《新东方英语》中学生2013年11月号(txt+pdf+epub+mobi电子书下载)

作者：新东方英语

出版社：《海外文摘》杂志社

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《新东方英语》中学生2013年11月号试读：

Preface 卷首语

德里克·沃尔科特(Derek Walcott, 1930~)，西印度群岛诗人、剧作家。他的诗结合了英国诗歌形式，用有韵律的语言形象地描写了岛屿和加勒比海的生活，因此而闻名于世。1992年，沃尔科特成为第一位获得诺贝尔文学奖的加勒比海作家。其作品有诗集《在绿夜里》(In a Green Night)、《奥麦罗》(Omeros)和剧作《猴山之梦》(Dream on Monkey Mountain and Other Plays)等。

这首小诗虽然简短，但内涵却极其丰富。它并非一首简单的咏物诗，而是融入了沃尔科特对人生价值和命运的思考。这里的星星也并非闪烁在夜空中璀璨明亮的星星，而是在白昼之光的映照下黯然失色、消失于无形的星星。它们似乎生不逢时，相对于黄昏来得太早，相对于黎明又来得太迟，令人不禁为之惋惜。但诗人却仍希望它们能“为这房舍带来欢欣”，能够“引领我们内心最深的苦痛，穿越混沌”的世界。没有人会注意在白昼中黯然失色的星星，也没有人会去关注在黄昏和黎明中转瞬即逝的星星，然而它们却仍然真实地存在于这个世界，并以自己的方式影响着我们。人又何尝不是如此？那些在别人光环笼罩下默默生活、从不引人注目的人们，那些时运不济、从来没有机会展露峥嵘的人们，他们都在以自己的方式影响着这个世界，愿他们能以“白昼的激情”引领我们痛苦的灵魂穿越混沌的世界。

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The news hit the Venice Film Festival like an unexpected death notice: Hayao Miyazaki, the world's most honored creator of animated features, was ending his movie career.

"Miyazaki has decided that The Wind Rises will be his last film, and he will now retire," Koji Hoshino, who runs the director's Studio Ghibli, announced at a news conference for the new film, which received its European premierehere Sunday. Miyazaki—the Oscar-winning spellbinderof 11 features, including the international hits Princess Mononoke, Spirited Away, Howl's Moving Castle and Ponyo—is expected to speak about his decision in Tokyo later this week.

Moviemaking, which requires a general's gift for strategy and a foot soldier's courage, is supposed to be a young man's game. Miyazaki is 72, the age by which most CEOs have slipped into wealthy anonymity, so he deserves a gold watchfor his sunset years. But filmmakers, like other artists, often keep going as long as they find sponsors for the things they want to show and tell. For filmmakers like Miyazaki, putting their pictures on the screen wasn't a job. It was their life.

But if Miyazaki wants to hang it up, he couldn't have picked a more piquantswan song. The Wind Rises—its title taken from Paul Valéry's poem Le Cimetière Marin ("The wind is rising! We must try to live!")—weaves a tender, tragic love story into two volcanic decades of Japanese history, from 1918 to the end of the 1930s. Here are unforgettable images of the great Kanto earthquake of 1923, and the firestormsthat devastated whole cities and killed perhaps 140,000 people. Here is the Depressionthat destroyed Japan while its government spent millions buying weapons from Nazi Germany.

In his first film intended primarily for grownups, Miyazaki has caused political controversy, in his home country and now abroad. The director's protagonist, whom he portrays as a visionary dreamer, is Jir Horikoshi, designer of the Mitsubishi A6M "Zero" fighter planes that on Dec. 7, in the year of Miyazaki's birth, dropped the bombs on Pearl Harbor.

The movie is really a double biopic: of Horikoshi, whose life it follows from youth through university to his work at Mitsubishi, with a brief codaafter World War II, and of the author Tatsuo Hori, whose 1937 novel The Wind Has Risen tells of a tuberculargirl at a sanitarium; Hori died in 1953, at 48, of TB. His life and works inform the character of Naoko Satomi, the young woman who becomes Jir's wife.

