这。。。。用英文自己写吧。。。

大鼻 我是来帮你顶贴的

翻个。。。那个啥你懂的。。。去国外找一个过来

你写写试试TaT

其实我连宫崎骏的英文名都不知道……TAT

好久不见你了诶，小呆

= -百科上弄个自行翻译就是了orz

Miyazaki Hayao is a japanese.he is also a famous animation director.i like him very very very ……（此处略去N个very） much.
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Hayao Miyazaki (宫崎 骏 Miyazaki Hayao?, born January 5, 1941) is a Japanese manga artist and prominentfilm director and animator of many popular anime feature films. Through a career that has spanned nearly fifty years, Miyazaki has attained international acclaim as a maker of animated feature films and, along with Isao Takahata, co-founded Studio Ghibli, an animation studio and production company. The success of Miyazaki's films has invited comparisons with American animator Walt Disney, British animator Nick Park andRobert Zemeckis, and he has been named one of the most influential people by Time magazine.[1][2]
Born in Bunkyō, Tokyo, Miyazaki began his animation career in 1961 when he joined Toei Animation. From there, Miyazaki worked as an in-between artist for Gulliver's Travels Beyond the Moon where he pitched his own ideas that eventually became the movie's ending. He continued to work in various roles in the animation industry over the decade until he was able to direct his first feature film Lupin III: The Castle of Cagliostro which was released in 1979. After the success of his next film, Nausicaä of the Valley of the Wind, he co-founded Studio Ghibli where he continued to produce many feature films until his temporary retirement in 1997 following Princess Mononoke.
While Miyazaki's films have long enjoyed both commercial and critical success in Japan, he remained largely unknown to the West until Miramax Films released Princess Mononoke. Princess Mononoke was the highest-grossing film in Japan—until it was eclipsed by another 1997 film, Titanic—and the first animated film to win Picture of the Year at the Japanese Academy Awards. Miyazaki returned to animation with Spirited Away. The film topped Titanic's sales at the Japanese box office, also won Picture of the Year at the Japanese Academy Awards and was the first anime film to win an American Academy Award.
Miyazaki's films often incorporate recurrent themes like humanity's relationship to nature and technology, and the difficulty of maintaining a pacifist ethic. Reflecting Miyazaki's feminism, the protagonists of his films are often strong, independent girls or young women. Miyazaki is a vocal critic of capitalism and globalization.[3] While two of his films, The Castle of Cagliostro and Castle in the Sky, involve traditional villains, his other fil***ike Nausicaä or Princess Mononoke present morally ambiguous antagonists with redeeming qualities.

Hayao MIYAZAKI is one of the greatest animators and directors in Japan. The entertaining plots, compelling characters and breathtaking animation in his films have earned him international renown from critics as well as public recognition within Japan.Disney's commitment to introduce the films to the rest of the world will let more people appreciate the high-quality works Miyazaki has given us.
A Brief Biography
In 1971, he moved to A Pro with Isao Takahata, then to Nippon Animation in 1973, where he was heavily involved in the World Masterpiece Theater TV animation series for the next five years. In 1978, he directed his first TV series, Conan, The Boy in Future, then moved to Tokyo Movie Shinsha in 1979 to direct his first movie, the classicLupin III: The Castle of Cagliostro.
In 1984, he released Nausicaä of the Valley of Wind, based on the manga (comic) of the same title he had started two years before. The success of the film led to the establishment of a new animation studio, Studio Ghibli, at which Miyazaki has since directed, written, and produced many other films with Takahata. All of these films enjoyed critical and box office successes. In particular, Miyazaki's Princess Mononoke received the Japan Academy Award for Best Film and was the highest-grossing (about US$150 million) domestic film in Japan's history until it was taken over by another Miyazaki work, Spirited Away.
In addition to animation, Miyazaki also draws manga. His major work was the Nausicaä manga, an epic tale he worked on intermittently from 1982 to 1994 while he was busy making animated films. Another manga, Hikoutei Jidai, was later evolved into his 1992 film Porco Rosso.
——来自nausicaa.net

