Wong, Tessa (December 3, 2016). "Hayao Miyazaki: Japan's godfather of animation?". BBC. Archived from the original on December 3, 2016 . Retrieved April 18, 2022.

Career [ edit ] Early career [ edit ] Miyazaki first worked with Isao Takahata in 1964, spawning a lifelong collaboration and friendship. [32] [33] [34] Sudo, Yoko (June 4, 2014). " 'Frozen' Ranks as Third-Biggest Hit in Japan". The Wall Street Journal. Dow Jones & Company. Archived from the original on February 6, 2017 . Retrieved March 24, 2017. The old man and the fire: During the night after meeting Thea and her sister, but before their rescue, an old man comes across Shuna at his camp. In exchange for sharing some food with him, the old man tells Shuna more about the god-men and their land in the west over a campfire amongst the ruins of an old house or settlement. At the same time, he warns Shuna of how the land to the west is mystical and that no man has ever returned alive. This exact scene is paralleled in Princess Mononoke, when Ashitaka meets Jiko the priest and consults him about the iron bullet found in Nago the boar's demon body before learning of the Great Forest Spirit and the ancient forest. Miyazaki, Hayao (November 26, 2013). The Art of Ponyo. San Francisco: Viz Media. ISBN 978-1-4215-6602-3. Calvario, Liz (August 3, 2016). "Studio Ghibli: The Techniques & Unimaginable Work That Goes Into Each Animation Revealed". IndieWire. Penske Media Corporation. Archived from the original on May 8, 2017 . Retrieved May 22, 2017.Akimoto, Daisuke (October 1, 2014). Ratelle, Amy (ed.). "A Pig, the State, and War: Porco Rosso (Kurenai no Buta)". Animation Studies. Society for Animation Studies. 9. Archived from the original on January 25, 2018 . Retrieved March 18, 2017. Komatsu, Mikikazu (April 20, 2018). "Steven Spielberg Talks About His Meeting with Hayao Miyazaki at "Ready Player One" Talk Event in Tokyo". Crunchyroll. Otter Media. Archived from the original on April 20, 2018 . Retrieved June 14, 2019. Mateo, Alex (February 23, 2022). "Hayao Miyazaki's Shuna's Journey Manga Gets English Release in U.S." Anime News Network. Archived from the original on February 22, 2022 . Retrieved September 30, 2022. Phipps, Keith (February 23, 2019). "In the end, the How to Train Your Dragon trilogy crafted a complex coming-of-age story". Polygon. Vox Media. Archived from the original on February 23, 2019 . Retrieved June 14, 2019. Nakamura, Karen; Matsuo, Hisako (November 17, 2002). "Female masculinity and fantasy spaces". In Roberson, James E.; Suzuki, Nobue (eds.). Men and Masculinities in Contemporary Japan: Dislocating the Salaryman Doxa. Abingdon-on-Thames: Routledge. pp. 58–76. ISBN 978-0-415-27147-9.

Ma, Kevin (January 1, 2014). "The Wind Rises tops 2013 Japan B.O." Film Business Asia. Archived from the original on January 2, 2014 . Retrieved March 31, 2017. Miyazaki and Giraud (also known as Moebius) influenced each other's works, and became friends as a result of their mutual admiration. [213] Monnaie de Paris held an exhibition of their work titled Miyazaki et Moebius: Deux Artistes Dont Les Dessins Prennent Vie (Two Artists's Drawings Taking on a Life of Their Own) from December 2004 to April 2005; both artists attended the opening of the exhibition. [214] Brady, Tara (October 30, 2018). "Mamoru Hosoda's poignant and strange inversion of It's a Wonderful Life". The Irish Times. Irish Times Trust. Archived from the original on October 30, 2018 . Retrieved March 20, 2019. Reinders, Eric (October 14, 2016). The Moral Narratives of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-1-4766-6452-1.McCurry, Justin (September 22, 2023). "Studio Ghibli to be acquired by Nippon TV after struggle to find a successor to Miyazaki". The Guardian. Archived from the original on September 22, 2023 . Retrieved November 25, 2023. Miyazaki was described as the "godfather of animation in Japan" by BBC's Tessa Wong in 2016, citing his craftsmanship and humanity, the themes of his films, and his inspiration to younger artists. [225] Courtney Lanning of Arkansas Democrat-Gazette named him one of the world's greatest animators, comparing him to Osamu Tezuka and Walt Disney. [226] Swapnil Dhruv Bose of Far Out Magazine wrote that Miyazaki's work "has shaped not only the future of animation but also filmmaking in general", and that it helped "generation after generation of young viewers to observe the magic that exists in the mundane". [227] Richard James Havis of South China Morning Post called him a "genius ... who sets exacting standards for himself, his peers and studio staff". [228] Paste 's Toussaint Egan described Miyazaki as "one of anime's great auteurs", whose "stories of such singular thematic vision and unmistakable aesthetic" captured viewers otherwise unfamiliar with anime. [229] Miyazaki became the subject of an exhibit at the Academy Museum of Motion Pictures in Los Angeles in 2021, featuring over 400 objects from his films. [230] Hiranuma, G.B. "Anime and Academia: Interview with Marc Hairston on pedagogy and Nausicaa". University of Texas at Dallas. Archived from the original on March 3, 2016 . Retrieved March 17, 2017. From March to May 1989, Miyazaki's manga Hikōtei Jidai was published in the magazine Model Graphix [ fr]. [95] Miyazaki began production on a 45-minute in-flight film for Japan Airlines based on the manga; Suzuki ultimately extended the film into the feature-length film, titled Porco Rosso, as expectations grew. Due to the end of production on Takahata's Only Yesterday (1991), Miyazaki initially managed the production of Porco Rosso independently. [96] The outbreak of the Yugoslav Wars in 1991 affected Miyazaki, prompting a more sombre tone for the film; [97] Miyazaki would later refer to the film as "foolish", as its mature tones were unsuitable for children. [98] The film featured anti-war themes, which Miyazaki would later revisit. [99] [l] The airline remained a major investor in the film, resulting in its initial premiere as an in-flight film, prior to its theatrical release on July 18, 1992. [97] The film was critically and commercially successful, [m] remaining the highest-grossing animated film in Japan for several years. [96] [n]

Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2. Producer Toshio Suzuki stated: "The process of making these films at the same time in a single studio was sheer chaos. The studio's philosophy of not sacrificing quality was to be strictly maintained, so the task at hand seemed almost impossible. At the same time, nobody in the studio wanted to pass up the chance to make both of these films." [87] In September 2013, Miyazaki announced that he was retiring from the production of feature films due to his age, but wished to continue working on the displays at the Studio Ghibli Museum. [166] [167] Miyazaki was awarded the Academy Honorary Award at the Governors Awards in November 2014. [168] He developed Boro the Caterpillar, a computer-animated short film which was first discussed during pre-production for Princess Mononoke. [169] It was screened exclusively at the Studio Ghibli Museum in July 2017. [170] Around this time, Miyazaki was working on a manga titled Teppo Samurai. [171] In February 2019, a four-part documentary was broadcast on the NHK network titled 10 Years with Hayao Miyazaki, documenting production of his films in his private studio. [172] In 2019, Miyazaki approved a musical adaptation of Nausicaä of the Valley of the Wind, as it was performed by a kabuki troupe. [173]

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Following the success of Nausicaä of the Valley of the Wind, Yasuyoshi Tokuma, the founder of Tokuma Shoten, encouraged Miyazaki to work on a film adaptation. [73] Miyazaki initially refused, but agreed on the condition that he could direct. [74] Miyazaki's imagination was sparked by the mercury poisoning of Minamata Bay and how nature responded and thrived in a poisoned environment, using it to create the film's polluted world. Miyazaki and Takahata chose the minor studio Topcraft to animate the film, as they believed its artistic talent could transpose the sophisticated atmosphere of the manga to the film. [73] Pre-production began on May 31, 1983; Miyazaki encountered difficulties in creating the screenplay, with only sixteen chapters of the manga to work with. [75] Takahata enlisted experimental and minimalist musician Joe Hisaishi to compose the film's score. [76] Nausicaä of the Valley of the Wind was released on March 11, 1984. It grossed ¥1.48 billion at the box office, and made an additional ¥742 million in distribution income. [77] It is often seen as Miyazaki's pivotal work, cementing his reputation as an animator. [78] [h] It was lauded for its positive portrayal of women, particularly that of main character Nausicaä. [80] [81] [i] Several critics have labeled Nausicaä of the Valley of the Wind as possessing anti-war and feminist themes; Miyazaki argues otherwise, stating that he only wishes to entertain. [83] [j] The successful cooperation on the creation of the manga and the film laid the foundation for other collaborative projects. [84] In April 1984, Miyazaki opened his own office in Suginami Ward, naming it Nibariki. [72] Studio Ghibli [ edit ] Early films (1985–1996) [ edit ] The Road to Nausicaä, episode 1, Hayao Miyazaki's Manga Genealogy]. Animage (in Japanese). Tokyo: Tokuma Shoten (61): 172–173. June 10, 1983.

Shuna's Journey takes its inspiration from a Tibetan folktale called “The Prince Who Became a Dog,” but the characters and plot are Miyazaki’s own. The story opens in a small kingdom struggling through a famine. The young ruler, Prince Shuna, learns from a traveler about a fabled “golden grain” that could feed his people. Ignoring the warnings of the elders, he sets out in search of it, only to find that the outside world is even harsher than his rugged farming community. Miyazaki, Hayao (August 25, 2002). Lu, Alvin (ed.). The Art of Spirited Away. San Francisco: Viz Media. ISBN 978-1-56931-777-8. Lanning, Courtney (January 8, 2021). "Celebrating legacy of a legendary animator". Northwest Arkansas Democrat-Gazette. WEHCO Media. Archived from the original on January 10, 2021 . Retrieved April 21, 2022.In 2013, several Studio Ghibli staff members, including Miyazaki, criticized Japanese Prime Minister Shinzo Abe's policies and the proposed Constitutional amendment that would allow Abe to revise the clause that outlaws war as a means to settle international disputes. [v] Miyazaki felt Abe wished to "leave his name in history as a great man who revised the Constitution and its interpretation", describing it as "despicable". [184] [w] Miyazaki expressed his disapproval of Abe's denial of Japan's military aggression, stating that Japan "should clearly say that [they] inflicted enormous damage on China and express deep remorse over it". [184] He felt the government should give a "proper apology" to Korean comfort women who were forced to service the Japanese army during World War II, suggesting the Senkaku Islands be "split in half" or controlled by both Japan and China. [99] After the release of The Wind Rises in 2013, some online critics labeled Miyazaki a "traitor" and "anti-Japanese", describing the film as overly " left-wing". [99] Miyazaki recognized leftist values in his movies, citing his influence by and appreciation of communism as defined by Karl Marx, though he criticized the Soviet Union's political system. [186]