Miyazaki has said he was inspired by a quote of Horikoshi's: "All I wanted to do was to make something beautiful." The Wind Rises shows its beauty from its amazing first scene, when the young Jir climbs to the roof of his home and finds a plane parked there. Lured by its colorful aviandesign—white wings, blue feathers, a red tail, pink wheels and a yellow nose—Jir scootsaboard this metallic bird for a lovely jaunt, until shadowed by a huge dirigiblecarrying dozens of military aircraft; the boy falls from the sky and awakes in his bed. The whole film is a series of flights and falls; airy ambitions that crash-diveinto compromise and tragedy.

Starkhistory and buoyantfantasy often link arms in The Wind Rises. An aircraft fan from youth, Jir imagines encounters with Giovanni Caproni, who in 1911 built the first Italian plane. Caproni serves as Jir's spiritual guide, telling the boy that "The whole world's a dream". He looks forward to the advent of commercial aviation: "Instead of bombs, we'll carry passenger" (but his first attempt, essentially a cruise ship lifted by nine sets of wings, crashes).

When Caproni says "Inspiration unlocks the future; technology will catch up", he might be anticipating the untrammeleddreams of directors like James Cameron, Ang Lee and Alfonso Cuarón nearly a century later.

In the age of digital animation (and live action), Miyazaki has remained faithful to the hand-drawn technique—the Disney style—that predatedPixar's CGI. Indeed, his human figures are abstracted into giant-eyed doll faces and stiff legs, as if walking clumsily on stilts. Even the adult Jir looks like any animechild; and when he stumbles to the ground, his hands and feet make no visible impression on the grass.

Most of the director's grace goes into the landscapes: rural vistasrendered in the most delicate pastels, like the watercolors Naoko paints during Jir's courtship of her. In a hard land heading to a war, Miyazaki makes sure the views are fascinating. His perfect metaphor for a Japan straddlingthe old world and the new: the planes Jir designed are pulled onto the practice field by teams of oxen.

The elegiacpaint-brushing extends to Jir's visits to Germany, to gaugetheir military-aircraft ingenuity against his, and to his development of the Zero prototype. And when the significant consequences of Jir's creations might be introduced, Miyazaki leaves the Mitsubishi factory to concentrate on the Jir-Naoko love story. Jir stays home to comfort Naoko in her illness, telling her, "In a one-hand slide-rule contest, I'd finish first"—because, while working away, he always holds her hand. Their devotion is heart-strong and constant; as Naoko says, "I've loved you since the wind brought you to me." But this last half-hour of the two-hour film might have addressed the impact of the Jir Zero. It was a beautiful machine that helped tyrannicalJapan dream of conquering the world.

Whatever its political implications of a movie that glamorizesand elegizesthe makers of war, The Wind Rises shows Miyazaki at his most confident. The film betrays no hint of sappingenergy, let alone senility; it is vigorous, subtle, daring and gorgeous. May his announced retirement be a brief, dark whim. May he go on enchanting and challenging moviegoers for years to come.

宫崎骏这个世界上最负盛名的动画创作大师就要结束他的电影生涯了(编注：本文写于2013年9月2日)。这则消息犹如一道突如其来的死亡通知，迅速传遍威尼斯电影节。“宫崎骏已做出决定，《起风了》将是他最后一部电影，他现在就要退休了。”宫崎骏导演所创办的吉卜力动画工作室的负责人星野晃志在《起风了》新闻发布会上宣布说。这部新片在欧洲的首映式已于周日在这里(译注：威尼斯)举行。宫崎骏这位极具吸引力的奥斯卡金像奖得主一共执导了11部动画长片，其中就有风靡全球的《幽灵公主》《千与千寻》《哈尔的移动城堡》和《悬崖上的金鱼姬》，预计他将于本周晚些时候在东京公布他的决定。

制作电影本应该是年轻人的游戏，因为它不仅需要具备将军的战略才华，还需要具备步兵的勇气。宫崎骏已经72岁了，大多数这个年纪的老总们都已选择隐退去享受富贵了，因此他也理应享受如此待遇。但和其他艺术家一样，电影制作人只要还能为自己想要展现和表达的东西找到赞助商，通常就会一直做下去。对像宫崎骏这样的电影制作人来说，把自己的绘画作品搬上银幕并不只是一份工作而已，那是他们的生命。

