Spirited Away

Spirited Away

Spirited Away film poster
Directed by Hayao Miyazaki
Produced by Toshio Suzuki
Written by Hayao Miyazaki
Starring Rumi Hiiragi
Miyu Irino
Mari Natsuki
Music by Joe Hisaishi
Cinematography Atsushi Okui
Editing by Takeshi Seyama
Studio Studio Ghibli
Distributed by Toho (Japan)
Walt Disney Pictures (North America)
Arista Film Motion Pictures (Europe)
Release date(s) July 27, 2001
Running time 125 minutes
Country Japan
Language Japanese
Budget ¥ 1.9 billion
(US$ 19 million)
Gross revenue ¥ 27,492,509,500
(US$ 274,925,095)

Spirited Away (千と千尋の神隠し Sen to Chihiro no Kamikakushi?, literally, Sen and Chihiro's Spiriting Away) is a 2001 Japanese animated film written and directed by Hayao Miyazaki and produced by Studio Ghibli. The film follows a sullen ten-year-old girl who is in the process of moving to a new town (presumably in the countryside) with her family, and chronicles her adventures in a world of spirits and monsters.

The film received many awards, including the second Oscar ever awarded for Best Animated Feature, the first anime film to win an Academy Award, and the first (and so far only) non-English speaking animation to win. The film also won the Golden Bear at the 2002 Berlin International Film Festival (tied with Bloody Sunday) and is among the top ten in the BFI list of the 50 films you should see by the age of 14.

Spirited Away overtook Titanic (at the time the top grossing film worldwide) in the Japanese box office to become the highest-grossing film in Japanese history.[1]

Contents

Plot

Ten-year-old Chihiro and her parents are moving to a new town, much to Chihiro's displeasure. While driving, they get lost and her father decides to take a shortcut down a mysterious forested pathway. After a short but bumpy drive, the family comes to a stop at what seems to be an abandoned theme park. Curious, the father leads his family through a tunnel and explores the park, finding a deserted town and a stall full of freshly-cooked food. The parents greedily help themselves while Chihiro refuses to eat. As Chihiro's parents are eating, she wanders off and meets a boy named Haku. Haku seems to be familiar with Chihiro and warns her to escape with her parents; she returns to find they have turned into pigs, and that the way back has become a deep river. Spirits appear and go about the park. Haku secretly takes Chihiro to a large bathhouse to avoid alerting the spirits to her presence. Haku then tells her that she must get a job from the boiler man, Kamajii until he can help her recover her parents and escape.

With the help of the six-armed boiler room master Kamajii and a bathhouse servant girl named Lin,[2] Chihiro is able to convince Yubaba, the elderly Witch and owner of the bath house, to give her a job; in exchange, Chihiro is forced to give up her name so that Yubaba may keep her in service for eternity. Yubaba gives her new servant the name "Sen(千)," which is derived from "Chihiro(千尋)" by removing the second character and using the alternate reading of the first. Chihiro eventually learns that Haku is similarly indebted to Yubaba. Chihiro is put to work alongside Lin, helping to bathe and serve the most difficult spirits in the bathhouse. Chihiro is able to successfully bathe a "stink spirit" (later revealed to be a river spirit who had been heavily polluted), who rewards Chihiro for her service with a magic medicine made from special herbs.

Chihiro discovers Haku's true form, a dragon, and he is later attacked in this form by shikigami in the form of paper birds controlled by Zeniba, Yubaba's twin sister. Haku had stolen and swallowed Zeniba's seal under orders from Yubaba, which has a spell on it that gave Haku internal bleeding and lacerations. Chihiro tries to help Haku recover from his injuries using the medicine given to her by the river spirit, which acts as an emetic to the dragon, causing him to vomit, and thus recovering Zeniba's sigil and squashing a peculiar black slug that had been attached to it. Haku remains comatose, so Chihiro decides to travel to Zeniba's home to return the seal, hoping to break her curse over Haku. Chihiro sets out on a train ride across the spirit world, along with a wraith-like spirit called No-Face, who terrorized the bathhouse and tried to earn the affection of Chihiro, Yubaba's pet raven (who has been turned into a small, fly-like creature by Zeniba), and Boh, Yubaba's gigantic infant son whom Zeniba had transformed into a mouse.

