Latest news with #IsaoTakahata
Japan Times
17 hours ago
- Entertainment
- Japan Times
Ghibli's Isao Takahata exhibit shows how beloved anime is made
Rather than a single-minded lone auteur, Isao Takahata was a receptive collaborator at heart. That's the thrust of a new exhibition dedicated to the works and creative process of the acclaimed animation director and Studio Ghibli cofounder, who died in 2018. 'The man who planted Japanese animation' opened on June 27 at Tokyo's Azabudai Hills Gallery. It's an exhibit best appreciated through its details; its displays are as meticulously assembled as the works of the late director of 'Pom Poko' and 'Grave of the Fireflies.' The show is very much one of paper. Though there are, of course, anime cels and finished animations, the exhibition unearths vast amounts of archival photographs, sketches, memos, storyboards, watercolors, aided by informative wall texts in English, with the occasional Chinese and Korean. As a result, viewers are steeped in the tactile laboriousness employed by Takahata and the animators of his generation, which seems to fly in the face of the rise of AI in the animation and creative industries at large. Takahata encouraged collaboration and the exhibition showcases works by his team members, such as image boards for "Pom Poko" illustrated by animators Yoshiyuki Momose and Shinji Otsuka. | © 1994 Isao Takahata / Studio Ghibli, NH 'The man who planted Japanese animation' gives considerable attention to Takahata's lesser known works, including his commercial flop debut feature in 1968, 'Little Norse Prince Valiant,' about a folk prince fighting black magic. A sizable space is devoted to Takahata's 'communal, democratic' approach to teamwork. The director (who himself didn't draw) was keen to incorporate opinions, ideas and designs from his animators on all areas of the film. Display cases show the extensive collaborative effort by the staff, including its youngest animator, Hayao Miyazaki, whose memos made strong arguments for realistic depictions of the villagers and featured design proposals for a troll and an ice mammoth, which became significant to the film. A highlight in the 'Little Norse Prince Valiant' gallery is a 'tension chart,' translated into English as 'emotion curve,' for the film, a painstakingly hand-drawn chart of rises and falls in drama, plotted against the individual emotions of twenty characters. One of the hallmarks of Studio Ghibli films is the way even small movements and actions of the characters can convey great emotion or intention. Even in moments of high drama or extreme comedy, they react in recognizable and quotidian ways — a slumping shoulder, a mindful door-closing, a ravenously consumed meal. The exhibition evidences the hard and meticulous work that goes into making animation. | Thu-Huong Ha The gallery spaces devoted to Takahata's TV work, which includes the domestic and global hit 'Heidi, Girl of the Alps,' convey how he and Miyazaki were building these skills well before Studio Ghibli existed. They focused on depicting everyday life vividly, through characters' interactions with food, for example. Not surprisingly, Miyazaki features as a prominent character in his own right in the exhibition, and his contributions are underscored. 'Meeting Miyazaki was significant,' Takahata says in a video about their process. 'He didn't learn from me, but I'm sure he learned a lot from our work together.' In the sections devoted to Takahata's best known features, there is plentiful archival material for diehards. The 'Grave of the Fireflies' gallery contains location-scouting photos from the 1988 war film, including several photos that inspired the memorable pole against which the main character slumps against and dies in the opening scene. The 'Pom Poko' room exhibits a long display case of image boards illustrated by animators Yoshiyuki Momose and Shinji Otsuka, giving fans a chance to see their early ideas in vivid riotous splendor. A caption quoting Takahata — 'I think of this film as a documentary' — is a simultaneously funny and poignant remark on the zany, moralistic film about Tama Hills supernatural tanuki losing their home to human urban over-development. A color simulation board for Kaguya's kimono by Kazuo Oga from "The Tale of the Princess Kaguya" film shows Takahata's method of stylization. | © 2013 Isao Takahata, Riko Sakaguchi / Studio Ghibli, NDHDMTK The final section is dedicated to 'The Tale of the Princess Kaguya,' Takahata's last film which was released in 2013. A video shows Takahata and his team at work; the director explains his technique, which I think of as selective realism. In his films, some aspects of a given scene might be intricately detailed while others are barely sketched in. In 'Princess Kaguya' in particular, the coloring is pale, relying on watercolor, and many scenes have no margins or look half-finished. Takahata explains he didn't want to visualize too much on the part of the viewer. 'Humans are more imaginative,' the director says in the video. 'They can feel empathy even through depersonalized drawings.' The last gallery space contains drawings from the film's two most memorable scenes, one in which the princess is dancing for joy under cherry blossoms and one in which she's running out of fear and fury under a full moon. Clips of the final products loop side-by-side above, one exuberant, and one literally breathtaking, their propelling motion a dynamic finale to Takahata's exacting life's work. . 'The man who planted Japanese animation' is on view at Tokyo's Azabudai Hills Gallery through Sept. 15. For more information, visit