但如果宫崎骏真要收山，再没有什么比《起风了》更为动人的收山之作了。《起风了》取名于诗人保罗·瓦勒里的诗作《海滨墓园》(“起风了！我们必须努力活下去！”)。影片将一个凄婉、悲惨的爱情故事融入日本二十多年(从1918年至20世纪30年代末)的动荡历史，从中可以看到那些令人刻骨铭心的画面，如1923年的关东大地震以及彻底摧毁了数座城市、夺去了大约14万人生命的震后大火；也可以看到就在经济大萧条摧毁日本之际，日本政府却斥资数百万向纳粹德国购买武器。

宫崎骏在他的这部首次以成人为主要受众的影片中业已引起了政治争议，先是在他的祖国日本，现在则蔓延至国际社会。宫崎骏把影片的主人公堀越二郎描写成一个天马行空的梦想家。堀越二郎是三菱A6M“零式”战斗机的设计师，正是这种战斗机在宫崎骏出生那年的12月7日轰炸了珍珠港。

这部电影其实是一部双重意义上的传记片：对于堀越二郎来说，该片描述了他从少年到步入大学再到进入三菱公司工作的人生历程，以及他在二战之后的简短结局；而对于原著作者堀辰雄来说，他于1937年问世的小说《起风了》讲述的是一个罹患结核病、生活在疗养院的女孩的故事；堀辰雄本人因肺结核死于1953年，年仅48岁。他的人生经历和作品情节在主人公里见菜穗子身上得以体现，这位年轻女子成了堀越二郎的妻子。

宫崎骏说让他深受启发的是堀越二郎的一句话：“我唯一想做的就是制造出美丽的东西。”《起风了》从令人惊艳的第一幕开始就向观众展示了它的美丽：年少的堀越二郎爬上自家的房顶，发现一架飞机停在那儿。他立刻被那色彩斑斓的鸟形设计所吸引——白色的翅膀、蓝色的羽毛、红色的尾巴、粉色的轮子、黄色的鼻子——二郎迅速跳上这只金属大鸟，开始了一场愉快的短途飞行，直到被一架装载了几十架军用飞机的巨大运载飞船所追踪；年少的二郎从天上掉了下来，然后从床上惊醒。整部电影充满了飞翔与坠落的片段，空中飞行的梦想坠毁在妥协和悲剧中。

在《起风了》这部电影里，赤裸裸的历史往往和天马行空的奇思妙想携手并进。堀越二郎自幼便对飞机有着浓厚的兴趣，幻想着可以见到1911年为意大利制造出第一架飞机的乔瓦尼·卡普罗尼。卡普罗尼成了二郎的精神导师，他告诉二郎：“梦想有多大，世界就有多大。” 卡普罗尼期待商业航空时代的来临：“我们要运载的不是炸弹，而是乘客。”(但他的第一次尝试实质上就是用九对机翼将一艘游轮吊起，结果以坠毁而告终。)

卡普罗尼在说“只要灵感打开未来之锁，技术将会迎头赶上”这句话时，他所期望的也许就是将近一个世纪之后詹姆斯·卡梅隆、李安和阿方索·卡隆等导演所表现出的无拘无束的梦想。

在数字动画(和真人电影)的时代，宫崎骏仍旧忠实于手绘技术(即迪士尼画风)——该技术比皮克斯动画工厂的计算机成像技术(CGI)要早。实际上，宫崎骏创造的人物都被抽象成这样：眼睛很大，娃娃脸，双腿僵硬得仿佛在笨拙地踩高跷。甚至是成年后的二郎看起来也还是像个动画中的孩子，当他跌倒在地上，他的手和脚都没有在草地上留下明显的印记。

宫崎骏导演的手绘之美大多呈现在了风景中，用最柔和的色彩来渲染乡村景色，就像二郎向菜穗子求爱时菜穗子画的水彩画一样。宫崎骏把一片即将面临战争的荒原的景色拍得十分精彩动人。二郎设计的飞机被成群的牛拉到训练场上，这也是对日本处在新旧两个世界之间的一个完美隐喻！