The group arrives at Zeniba's house to find that Zeniba is friendlier than expected. She explains that the seal spell has been broken by Chihiro's love and caring and that the black slug Chihiro has squashed was a curse placed on Haku by Yubaba to control him. Zeniba and Chihiro's friends make Chihiro a special hairband to show her that her friends are with her, as well as for protection, and No-Face is offered to stay at Zeniba's home as her assistant. Haku, now recovered, shows up to return Chihiro to the bathhouse, explaining that Yubaba will return Chihiro's parents to normal and allow all three of them to leave in exchange for returning Boh. As they travel on Haku's dragon form, Chihiro realizes that Haku is the same river spirit that saved her as a small child when she fell into the Kohaku River, and the realization helps to break Yubaba's control on Haku completely. At the bathhouse, Yubaba reveals that Chihiro must pass one more task as part of Haku's deal: identify which pigs in the huge herd are her parents. Chihiro passes the test, as she states that none of them are her parents, and Yubaba is forced to let her and her family go. Haku escorts her to the entrance of the spirit world, telling her that her parents are waiting on the other side, but not to look back or else the deal will be broken. Chihiro rejoins her parents and does not look back. The family returns to their car (now dusty and covered with fallen leaves and branches, looking as though a long time has passed) and continues to their new home. Zeniba's hair band is still in Chihiro's hair, proving her adventure to be true. In the English adaptation, the film ends as Chihiro's parents tell her that they understand her worry, to which she replies that she thinks she'll do fine. This is a change from the Japanese original, which leaves Chihiro in silent thought as the car drives away, reflecting on her adventure.

Cast and characters

Chihiro (left) and No-Face (right). No-Face becomes obsessed with Chihiro after her initial act of kindness and proceeds to offer her many gifts, including gold and bath tokens

Themes and archetypes

The major themes of Spirited Away center on the protagonist Chihiro and her liminal journey through the realm of the bathhouse of the gods. A spoiled child forced into the fantastic world, Chihiro becomes completely separated from everything she has known and must find her way back to reality. Chihiro’s experience in the alternate world, frequently compared to Lewis Carroll's Alice's Adventures in Wonderland, represents her passage from childhood to adulthood.[3] The archetypal entrance into another world clearly demarcates Chihiro’s status as one in-between. In her transition between child and adult, Chihiro stands outside these societal boundaries, a situation mirrored by the supernatural setting outside reality. The use of the word kamikakushi (literally "hidden by gods") within the Japanese title, and its associated folklore, reinforce this liminal passage: "Kamikakushi is a verdict of ‘social death’ in this world, and coming back to this world from Kamikakushi meant ‘social resurrection.’"[4] Upon gaining employment at the bathhouse, Yubaba’s seizure of Chihiro’s true name, a common theme in folklore, symbolically kills the child Chihiro.[3] Having lost her childhood identity, Chihiro cannot return to reality by the way she came; she can only move forward into adulthood. The following trials and obstacles Chihiro must overcome become the challenges and lessons common in rites-of-passage and the monomyth format. In her attempt to regain her self, her "continuity with her past," Chihiro must forge a new identity.[3]

Beneath the surface coming-of-age trope, Spirited Away contains critical commentary on modern Japanese society concerning generational conflicts, the struggle with dissolving traditional culture and customs within a global society, and environmental pollution.[5] Chihiro, as a representation of the liminal shōjo, "may be seen as a metaphor for the Japanese society which, over the last decade, seems to be increasingly in limbo, drifting uneasily away from the values and ideological framework of the immediate postwar era."[6] Just as Chihiro seeks her past identity, Japan, in its anxiety over the economic downturn occurring during the release of Spirited Away in 2001, sought to reconnect to past values.[3] In interview, Miyazaki has commented on this nostalgic element for an old Japan.[7] Initially, Chihiro travels past the abandoned fairground, a symbol for Japan’s burst "bubble economy", and her parents' credit-card-fuelled gluttony and transformation into pigs, to reach the fantasy world replete with Japanese culture and fable in the amalgam of the bathhouse.