Porco Rosso (1992) was a notable departure for Miyazaki, in that the main character was an adult male, an anti-fascist aviator transformed into ananthropomorphic pig. The film is set in 1920s Italy and the title character is a bounty hunter who fights air pirates and an American soldier of fortune. The film explores the tension between selfishness and duty. The film can also be viewed as an abstract self-portrait of the director; its subtext can be read as a fictionalized autobiography. Like many of his movies, it is richly allusive and generates a lot of its humour and charm out of its references to American film of the 1930s and 1940s. Porco Rosso, for instance, owes much to the various screen personae of Humphrey Bogart.
1997's Princess Mononoke (Mononoke-Hime) returns to the ecological and political themes of Nausicaä of the Valley of the Wind. The plot centers on the struggle between the animal spirits who inhabit the forest and the humans who exploit the forest for industry. Both movies implicitly criticize the adverse impact of humans on nature, and portray the military in a negative light. Princess Mononoke is also noted as one of his most violent pictures. The film was a huge commercial success in Japan, where it became the highest grossing film of all time, until the later success of Titanic, and it ultimately won Best Picture at the Japanese Academy Awards. Miyazaki went into what would prove to be temporary retirement after directing Princess Mononoke.
During this period of semi-retirement, Miyazaki spent time with the daughters of a friend, one of whom became his inspiration for Spirited Away(Sen to Chihiro no Kamikakushi, 2001). Spirited Away is the story of a girl, forced to survive in a bizarre spirit world, who works in a bathhouse for spirits after her parents are turned into pigs by the sorceress who owns it. Released in Japan in July 2001, the film broke attendance and box office records with ¥30.4 billion (approximately $300 million) in total gross earnings from more than 23 million viewings. It has received many awards, including Best Picture at the 2001 Japanese Academy Awards, Golden Bear (First Prize) at the 2002 Berlin Film Festival, and the 2002Academy Award for Best Animated Feature. In July 2004, Miyazaki completed production on Howl's Moving Castle, a film adaptation of Diana Wynne Jones' fantasy novel. Miyazaki came out of retirement following the sudden departure of original director Mamoru Hosoda.[11] The film premiered at the 2004 Venice International Film Festival and won the Golden Osella award for animation technology. On November 20, 2004, Howl's Moving Castleopened to general audiences in Japan where it earned ¥1.4 billion in its first two days. An English language version was later released in the US by Walt Disney.
In 2005, Miyazaki received a lifetime achievement award at the Venice Film Festival. Later that year, Chinese media reported that Miyazaki's final film project would be I Lost My Little Boy, based on a Chinese children's book.[12] This later proved to be faked news.[13]