那种伤感的画风一直蔓延到堀越二郎的德国之行(二郎去那里考察德国军用飞机比自己的设计精巧之处)和二郎研发“零式”战斗机的原型之时。当我们以为宫崎骏接下来会展示堀越二郎的创造所带来的重大影响时，宫崎骏却将镜头从三菱公司移开，聚焦于堀越二郎和菜穗子的爱情故事。在菜穗子生病期间，堀越二郎留在家中安慰她，他告诉菜穗子：“如果举办一场单手计算尺测量比赛，我会是第一个完成的”——因为工作时他总是紧握她的手。他们的爱是如此的坚定而恒久，就像菜穗子说的：“自从风把你带到我身边，我就爱上了你。”可在这部长达两小时的电影的最后半小时，电影本来是可以展现二郎设计的“零式”战斗机的威力的——这种美丽的机器帮助残暴的日本梦想征服世界。

不管其政治含义如何，是否是一部美化战争发动者、为战争发动者唱挽歌的影片，《起风了》展示了宫崎骏正处于自信的巅峰。电影丝毫没有显现出宫崎骏功力减弱的迹象，更谈不上他宝刀已老。影片依旧朝气蓬勃、温婉细腻、无畏无惧、精彩动人。希望宫崎骏宣布退休只是一时头脑发热、心血来潮。希望在未来的岁月里，他依然能够给电影爱好者带来快乐，带来挑战。The Magic of Hayao Miyazaki’s Films 宫崎骏电影的魔力◎ By Kathleen Flood 译 / 赵凡

致密的画作，深刻而多重的反思，宫崎骏已在全球动画界建立了无可替代的地位。宫崎骏的动画片是能够和迪士尼、梦工厂共分天下的一支重要的东方力量。宫崎骏的作品创下了一个个票房奇迹，受到全世界亿万观众的一致好评。其魔力何在呢？

Often called the Walt Disney of Japan (actually he hates this title), manga artist and animator Hayao Miyazaki creates gorgeous and bewitchinganimated movies, whose power hingeson the drawings rather than the story—but that's not to say his stories aren't also brilliant. He begins making his films by building wire framesand the stories develop as the drawings progress. The director admits in an interview that it's a "dangerous way to work", but alas, it's a technique that has brought him great success. He prefers hand-drawing his animations, though he has experimented with CGI and digital paint beginning with 1997's Princess Mononoke.

He prefers to call himself a true manga artist, rather than a storyteller, as he only became interested in animation after watching films like Taiji Yabushita's The Tale of the White Serpent and a Russian animated version of Hans Christian Andersen's The Snow Queen. Formally trained in political science and economics, Miyazaki started his animation career at Toei Animation and A Pro, before founding Studio Ghibliin 1985 with director Isao Takahata and producer Toshio Suzuki. Walt Disney Pictures eventually signed a deal with Studio Ghibli in order to introduce Miyazaki's films to Western audiences.

Knowing that his movies are primarily hand-drawn, the inconspicuously-detailed pictures are completely mind-blowing, not to mention incredibly time consuming. His animation style is extremely delicate and realistic, as he makes sure to highlight details like the sparkling reflection of sun on water, the sluggishpace of a snail moving up a plant or a wispof hair delicately blowing in the wind.

Though often preoccupied with exploring environmentalism, capitalism and other serious political and anti-war themes, he often chooses to reveal his fantastical and monster-ridden stories through the eyes of young, female heroines who are often portrayed as weak or immature at the beginning, but emerge courageous and triumphant after overcoming whatever series of obstacles the specific adventure narrative presents. Miyazaki says his movies are made for children, but adults have proved to be profoundly affected as well—Spirited Away became the first non-English and anime movie to win the Academy Award for Best Animated Feature in 2002.

The magic of his films comes across through his subtle yet profound ways of exploring humanity's flaws and nature, as well as through complex characters and imagery. His movies stir up memories and dreams, transporting you back to your childlike state-of-mind and directly into the characters' worlds, often inspired by settings and situations from Miyazaki's own past. TIME magazine named Miyazaki one of 2005's Most Influential People in the World, and that influence can be seen in his mentorshipof upcoming filmmakers like Hiroyuki Morita and his own son Goro Miyazaki. Disney director Pete Docter and Disney animator Glen Keane have both said they've been intensely inspired by Miyazaki's brilliant body of work.