However, the "bathhouse of the spirits has its own ambivalence, and its own darkness…. Miyazaki is not so simple-minded as to locate a perfect vision in the past or the spiritual."[8] Many of the employees are rude and discriminating to Chihiro, and the corruption of avarice has incorporated itself into the "bricolage" of the bathhouse[6] as a place of "excess and greed" as well, as depicted in the initial appearance of the No-Face.[9] In stark contrast to the "archetypal approaches to cultural recovery such as recognition, proper identification, spiritual cleansing, and sacrifice," embodied in Chihiro’s journey and transformation, the constant background presence of the ambiguity of the bathhouse reminds the audience that reality is not so simple: "the bathhouse’s simultaneous incorporation of the carnivalesque and the chaotic suggests that the threats to the collectivity are not simply outside ones."[6] The environmental asides concerning the trash deforming the River God and Haku’s plight over the loss of his river to apartment complexes further indicate that the sources of pollution within the bathhouse, a place of ritual purity, come from within the Japanese society.

Production

I created a hero who is an ordinary girl, someone with whom the audience can sympathize. It's not a story in which the characters grow up, but a story in which they draw on something already inside them, brought out by the particular circumstances. I want my young friends to live like that, and I think they, too, have such a wish.
— Hayao Miyazaki[10]

Spirited Away was directed and written by Hayao Miyazaki. Every summer, Miyazaki spent his vacation at a mountain cabin with his family and five young female friends. The idea for Spirited Away came about when he desired to make a film for these friends. Miyazaki had previously directed films such as My Neighbor Totoro and Kiki's Delivery Service, which were for small children and teenagers, but he had not created a film for ten-year-old girls. For inspiration, he read shōjo manga magazines such as Nakayoshi and Ribon that the girls had left at the cabin. When Miyazaki read the magazines he felt that they only offered things such as crushes and romance. When looking at his young friends, Miyazaki felt this was not what they "held dear in their hearts", so instead he decided to make the film about a girl heroine that they could look up to.[10]

Hayao Miyazaki, the film's director and writer.

Miyazaki had wanted to make a new film for a long time. He had previously written two project proposals, but they had both been rejected. The first one was based on the Japanese book Kirino Mukouno Fushigina Machi, and the second one was about a teenage heroine. Miyazaki's third proposal, which ended up becoming Spirited Away, was more successful. All three stories revolved around a bathhouse that was based on a bathhouse in Miyazaki's hometown. Miyazaki thought the bathhouse was a mysterious place, and there was a small door next to one of the bathtubs in the bathhouse. Miyazaki was always curious to what was behind it, and he made up several stories about it; one of which was the inspiration for the bathhouse in Spirited Away.[10]

The film went into production in 2000, with a budget of ¥ 1.9 billion (US$ 15 million). In his previous film, Princess Mononoke, Miyazaki and his staff had experimented with the process of computer animation. Equipping themselves with more computers and programs like 3D, the Studio Ghibli staff began to learn the software, but keeping the technology at a level to enhance the story, not "steal the show". All the characters were largely animated by hand, with Miyazaki working alongside his animators to see that they were getting it just right.[11] The biggest difficulty in making the film was to cut its length down. When production started, Miyazaki realized that it would be more than three hours long if he made it according to his plot. He had to cut many scenes from the story, and tried to reduce the "eye-candy" in the film because he wanted it to be simple. Miyazaki did not want to make the hero a pretty girl. At the beginning, he was frustrated that she looked "dull" and thought, "She isn't cute. Isn't there something we can do?". As the film neared the end, however, he was relieved to feel that "she will be a charming woman".[10]

The Takahashi Korekiyo residence in the Edo-Tokyo Open Air Architectural Museum was an inspiration for Miyazaki.

