What is unique about the worldview of the films of Hayao Miyazaki/Studio Ghibli in contrast to the films of Disney/Pixar?
Pixar and Ghibli are the two preeminent animation films since the age of golden Disney. Despite the dominance in digital production, the two films have a difference in terms of aesthetic production techniques. Technically Pixar film is more advanced due to CG animation. Pixar has breathtaking hand-drawn elements of artistry. Pixar has developed the gold standard in computer animation. Pixar film is made with emotional connection and empathy (Kutt, 5). The film has a rage of animators and emotions changing the expression. he way writing is tapping in Pixar is different in Hayao Miyazaki, the film taps feelings that is complex for other animated films, and the quality of voice in the movie is undeniable.
However, Hayao Miyazaki from Ghibli does not operate from the need for mass and –appealing. The film has a narration with straight forward franchises. Hayao Miyazaki monuments of imagination and craft blends with the hand-painted backgrounds. Unlike Pixar, Hayao Miyazaki has rigorous animated characters meant to convey the philosophical tales of wonder. The sounding philosophy of wonders has made the film bulk to be adult-oriented than the bulk of its production.
The creatures, world design, and character in Hayao Miyazaki put it above Pixar. Hayao Miyazaki has designs scream of pure creativity which evokes wild imaginations and how humans contrast to these differences. The film has a perfect design of balance making it memorable and inspiring. The memorable inspiration makes Hayao Miyazaki film have a sense of feeling and reasoning. For instance, seeing a ten years old Chihiro Ogino navigating through the world of Yokai as she walks amongst creatures is a perfect display of ingenuity and animation.
Discuss how the multi-planar structure to the animated image makes possible new modes of representation different from live-action cinema in Laputa: Castle in the Sky
Castle in the sky is also known as Laputa, the film is an animation movie that was written by Hayo Miyazaki in 1986. Flying, overcoming gravitation, and floating is an integral part of the Miyazaki’s film demonstrating the weight of character in movies. The changes and integration of technology are important to the success of a fantasy world (Denison, 68). The scenes in Laputa-Castle in the Sky portrays a weighty balance of gravity. For instance, the balancing of weight is indicated by Pazu almost toppling over the board. At first, Sheeta is seen floating down and Pazu’s violent action that is animated in 2s and 3s. The timing in the movie portrays some violent activities on 2s and 3s which looks jerky based on the current CG-spoiled audiences. The ever-shifting of Pazu’s weight is clear and visible in every pose.
The film production saved on the extra in favor of the characters and animation. The film has uses cuneiform based on Liputa’s interaction with tombstone and interactive panel making references to Ramayana. The film has a touch which is a medium close up that enables us to see that Shetty is floating as she leans on Pazu’s arm despite her weight (Kuzmina, 35). As the power of crystal vanishes which is an indication of dramatic change in lighting as her weight increases (Rustin, 167). The point of shifting of Shetta on Pazu’s arm provides a wider shot that evokes the tenuous situation. Laputa has a very little vein of exaggerated that is apt to the mastery behind its production. The subtle action such as putting down the bucket is so natural making the movie realistic. Some scenes indicate an animator that is useful in expressing weight and gravity over realism.
Works cited
Denison, Rayna. “Hayao Miyazaki’s European Animation: From European Literary Influences to Nostalgic Re-imaginings.” Wasafiri 35.2 (2020): 67-73.
Kutt, Aimei. “Art-directed costumes at pixar: design, tailoring, and simulation in production.” SIGGRAPH Asia 2018 Courses. 2018. 1-102.
Kuzmina, E. V. “Representation of Western and Eastern Culture in Hayao Miyazaki Animation.” KnE Engineering (2018): 33-35.
Rustin, Michael, and Margaret Rustin. “Fantasy and reality in Miyazaki’s animated world.” Psychoanalysis, culture & society 17.2 (2012): 169-184.