漫画家和动画师宫崎骏常被称作“日本的华特·迪士尼”(事实上他讨厌这个头衔)，他创作了众多令人着迷的精彩动画电影。宫崎骏作品的影响力在于其绘画，而非其故事，但这并不是说他的故事不精彩。制作电影之初，他会先画草图，让故事随着绘画的进行而发展。这位动画导演曾在一次访谈中承认，这是一种“冒险的制作方式”，但正是这种技巧给他带来了巨大的成功。尽管从1997年的《幽灵公主》开始，宫崎骏已经在尝试使用CGI技术和数字绘图技术制作动画，但他仍偏爱手绘动画。

宫崎骏喜欢称自己是一个真正的漫画家，而非一个讲故事的人，因为他只是在看了薮下泰司的《白蛇传》和俄罗斯动画版的安徒生童话《冰雪女王》后就对动画产生了兴趣。学政治经济学出身的宫崎骏在东映动画和A-Pro动画公司开始其动画制作生涯，后于1985年和导演高、制作人铃木敏夫创办了吉卜力动画工作室。华特·迪士尼动画公司为了把宫崎骏的电影引进给西方观众，最终和吉卜力动画工作室签订了一项协议。

宫崎骏的电影大多出自手绘，致密的画作令人叹为观止，更不必说其令人难以置信的耗时。他的动画风格精巧至极、栩栩如生，因为他注重细节的表现，比如阳光照耀下水面上的粼粼波光，蜗牛在一棵植物上向上爬的懒散步调，抑或是在风中优雅飘动的一缕头发。

尽管宫崎骏通常专注于探讨环保、资本主义及其他一些严肃的政治和反战主题，但他却通常选择从一个年少的女主人公的视角来讲述充满奇幻色彩且充斥着怪兽的故事。电影的开头，年少的女主人公通常被描绘成弱小或不成熟的样子，但是在故事陈述的特定的冒险中克服了一系列艰难险阻之后变得勇敢坚强、极其成功。宫崎骏说他做的电影是给孩子们看的，但事实证明，成年观众也深受其影响。其作品《千与千寻》在2002年成为第一部获得奥斯卡最佳动画长片奖的非英语动画电影。

宫崎骏电影的魔力来源于其用细腻而深刻的方式探寻人性的弱点和本质，也来源于其中复杂的人物角色和意象。他的电影能唤起人的回忆和梦想，使人回归到孩子般的思维状态，直接进入到片中人物的世界里，而那些世界的灵感通常都来自宫崎骏自己待过的地方和面临过的处境。《时代周刊》曾将宫崎骏评为2005年“全球最具影响力的人物”之一，这种影响力从他对新生代电影制作人(诸如森田宏幸和他自己的儿子宫崎吾郎)的指导上就可以看出。迪士尼公司的动画导演皮特·多克特和动画师格兰·基恩也都曾提到他们深受宫崎骏杰出作品的启发。From Nausicaa to Ponyo: a Look Back at Miyazaki's Films 宫崎骏经典动画一览◎ From empireonline.com 译 / 赵越

从1984年的《风之谷》到2013年的《起风了》，宫崎骏用他对生活细致入微的观察、对大自然的体悟与敬畏以及他的人道主义关怀构筑了一个五彩斑斓又充满哲思的动画世界。在那里，有纯真无邪的女童，也有满脸皱纹的老妪，有神秘善良的神灵，也有邪恶贪婪的鬼怪。在那里，你能听到受伤的大自然凄厉的呼号，感受到无忧童年的极致乐趣，还能看到坚强、善良和勇敢的力量。在宫崎骏宣布退休之际，让我们一起回顾宫崎骏那些触动心灵的作品，听听宫崎骏本人创作时的肺腑之言。Nausicaa of the Valley of The Wind 《风之谷》(1984年)

Based on Miyazaki's own complex manga (which he didn't finish until 1994!), Nausicaa is a remarkable work, set in a post-apocalypticworld swathedin poisonous gas, the quarrelling remnantsof humanity sharing the earth with giant insectoids. It's eerilybeautiful, with a powerful, young female lead character—now a Miyazaki mainstay—and is not the last of his films to resound with a clear environmental message (the mercury-pollution of Minamata Baywas his main inspiration).《风之谷》改编自宫崎骏创作的一部情节复杂的同名漫画(该漫画直到1994年才完结)，是一部非常出色的作品。影片将背景设在一个被灾难洗劫后的世界，那里毒气弥漫，残存的人类争吵不休，与巨型虫类共享着地球。影片透着一种怪异的美感，其主角是一位能力非凡的少女(如今这已成为宫崎骏电影的一个主要特色)。宫崎骏的多部动画电影都体现了鲜明的环保主题，《风之谷》便是其中一部(发生在水俣湾的汞污染事件是宫崎骏创作《风之谷》的主要灵感来源)。·Miyazaki on Miyazaki 宫崎骏创作感言

"Why did the lead character have to be female? Well, it doesn't look truthful if the guy has power like that! Women are able to straddleboth the real world and the other world—like mediums. In the oldest form of the Cinderella story, she was able to travel freely to the other world through the hearth: that's what empowered her. It isn't the swordplaythat Nausicaa is good at; it's that she understands both the human world and the insect world. No animals feel danger in approaching her; she's able to totally erase her sense of existence. Males, they are aggressive, only in the human sphere—very shallow! (Laughs) So it had to be a female character."“为什么这部动画的主角必须是女性呢？嗯，如果男人拥有那样的能力，影片看起来就不真实了！女人就像灵媒一样，能够跨越两个世界——现实世界和其他世界。在最老版本的灰姑娘的故事中，灰姑娘可以通过壁炉炉床自由穿行到另一个世界，正是这点赋予了她力量。娜乌西卡(编注：《风之谷》的女主角)所擅长的并不是她的剑术，而是她既了解人类世界又通晓昆虫世界的能力。任何动物在接近她时都不会感到危险，因为她能够完全抹除自己的存在感。相比之下，男性仅仅在人类世界中表现得积极进取——太浅薄了！(笑了笑)所以，《风之谷》的主角必须是女性。”My Neighbour Totoro《龙猫》(1988年)

Considered Miyazaki's masterpiece, and certainly his best-loved work, its big-grinned forest-spirit star forms the basis of a huge merchandisingempire in Japan. An intimate family tale set during one summer in 1950s rural Japan, it boastsastonishing attention to detail and delicate characterization of two young sisters, Mei and Satsuki, who have moved with their father to a new house while their mother is away in hospital (Miyazaki's own mother suffered from spinal tuberculosis). Few films better capturethe joyful power of unfetteredchildhood imagination.《龙猫》被看作是宫崎骏的杰作，当然也是他本人最钟爱的作品。影片的主角——那位咧嘴大笑的森林精灵——为日本庞大的文化衍生品帝国的形成奠定了基础。影片故事发生在20世纪50年代的一个夏天，围绕日本乡下一个相亲相爱的家庭展开。令影片引以为傲的是，影片对细节的关注令人惊异，对年幼的两姐妹小梅和小月的性格刻画得细致入微。小梅和小月在妈妈生病住院期间与爸爸一起搬进了一所新房子(宫崎骏的妈妈曾身患脊柱结核)。《龙猫》成功展现了童年时代无拘无束的想象力所带来的快乐力量，在这一点上，几乎没有其他电影能够与之相媲美。·Miyazaki on Miyazaki 宫崎骏创作感言

"I can't make films that are, you know—slay the villain, everybody's happy. I can't make those kinds of films. I think that when children become three or four years old, they just need to see Totoro. It's a very innocent film. I wanted to make a film in which there's a monster that's living next door but you can't see it. Like when you walk into a forest, you sense something. You don't know what it is, but there's a certain presence. That's happened to me many times, you know? I recently spent two months in a big old house, alone, on top of a cliff by the sea, and I would be in one room but it felt like there were other people living in the other rooms. When I would go out for a walk, I thought they would be lonely, so I turned on my radio to entertain them while I'm out!"“我无法创作那种电影，你知道的，那种除掉恶棍、皆大欢喜的故事。我不会创作那种类型的电影。在我看来，孩子们到了三四岁时就需要去看《龙猫》。这部电影充满了童真。我曾经想要创作这样一部电影：你家隔壁住着一只怪兽，可你却看不到它。就像当你走进一片森林，你觉察到有什么东西，你不知道那是什么，但一定有什么东西存在。你知道吗？这种事情我经历过很多次。最近，我独自在一座古老的大宅中住了两个月，那座古宅坐落于海边一处悬崖的顶端。我待在其中一个房间里，但却感觉别的房间里还住着其他人。当我要出去散步时，我觉得他们会感到孤单，于是就打开了收音机，让他们在我外出时也感到开心。”Princess Mononoke《幽灵公主》(1997年)