Miyazaki based some of the buildings in the spirit world on the buildings in the Edo-Tokyo Open Air Architectural Museum in Koganei, Tokyo, Japan. He often visited the museum for inspiration while working on the film. Miyazaki had always been interested in the Pseudo-Western style buildings from the Meiji period that were available there. The museum made Miyazaki feel nostalgic, "especially when I stand here alone in the evening, near closing time, and the sun is setting – tears well up in my eyes."[10] Another inspiration was the historic hill towns of Jiufen and Jinguashi, both located in Taiwan, and both which also feature Meiji-period architecture that was built when Taiwan was a Japanese colony.

English adaptation

Daveigh Chase provided the dubbing for Chihiro in the English-language version of the film.

Walt Disney Pictures dubbed the English adaptation of Spirited Away, under the supervision of Pixar's John Lasseter. Lasseter was a "huge" Miyazaki fan, and he and his staff had often sat down and watched some of Miyazaki's work when they hit story problems. The first viewing of Spirited Away in the United States was in Pixar's screening room. After seeing the film, Lasseter was "ecstatic". Upon hearing his reaction to the film, people at Disney asked Lasseter if he would be interested in trying to bring Spirited Away to an American audience. Lasseter said that he had a busy schedule, but agreed to executive produce the English adaptation. Soon, several others began to join the project. Beauty and the Beast co-director Kirk Wise and Aladdin producer Donald W. Ernst soon joined Lasseter as director and producer of Spirited Away respectively.[12]

The cast of the film consisted of Daveigh Chase (Chase had voiced Lilo for Disney's Lilo & Stitch), Susan Egan (Megara from Hercules), David Ogden Stiers (a Disney mainstay in voice talent), and John Ratzenberger (considered by John Lasseter as his "good luck charm"). With the cast and talent in place, word began to spread around the net. But at first, the buzz was light. Disney had already begun to push their upcoming fall films, but the only trace that Spirited Away was coming was in a small scrolling section of their film page on Disney.com. The promotions were also quite trying, as Disney had sidelined their homepage for Spirited Away and hidden it in the confines of Buena Vista's many labyrinths. While homepages for films like Signs and Sweet Home Alabama were clearly displayed, it was only through some people's curiosity that the Spirited Away homepage could be found.[12]

Release

Reviews

Spirited Away was met with almost universal critical acclaim. Based on 155 reviews at Rotten Tomatoes, it ranks as the thirteenth-best animated film, having a 97% rating on the site.[13] In 2005, it was ranked as the twelfth-best animated film of all time by IGN.[14] The movie is also ranked #9 of the highest rated movies of all time on Metacritic; being the highest rated traditionally animated film on the site.

Box office

Spirited Away was released in Japan in July 2001, drawing an audience of around 23 million and revenues of ¥30 billion (approx. US$300 million), to become the highest-grossing film in Japanese history (surpassing the film Princess Mononoke for highest grossing animated motion pictures). It was the first film to have earned $200 million at the worldwide box office before opening in the United States.[15] By 2002, a sixth of the Japanese population had seen it.

The film was dubbed into English by Walt Disney Pictures, under the supervision of Pixar's John Lasseter. It was subsequently released in the United States on September 20, 2002 and had made slightly over $10 million by September 2003.[16] The film grossed US$274,925,095 worldwide.[17]

Home media

The film was released in North America by Disney's Buena Vista Distribution arm on DVD and VHS formats on April 15, 2003 where the attention brought by the Oscar win made the title a strong seller.[18] Spirited Away is often marketed, sold and associated with other Miyazaki films such as Castle in the Sky, Kiki's Delivery Service and Nausicaä of the Valley of the Wind.

The North American English-dubbed version was released on DVD in the UK on March 29, 2004. In 2005 it was re-released by Optimum Releasing with a more accurate subtitle track and additional bonus features.

