Collection Studio Ghibli Le Voyage De Chihiro

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Boyar, Jay (11 October 2002). " 'Spirited Away'– A Magic Carpet Ride". Orlando Sentinel. Archived from the original on 4 October 2012 . Retrieved 1 September 2011. The closing song, "Always With Me" ( いつも何度でも, "Itsumo Nando Demo ", lit. 'Always, No Matter How Many Times') was written and performed by Youmi Kimura, a composer and lyre-player from Osaka. [29] 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. [29] In the special features of the Japanese DVD, Hayao Miyazaki explains how the song in fact inspired him to create Spirited Away. [29] The song itself would be recognized as Gold at the 43rd Japan Record Awards. [30] The name of life/late summer)". Ayaka Hirahara. Archived from the original on 15 December 2013 . Retrieved 1 September 2013.

a et b « Le voyage de Chihiro: Origines et production» ( Archive.org • Wikiwix • Archive.is • Google • Que faire?), sur buta-connection.net (consulté le 12 novembre 2014); « Le voyage de Chihiro: Art et technique» ( Archive.org • Wikiwix • Archive.is • Google • Que faire?), sur buta-connection.net (consulté le 12 novembre 2014). Mes, Tom (7 January 2002). "Hayao Miyazaki Interview". Midnight Eye. Archived from the original on 2 August 2009 . Retrieved 1 August 2009. Conrad, Jeremy (14 March 2003). "Spirited Away". IGN. Archived from the original on 9 April 2016 . Retrieved 2 June 2016. Stéphane Le Roux, Hayao Miyazaki, cinéaste en animation: poésie de l'insolite, Paris/Rennes, L'Harmatan, 2011, 195 p. ( ISBN 978-2-296-55074-2, lire en ligne) .

BFI Statistical Yearbook 2012" (PDF). British Film Institute (BFI). 2012. p.125 . Retrieved 21 April 2022. Cela pourrait être la réhabilitation des formations pratiques dans une France des esprits. La victoire du L.E.P. sur l’E.N.A. Des métiers manuels sur les intellectuels. Le monde a besoin de petites mains plus que de grands principes. Chapman, Paul. "Spirited Away Stage Play Streams Additional Performances in Japan". Crunchyroll. Archived from the original on 26 November 2022 . Retrieved 26 November 2022. en) Jonathan Ross, « John Lasseter ( III)», sur The Guardian, 19 novembre 2001 (consulté le 4 février 2016).

Pedersen, Erik (6 December 2021). "101 Greatest Screenplays Of The 21st Century: Horror Pic Tops Writers Guild's List". Deadline Hollywood. Archived from the original on 6 December 2021 . Retrieved 16 October 2022. La mise en scène de ce voyage s'inspire directement d'un passage du Tombeau des lucioles d' Isao Takahata, cofondateur du studio Ghibli avec Miyazaki [115 ].La plupart des acteurs prêtant leur voix sont issus du monde de la télévision et du cinéma, comme Rumi Hiiragi pour Chihiro (elle a 13ans en 1999), Bunta Sugawara pour Kamaji et Mari Natsuki pour Yubaba et Zeniba [45 ]. Seul Miyu Irino pour Haku est un comédien spécialiste du doublage d' anime. Prix du film Mainichi 2002: meilleur film d'animation, meilleur film, meilleur réalisateur, meilleure musique pour Joe Hisaishi et prix des lecteurs Sauf indication contraire ou complémentaire, les informations mentionnées dans cette section peuvent être confirmées par la base de données IMDb. González Portero, J. (2019). El viaje de Chihiro y el viaje del héroe/La tesis de Campbell aplicada al héroe japonés contemporáneo.

Similar to the Japanese concept of On, the film can be partly understood as an exploration of the effect of greediness and Western consumerism on traditional Japanese culture. [42] For instance, Yubaba is stylistically unique within the bathhouse, wearing a Western dress and living among European décor and furnishings, in contrast with the minimalist Japanese style of her employees' quarters, representing the Western capitalist influence over Japan in its Meiji period and beyond. Along with its function within the ostensible coming of age theme, Yubaba's act of taking Chihiro's name and replacing it with Sen (an alternate reading of chi, the first character in Chihiro's name, lit. 'one thousand') can be thought of as symbolic of capitalism's single-minded concern with value. [39] a b "List of award-winning films at the 25th Japan Academy Awards". Japan Academy Awards Association (in Japanese). Archived from the original on 5 March 2012 . Retrieved 14 May 2012. Gildas Jaffrennou, « Réflexions sur Le Voyage de Chihiro», 23 janvier 2003 (consulté le 28 août 2014).