In 2006, Miyazaki's son Gorō Miyazaki completed his first film, Tales from Earthsea, based on several stories by Ursula K. Le Guin. Hayao Miyazaki had long aspired to make an anime of this work and had repeatedly asked for permission from the author, Ursula K. Le Guin. However, he had been refused every time. Instead, Miyazaki produced Nausicaä of the Valley of the Wind (film) and Shuna no tabi, (The Journey of Shuna) as substitutes (some of the ideas from Shuna no tabi were diverted to this movie). When Le Guin finally requested that Miyazaki produce an anime adaptation of her work, he refused, because he had lost the desire to do so. The Author, Ursula K. Le Guin, remembers this differently: "In August 2005, Mr Toshio Suzuki of Studio Ghibli came with Mr Hayao Miyazaki to talk with me and my son (who controls the trust which owns the Earthsea copyrights). We had a pleasant visit in my house. It was explained to us that Mr Hayao wished to retire from film making, and that the family and the studio wanted Mr Hayao's son Goro, who had never made a film at all, to make this one. We were very disappointed, and also anxious, but we were given the impression, indeed assured, that the project would be always subject to Mr Hayao's approval. With this understanding, we made the agreement." Among fans of the nearly forty year old books, this film was mostly disappointing.
Throughout the film's production, Gorō and his father were not speaking to each other, due to a dispute over whether or not Gorō was ready to direct.[14] This movie was originally to be produced by Hayao Miyazaki, but he declined as he was already in the middle of producing Howl's Moving Castle. Ghibli decided to make Gorō, who had yet to head any animated films, the producer instead.
In 2006, Nausicaa.net reported Hayao Miyazaki's plans to direct another film, rumored to be set in Kobe. Among areas Miyazaki's team visited during pre-production were an old café run by an elderly couple, and the view of a city from high in the mountains. The exact location of these places was censored from Studio Ghibli's production diaries. The studio also announced that Miyazaki had begun creating storyboards for the film and that they were being produced in watercolor because the film would have an "unusual visual style." Studio Ghibli said the production time would be about 20 months, with release slated for Summer 2008.
In 2007, the film's title was publicly announced as Gake no ue no Ponyo, literally "Ponyo on a Cliff."[15] The story revolves around a five-year old boy, Sousuke, and the Princess goldfish, Ponyo, who wants to become human. Studio Ghibli President Toshio Suzuki noted that "70 to 80% of the film takes place at sea. It will be a director's challenge on how they will express the sea and its waves with freehand drawing." The film does not contain any computer generated imagery (CGI) in contrast to Miyazaki's other recent work.[citation needed] Ponyo was released in July 2008 in Japan, then in North America and the UK in 2009 and 2010, respectively.


Miyazaki takes a leading role when creating his films, frequently serving as both writer and director. He personally reviewed every frame used in his early films, though due to health concerns over the high workload he now delegates some of the workload to other Ghibli members.[17] In a 1999 interview, Miyazaki said, "at this age, I cannot do the work I used to. If my staff can relieve me and I can concentrate on directing, there are still a number of movies I'd like to make."[18]
Miyazaki uses very human-like movements in his animation. In addition, much of the art is done using water colors.
In contrast to American animation, the script and storyboards are created together, and animation begins before the story is finished and storyboards are developing.[19][20]
Miyazaki has used traditional animation throughout the animation process, though computer-generated imagery was employed starting with Princess Mononoke to give "a little boost of elegance".[17] In an interview with the Financial Times, Miyazaki said "it's very important for me to retain the right ratio between working by hand and computer. I have learnt that balance now, how to use both and still be able to call my films 2D."[21] Digital paint was also used for the first time in parts of Princess Mononoke in order to meet release deadlines.[22] It was used as standard for subsequent films. However, in his 2008 film Ponyo, Miyazaki went back to traditional hand-drawn animation for everything, saying "hand drawing on paper is the fundamental of animation."[23] Studio Ghibli's computer animation department was dissolved before production on Ponyo was started, and Miyazaki has decided to keep to hand drawn animation.[24]
[edit]Themes and devicesMain article: Styles and themes of Hayao Miyazaki
Miyazaki's works are characterised by the recurrence of progressive themes, such as the absence of villains, environmentalism, pacifism and feminism.[25] His films are also frequently concerned with childhood transition and a marked preoccupation with flight.
Miyazaki's narratives are notable for not pitting a hero against an unsympathetic antagonist. In Spirited Away, Miyazaki states "the heroine [is] thrown into a place where the good and bad dwell together. [...] She manages not because she has destroyed the 'evil', but because she has acquired the ability to survive."[26] Even though Miyazaki sometimes feels pessimistic about the world, he prefers to show children a positive world view instead, and rejects simplistic stereotypes of good and evil [27]
Miyazaki's films often emphasize environmentalism and the Earth's fragility.[28] In an interview with The New Yorker, Miyazaki claimed that much of modern culture is "thin and shallow and fake", and "not entirely jokingly" looked forward to an apocalyptic age in which "wild green grasses" take over.[29] Growing up in the Shōwa period was an unhappy time for him because "nature — the mountains and rivers — was being destroyed in the name of economic progress."[30] Miyazaki is critical of capitalism, globalization and their impacts on modern life.[31] Commenting on the 1954 Animal Farm animated film, he has said that "exploitation is not only found in communism, capitalism is a system just like that. I believe a company is common property of the people that work there. But that is a socialistic idea."[32] Nonetheless, he suggests that adults should not "impose their vision of the world on children."[19]


Nausicaä, Princess Mononoke and Howl's Moving Castle feature anti-war themes. In 2003, when Spirited Away won the Academy Award for Best Animated Feature, Miyazaki did not attend the awards show personally. He later explained that it was because he "didn’t want to visit a country that wasbombing Iraq".[33]
Miyazaki has been called a feminist by Studio Ghibli President Toshio Suzuki, in reference to his attitude to female workers.[34] This is evident in the all-female factories of Porco Rosso and Princess Mononoke, as well as the matriachal bath-house of Spirited Away. Many of Miyazaki's films are populated by strong female protagonists that go against gender roles common in Japanese animation and fiction.[35][edit]Influences
A number of Western authors have influenced Miyazaki's work, including Ursula K. Le Guin, Lewis Carroll, and Diana Wynne Jones. Miyazaki confided to Le Guin that Earthsea had been a great influence on all his works, and that he kept her books at his bedside.[36] Miyazaki and French writer and illustrator Jean Giraud (aka Moebius) have influenced each other and have become friends as a result of their mutual admiration. Monnaie de Parisheld 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.[27][37] Moebius named his daughter Nausicaa after Miyazaki's heroine.[38] Miyazaki has been deeply influenced by another French writer, Antoine de Saint-Exupéry. He illustrated the Japanese covers of Saint-Exupéry's Night Flight (Vol de nuit) and Wind, Sand and Stars (Terre des Hommes), and wrote an afterword for Wind, Sand and Stars.
In an interview broadcast on BBC Choice on 2002-06-10, Miyazaki cited the British authors Eleanor Farjeon, Rosemary Sutcliff, and Philippa Pearceas influences. The filmmaker has also publicly expressed fondness for Roald Dahl's stories about pilots and airplanes; the image in Porco Rosso of a cloud of dead pilots was inspired by Dahl's They Shall Not Grow Old. As in Miyazaki's films, these authors create self-contained worlds in whichallegory is often used, and characters have complex, and often ambiguous, motivations. Other Miyazaki works, such as My Neighbor Totoro, Princess Mononoke, and Spirited Away, incorporate elements of Japanese history and mythology.
Miyazaki has said he was inspired to become an animator by The Tale of the White Serpent, considered the first modern anime, in 1958. He has also said that The Snow Queen, a Soviet animated film, was one of his earliest inspirations, and that it motivated him to stay in animation production.[39] Yuriy Norshteyn, a Russian animator, is Miyazaki's friend and praised by him as "a great artist."[40] Norshteyn's Hedgehog in the Fog is cited as one of Miyazaki's favourite animated films.[39] Miyazaki has long been a fan of the Aardman Studios animation. In May 2006, David Sproxton and Peter Lord, founders of Aardman Studios, visited the Ghibli Museum exhibit dedicated to their works, where they also met Miyazaki.[41]
Pete Docter, director of the popular films Up and Monsters Inc. as well as a co-creator of other Pixar works, has praised Miyazaki and described him as an influence.[42] Glen Keane, the animator for successful Disney films such as The Little Mermaid, The Rescuers Down Under, Beauty and the Beast, Aladdin, and Tangled, has also credited Miyazaki as a "huge influence" on his work and on Disney in general during the past two decades.[43]
Miyazaki has also been cited as an influence on various role-playing video games. The creator of Square's Final Fantasy series, Hironobu Sakaguchi, cited Miyazaki as inspiration for elements such as the airships and chocobos featured in the series.[44] The post-apocalyptic setting ofSNK's Crystalis was inspired by Miyazaki's Nausicaa of the Valley of the Wind, and Crystalis in turn influenced Square's Secret of Mana.[45][edit]Family life
Miyazaki's dedication to his work has often been reported to have impacted negatively on his relationship with his son Gorō.[46] He has expressed he does not wish to create a dynasty of animators and his son has to create a name for himself.[24]