The back of the Region 1 DVD from Disney and the Region 4 DVD from Madman states that the aspect ratio is the original ratio of 2.00:1. This is incorrect; the ratio is actually 1.85:1 but has been windowboxed to 2.00:1 to compensate for the overscan on most television sets. There is much dispute over the validity of this practice, as many displays are capable of showing the entire picture, and as a result the DVD picture has a noticeable border around it.

All Asian releases of the DVD (including Japan and Hong Kong) have a noticeably accentuated amount of red in their picture transfer. This is another case of compensating for home theatre displays, this time supposedly for LCD television which, it was claimed, had a diminished red colour in its display. Releases in other DVD regions such as the U.S., Europe and Australia use a picture transfer where this "red tint" has been significantly reduced.

Soundtrack

The closing song, "Always With Me" (いつも何度でも Itsumo Nandodemo?, literally, "Always, No Matter How Many Times") was written and performed by Youmi Kimura, a composer and lyre-player from Osaka. The lyrics were written by Kimura's friend Wakako Kaku. The song was intended to be used for Rin the Chimney Painter (煙突描きのリン Entotsu-kaki no Rin?), a different Miyazaki film which was never released. In the special features of the DVD, Hayao Miyazaki explains how the song in fact inspired him to create Spirited Away.

The other 20 tracks on the original soundtrack were composed by Joe Hisaishi. His "The River of That Day" (あの日の川 Ano hi no Kawa?) received the 56th Mainichi Film Competition Award for Best Music, the Tokyo International Anime Fair 2001 Best Music Award in the Theater Movie category, and the 16th Japan Gold Disk Award for Animation Album of the Year. Later, Hisaishi added lyrics to "Ano hi no Kawa" and named the new version "The Name of Life" (いのちの名前 "Inochi no Namae"?) which was performed by Ayaka Hirahara.

Beside the Original Soundtrack, there is also an image album, which contains 10 tracks.

Original soundtrack listing

Track Composer Duration
1 One Summer's Day (あの夏へ Ano Natsu e?) Joe Hisaishi (久石譲?) 3:09
2 Road To Somewhere (とおり道 Toori Michi?) 2:07
3 Empty Restaurant (誰もいない料理店 Dare mo Inai Ryōriten?) 3:15
4 Nighttime Coming (夜来る Yoru Kuru?) 2:00
5 Dragon Boy (竜の少年 Ryū no Shōnen?) 2:12
6 Sootballs (ボイラー虫 Boirā Mushi?) 2:33
7 Procession Of The Spirits (神さま達 Kamisama-tachi?) 3:00
8 Yubaba (湯婆婆?) 3:30
9 Bathhouse Morning (湯屋の朝 Yuya no Asa?) 2:02
10 Day Of The River (あの日の川 Ano Hi no Kawa?) 3:13
11 It's Hard Work (仕事はつらいぜ Shigoto wa Tsuraize?) 2:26
12 Stink Spirit (おクサレ神 Okusaregami?) 4:01
13 Sen's Courage (千の勇気 Sen no Yūki?) 2:45
14 Bottomless Pit (底なし穴 Sokonashi Ana?) 1:18
15 No Face (カオナシ Kaonashi?) 3:47
16 Sixth Station (6番目の駅 Roku Banme no Eki?) 3:38
17 Yubaba's Panic (湯婆婆狂乱 Yubaba Kyōran?) 1:38
18 House At Swamp Bottom (沼の底の家 Numa no Soko no Ie?) 1:29
19 Reprise (ふたたび Futatabi?) 4:53
20 The Return Day (帰る日 Kaeru Hi?) 3:20
21 Always With Me (いつも何度でも Itsumo Nando demo?) Youmi Kimura (木村弓?) 3:35