Synopsis

in Japanese). Walt Disney Japan. Archived from the original on 19 December 2013 . Retrieved 17 November 2012. Miyazaki's film setting encapsulates his commentary on modern Japanese values and the erosion of cultural heritage. The bathhouse, situated within an abandoned theme park, symbolizes Japan's distorted cultural identity. This once-traditional locale is marred by neon signs and Westernization, exemplifying cultural degradation. Early scenes highlight economic concerns and consumerism. The film's visuals underscore the commercialization of Japanese culture. The failed theme park serves as a metaphor for the unsuccessful fusion of ideologies. The Meiji design of the park is the setting for Chihiro's parents' metamorphosis– the family arrives in an imported Audi car and the father wears a European-styled polo shirt, reassuring Chihiro that he has "credit cards and cash", before morphing into literal consumerist pigs because of their bad habits. [43] Miyazaki has stated: Fidèle aux habitudes de travail de Miyazaki, le scénario du film n'est pas définitif au commencement de la production, le réalisateur faisant évoluer son récit en fonction de ses inspirations et des premiers dessins. Le Sans-Visage notamment ne joue aucun rôle dans le scénario original, mais son apparition sur un dessin inspire Miyazaki pour la création de ce personnage sans identité [18 ] , [19 ]. Selon Masashi Andō, cette méthode de travail est exigeante pour les animateurs, car certaines scènes doivent être régulièrement modifiées ou remplacées [41 ]. De plus, Miyazaki a réalisé en cours de production que le scénario initial était bien trop long et aurait nécessité plus de trois heures de film. Il a donc dû réécrire une partie de l'histoire et réduire les scènes frappantes, visant plutôt la simplicité [31 ] , [18 ]. en) Hayao Miyazaki, The Art of Miyazaki's Spirited Away, Viz Media, coll.«Ghibli Library», 22 septembre 2002, 240 p., 30,5×21,6 cm ( ISBN 978-1-56931-777-8, OCLC 51106369, présentation en ligne) . Annie Awards 2003: meilleur film d'animation, meilleur réalisateur et meilleur scénario pour Hayao Miyazaki et meilleure musique pour Joe Hisaishi

Spirited Away was first released on VHS and DVD formats in Japan by Buena Vista Home Entertainment on 19 July 2002. [75] The Japanese DVD releases include storyboards for the film and the special edition includes a Ghibli DVD player. [76] Spirited Away sold 5.5 million home video units in Japan by 2007, [77] and holds the record for most home video copies sold of all-time in the country as of 2014 [update]. [78] The movie was released on Blu-ray by Walt Disney Studios Japan on 14 July 2014, and DVD was also reissued on the same day with a new HD master, alongside several other Studio Ghibli movies. [79] [80] A stage adaptation of Spirited Away was announced in February 2021 with a world premiere planned in Tokyo on 28 February 2022. It is written and directed by John Caird, with Toho as the production company, with Studio Ghibli's blessing. The role of Chihiro is played by both Kanna Hashimoto and Mone Kamishiraishi. [137] [138] In August 2023, it was announced that the production would have its European premiere at the London Coliseum from April 2024. [139] Main Cast Matthews, Kate (2006), "Logic and Narrative in 'Spirited Away' ", Screen Education (43): 135–140, ISSN 1449-857Xa b c d e f g h i et j (en) James W. Boyd et Tetsuya Nishimura, « Shinto Perspectives in Miyazaki's Anime Film "Spirited Away"», The Journal of Religion and Film, vol.8, n o2,‎ octobre 2004 ( lire en ligne) . Ayechu Orta, X., & Marco Simón, F. (2020). Sobre la naturaleza del sintoísmo. https://zaguan.unizar.es/record/94639 The major themes of Spirited Away, heavily influenced by Japanese Shinto- Buddhist folklore, centre on the protagonist, Chihiro, and her liminal journey through the realm of spirits. The central location of the film is a Japanese bathhouse where a great variety of Japanese folklore creatures, including kami, come to bathe. Miyazaki cites the solstice rituals when villagers call forth their local kami and invite them into their baths. [8] Chihiro also encounters kami of animals and plants. Miyazaki says of this: