Oga tomadas de distintas entrevistas explicando personajes, historia, diseños, escenas, dificultades y toda clase de datos curiosos.
- Comentarios del asistente de Director Tetsuya Endo, con respecto a las novedosas técnicas utilizadas en la animación del film.
Artículo del crítico de cine Mazaaki Nomura, publicado originalmente en el número de Diciembre de 1987 de Animage Magazine, que venía a informar acerca de las más recientes películas del estudio Ghibli (Mi vecino Totoro y La Tumba de las Luciernagas). Con entrevistas al Director, Productor, Diseñador, Animadores, Sonidista, Director de Música, Actores de voz. (by pelida77)





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THE ART OF NAUSICAÄ


S.A., The Art of Nausicaä of The Valley Of The Wind: Watercolor Impressions, California, Viz Media, 2007.

JPEG / 140 MB / Eng / 215 pag / 1421514990 / 978-1421514994
- Ilustraciones de portadas del manga de Nausicaä en Animage (donde se publicó originalmente).
- Dibujos hechos para el film, afiches promocionales y los tapices utilizados en la apertura.
- Comentarios de Miyazaki explicando las imágenes o aportando algún dato curioso sobre su confección.
- Entrevista con Miyazaki acerca del origen de distintos motivos en Nausicaä.
(by pelida77)



From the vaults of Academy Award-winning director, Hayao Miyazaki! Original watercolor illustrations used as concept sketches for both the manga and film versions of NausicaÄ of the Valley of the Wind. Take a peek behind the curtain to see the creative process of the most acclaimed anime director in the world today. This full-color, over-sized, hardcover book also includes Miyazaki's earliest sketches that eventually became the basis for some of the most beloved anime movies of the past 20 years.

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Wednesday, May 4, 2011

SPIRITED AWAY (Andrew Osmond)


PNG / 83 MB / Eng / 123 pag / 1844572307 / 978-1844572304

Libro dedicado al análisis de la película de Hayao Miyazaki, Spirited Away.
Pero también hace un pequeño repaso por toda la obra del director.Desde sus comienzos en Toei hasta Howl's moving Castle.Todo con el objeto de comprender en profundidad la figura de Chihiro. (by pelida77)

Andrew Osmond’s insightful study describes how Miyazaki wrote, storyboarded and directed Spirited Away with a degree of creative control undreamt of in most popular cinema, using the film’s delightful, freewheeling visual ideas to explore issues ranging from personal agency and responsibility to what Miyazaki sees as the lamentable state of modern Japan. Osmond unpacks the film’s visual language, which many Western (and some Japanese) audiences find both beautiful and sometimes bewildering. He traces connections between Spirited Away and Miyazaki’s prior body of work, and provides an account of the film’s production and the creative differences between Miyazaki and his collaborators, arguing that Spirited Away uses the cartoon medium to create a compellingly immersive drawn world.

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