Image album track listing

  1. Ano Hi no Kawa e (あの日の川へ lit. To that Days' River?) by Umi (3:54)
  2. Yoru ga Kuru (夜が来る lit. Night is Coming?) by Joe Hisaishi (4:25)
  3. Kamigami-sama (神々さま lit. Gods?) by Shizuru Otaka (3:55)
  4. Yuya (油屋 lit. Bathhouse?) by Tsunehiko Kamijō (3:56)
  5. Fushigi no Kuni no Jyūnin (不思議の国の住人 lit. The People in Wonderland?) by Joe Hisaishi (3:20)
  6. Samishii samishii (さみしいさみしい lit. Lonely lonely?) by Monsieur Kamayatsu (3:41)
  7. Solitude (ソリチュード Sorichūdo?) by Rieko Suzuki and Hiroshi Kondo (3:49)
  8. Umi (海 lit. The Sea?) by Joe Hisaishi (3:22)
  9. Shiroi Ryū (白い竜 lit. White Dragon?) by Rikki (3:33)
  10. Chihiro no Waltz (千尋のワルツ Chihiro no Warutsu?, Chihiro's Waltz) by Joe Hisaishi (3:20)

Trivia

References

  1. ↑ "Spirited away top grossing film in Japan". http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/02/03/DDGHFB40EG1.DTL. Retrieved 2009-02-01. 
  2. ↑ Hayao Miyazaki (2008). The Art of Miyazaki's Spirited Away. Studio Ghibli Library. Viz Media. p. 120. ISBN 1569317771. 
  3. ↑ 3.0 3.1 3.2 3.3 Satoshi, Ando. "Regaining Continuity with the Past: Spirited Away and Alice’s Adventures in Wonderland." Bookbird 46.1: 23-29. Project MUSE. 11 Feb. 2009 [1].
  4. ↑ Reider, Noriko T. "Spirited Away: Film of the Fantastic and Evolving Japanese Folk Symbols." Film Criticism 29.3: 4-27. Academic OneFile. Gale. 11 Feb. 2009 [2].
  5. ↑ Napier, Susan J. "Matter Out of Place: Carnival, Containment and Cultural Recovery in Miyazaki’s Spirited Away." Journal of Japanese Studies 32.2: 287-310. Project MUSE. 11 Feb. 2009 [3].
  6. ↑ 6.0 6.1 6.2 Napier, Susan J. "Matter Out of Place: Carnival, Containment and Cultural Recovery in Miyazaki’s Spirited Away." Journal of Japanese Studies 32.2: 287-310. Project MUSE. 11 Feb. 2009 [4].
  7. ↑ Mes, Tom (2002-01-07). "Hayao Miyazaki Interview". Midnight Eye. http://www.midnighteye.com/interviews/hayao_miyazaki.shtml. Retrieved 2009-08-01. 
  8. ↑ Thrupkaew, Noy. "Animation Sensation: Why Japan’s Magical Spirited Away Plays Well Anywhere." American Prospect 13.19: 32-33. Academic OneFile. Gale. 11 Feb. 2009 [5].
  9. ↑ Harris, Timothy. "Seized by the Gods." Quadrant 47.9: 64-67. Academic OneFile. Gale. 11 Feb. 2009 [6].
  10. ↑ 10.0 10.1 10.2 10.3 10.4 http://www.nausicaa.net/miyazaki/interviews/sen.html
  11. ↑ http://jimhillmedia.com/blogs/michael_howe/archive/2003/04/15/1391.aspx
  12. ↑ 12.0 12.1 http://jimhillmedia.com/blogs/michael_howe/archive/2003/04/16/1393.aspx
  13. ↑ "Best Animated Films - Spirited Away)". Rotten Tomatoes. http://www.rottentomatoes.com/guides/best_animated_films/spirited_away/. Retrieved May 6, 2010. 
  14. ↑ "The Top 25 Animated Movies of All-Time". IGN Entertainment. http://movies.ign.com/articles/650/650717p4.html. Retrieved May 6, 2010. 
  15. ↑ Johnson, G. Allen (February 3, 2005). "Asian films are grossing millions. Here, they're either remade, held hostage or released with little fanfare". San Francisco Chronicle. http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/02/03/DDGHFB40EG1.DTL. 
  16. ↑ "Spirited Away Box Office and Rental History". http://www.rottentomatoes.com/m/spirited_away/numbers.php. Retrieved 2006-04-21. 
  17. ↑ "Spirited Away (2002)". Box Office Mojo. http://www.boxofficemojo.com/movies/?id=spiritedaway.htm. Retrieved December 8, 2009. 
  18. ↑ Reid, Calvin (April 28, 2003). "'Spirited Away' Sells like Magic". Publisher's Weekly. http://www.publishersweekly.com/article/CA294777.html. 
  19. ↑ "The 100 Best Films Of World Cinema". Empire. http://www.empireonline.com/features/100-greatest-world-cinema-films/default.asp?film=10. 