Princess Mononoke was Ghibli'smost expensive movie, and went on to become Japan's biggest-ever grossingpicture. Following a young warrior mortally cursed by a diseased boar-demon, it takes us deep into Japan's primeval forest, as its gods of nature resist humanity's industrial progress. Arguablyunsuitable for Ghibli's younger audience, it features brutal combat scenes and monstrous mutations, entwiningthe theme of abortedinnocence with its overtenvironmental concerns.《幽灵公主》是吉卜力动画工作室耗资最多的一部电影，继而成为日本历史上获利最丰的一部影片。影片从一位年轻的勇士受到一个患病的野猪神的诅咒而性命难保开始，接着将我们带到日本的原始森林深处，因为那里的自然之神抗拒人类的工业进步。由于这部影片包含残酷的打斗场面和恐怖的突变过程，并将失落的纯真这一主题与对环境问题的公开关注紧密结合，因此，影片可能并不适合吉卜力较为年幼的观众。·Miyazaki on Miyazaki 宫崎骏创作感言

"It was a huge risk, totally different from when I was making Kiki. I'd had that experience with Porco Rosso, the war happened (in the former Yugoslavia), and I learned that mankind doesn't learn. After that, we couldn't go back and make some film like Kiki's Delivery Service. It felt like children were being born to this world without being blessed. How could we pretend to them that we're happy?"“创作这部动画有很大的风险，这跟我创作《魔女急宅便》时的情形截然不同。这样的经历我在创作《红猪》时就有过。(发生在前南斯拉夫的)那场战争让我明白，人类没有吸取教训。从那以后，我们就无法再像以前一样制作《魔女急宅便》那样的动画电影了。有这样的事情发生，就感觉好像孩子们在降生时没有得到祝福一样。我们怎么能在他们面前假装我们活得很开心呢？”Spirited Away 《千与千寻》(2001年)

Sixteen years after the foundation of Ghibli, Miyazaki finally found success in the West. Heapedwith critical praise, and also an Oscar, his colourful tale of a sulkygirl named Chihiro trapped in a world of spirits, demons and gods after her parents are turned into pigs proved pleasantly flummoxingto its Western audience. It takes a sudden twist of direction midway through, shifting focus from Chihiro to hungry ghost No-Face, then sending the girl on a mission to save boy Aku rather than freeing her parents.

在吉卜力动画工作室成立16年之后，宫崎骏终于在西方获得了成功。他这部生动有趣的电影不仅广受赞誉，还赢得了奥斯卡金像奖。影片中，一个闷闷不乐的女孩千寻的父母被变成了猪猡，随后，千寻被困在了一个充斥着幽灵、恶魔和鬼神的世界。这样的情节虽然令西方观众大惑不解，但却博得了他们的喜爱。影片故事进行到一半时突然发生了转折，将焦点从千寻转到了饿鬼无脸人身上；接下来，影片又给千寻安排了一个重要任务——不是去解救她的父母，而是去拯救男孩小白(编注：小白是一条小白龙，可以变成人形)。·Miyazaki on Miyazaki 宫崎骏创作感言

"There were these girls I'd known since they'd been babies. They were daughters of my friend. And they grew to be 10 and 12 and I said, 'I can distance myself from them now, they're going to blossom into women and I don't have to play uncle anymore.' And I was wondering how they would live from now on, and I thought of Spirited Away as a gift to those girls."“有一些女孩是我看着长大的。她们是我朋友的女儿。当她们长大，成为10岁、12岁的姑娘时，我说：‘现在我可以跟她们保持距离了，她们将要成长为女人，而我也不需要再扮演叔叔的角色了。’我不知道她们从现在起会如何生活下去，于是就想到把《千与千寻》这部动画作为礼物送给她们。”Ponyo《悬崖上的金鱼姬》(2010年)

Ponyo was close to My Neighbour Totoro, aiming at his youngest audience since 1988. But with its luxuriant hand-drawn style it has warmth and palpabilitythat makes it feel unique among modern animated features. It also takes Miyazaki to new territory: where he usually takes to the skies, here he dives deep into the ocean, which rebellious young goldfish-girl Ponyo seeks to escape for the joys of terrestriallife with resourcefulfive-year-old boy Sosuke.

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