External links

Awards and achievements
Preceded by
After the Rain		 Japan Academy Prize for Picture of the Year
2002		 Succeeded by
The Twilight Samurai
Studio Ghibli films
Pre-Ghibli films
Hols: Prince of the Sun · Panda! Go, Panda! · Future Boy Conan · The Castle of Cagliostro
Theatrical feature films
Nausicaä of the Valley of the Wind · Castle in the Sky · My Neighbor Totoro · Grave of the Fireflies · Kiki's Delivery Service · Only Yesterday · Porco Rosso · Pom Poko · Whisper of the Heart · Princess Mononoke · My Neighbors the Yamadas · Spirited Away · The Cat Returns · Howl's Moving Castle · Tales from Earthsea · Ponyo · The Borrower Arrietty
TV feature special
Ocean Waves
Co-productions
Ghost in the Shell 2: Innocence
Short films
Nandarō · On Your Mark · Ghiblies · Ghiblies Episode 2 · Imaginary Flying Machines · Mei and the Kittenbus · The Whale Hunt · Looking for a Home · The Day I Harvested a Planet · The Night of Taneyamagahara · Water Spider Monmon · Iblard Jikan
Studio Kajino feature film
Shiki-Jitsu
Studio Kajino co-production
Satorare (Tribute to a Sad Genius)
Ghibli Museum Library films
Le Roi et l'oiseau · Kirikou et la sorcière · Princes et princesses · Les Triplettes de Belleville · Moya lyubov · Azur et Asmar · Snezhnaya koroleva · Panda Kopanda · Cheburashka · Animal Farm · Lupin Sansei · A Matter of Loaf and Death · Mr. Bug Goes to Town · Konk-Gorbunok · Akage no Anne · Wallace and Gromit · Shaun the Sheep
Video game co-production
Ni no Kuni
Related articles
Hayao Miyazaki · Toshio Suzuki · Isao Takahata · Joe Hisaishi · Ghibli Museum · Ghibli Museum Library · Studio Kajino · Nausicaa.net
The works of Hayao Miyazaki
Films
Director, screenplay & storyboard
The Castle of Cagliostro (1979) • Nausicaä of the Valley of the Wind (1984) • Castle in the Sky (1986) • My Neighbor Totoro (1988) • Kiki's Delivery Service (1989) • Porco Rosso (1992) • Princess Mononoke (1997) • Spirited Away (2001) • Howl's Moving Castle (2004) • Ponyo (2008)
Screenplay & storyboard
Panda! Go, Panda! • Whisper of the Heart
Screenplay & planning
The Borrower Arrietty
Chief animator & concept artist
Gulliver's Travels Beyond the Moon • Hols: Prince of the Sun • Puss in Boots • Flying Phantom Ship • Animal Treasure Island
TV series
Director, screenplay & storyboard
Lupin III • Future Boy Conan • Sherlock Hound
Scene design & layout
Heidi, Girl of the Alps • 3000 Leagues in Search of Mother • Anne of Green Gables
OVAs
Lupin III's Greatest Capers
Manga
Nausicaä of the Valley of the Wind • The Journey of Shuna • Hikōtei Jidai • Hayao Miyazaki's Daydream Data Notes • Tigers Covered With Mud
Miscellaneous
On Your Mark • Mizugumo Monmon • Styles and themes