South China Morning Post
3 days ago
- Entertainment
- South China Morning Post
Study Buddy (Challenger): Studio Ghibli turns 40, but fans worry about the future of the animation studio
Content provided by British Council Read the following text, and answer questions 1-9 below [1] Japan's Studio Ghibli turns 40 this month, with two Oscars and legions of fans, young and old, won over by its films' complex plots and hand-drawn animation. But the future of the studio is uncertain. Its latest hit, The Boy and the Heron, is likely the final feature from its celebrated co-founder Hayao Miyazaki, now 84. [2] The studio behind the Oscar-winning Spirited Away has become a cultural phenomenon since Miyazaki and the late Isao Takahata established it in 1985. Its popularity has been fuelled recently by a second Academy Award in 2024 for The Boy and the Heron, featuring a voice cast that includes Robert Pattinson, and by Netflix streaming Ghibli films worldwide. [3] Before Ghibli, most anime was made for children. But Miyazaki and Takahata, both from 'the generation that knew war', included darker elements that appeal to adults, Miyazaki's son Goro said. 'It's not all sweet – there's also a bitterness and things like that which are beautifully intertwined in the work,' he said, describing a 'whiff of death' in the films. [4] For younger people who grew up in peacetime, 'it is impossible to create something with the same sense, approach and attitude', Goro said. Even My Neighbor Totoro, with its cuddly forest creatures, is in some ways a 'scary' film that explores the fear of losing a sick mother, he explained. [5] Susan Napier, a professor at Tufts University in the United States and author of Miyazakiworld: A Life in Art, agreed. 'In Ghibli, you have ambiguity, complexity and also a willingness to see that the darkness and light often go together,' unlike good-versus-evil US cartoons, she said. [6] For example, the post-apocalyptic Nausicaä of the Valley of the Wind has no obvious villain. The anime, featuring an independent princess curious about giant insects and a poisonous forest, felt 'so fresh' and a change from 'a passive woman ... having to be rescued', Napier said. [7] Studio Ghibli films also depict a universe where humans connect deeply with nature and the spirit world. A case in point is 1997's Princess Mononoke. The tale of a girl raised by a wolf goddess in a forest threatened by humans is 'a masterpiece – but a hard movie', Napier said. It's a 'serious, dark and violent' film appreciated more by adults, which 'was not what US audiences had anticipated with a movie about a princess'. [8] Ghibli films 'have an environmentalist and animistic side, which I think is very appropriate for the contemporary world with climate change', she added. Animism is the belief that natural objects and the universe itself have souls. Miyuki Yonemura, a professor at Japan's Senshu University who studies cultural theories on animation, said watching Ghibli films is like reading literature. 'That's why some children watch Totoro 40 times,' she said. [9] Miyazaki and Takahata – who died in 2018 – could create imaginative worlds because of their openness towards other cultures, Yonemura said. Foreign influences included Antoine de Saint-Exupéry, writer of The Little Prince, and Canadian artist Frédéric Back, who won an Oscar for his animation The Man Who Planted Trees. Source: Agence France-Presse, June 9 Questions 1. Based on paragraph 1, a likely reason for Studio Ghibli's success could be its ... A. use of advanced computer animation techniques B. focus on simple, straightforward narratives C. unique blend of intricate storyline and traditional animation D. frequent release of new feature films. 2. What does the phrase 'legions of fans young and old' in paragraph 2 suggest about Studio Ghibli's appeal? 3. What impact did Spirited Away have on the animation studio's reputation, according to paragraph 2? 4. Based on paragraph 3, Miyazaki and Takahata's experiences likely ... A. contributed to a deeper, more nuanced portrayal of life in their films. B. limited their creative scope to only war-related stories. C. influenced them to create anime with an educational element. D. led them to avoid any sad or difficult topics in their work. 5. What emotion does Goro say is explored in My Neighbor Totoro in paragraph 4? 6. In paragraph 5, what contrast does Napier draw between Studio Ghibli films and US cartoons? 7. Based on your understanding of paragraph 6, what was the typical portrayal of women in anime prior to Nausicaä of the Valley of the Wind? 8. Which of the following best describes the conflict presented in Princess Mononoke in paragraph 7? A. a dispute between two human kingdoms B. the struggle between humans and nature C. a personal journey of self-discovery D. none of the above 9. Based on your understanding of paragraph 8, what aspect of Ghibli films is particularly relevant to the current global situation, and why? (2 marks) 'The Boy and the Heron' won an Academy Award in 2024. Photo: Studio Ghibli/TNS Answers 1. C 2. It suggests that Studio Ghibli's appeal is widespread and intergenerational and that its films resonate with a diverse audience, attracting both children and adults (accept all similar answers). 3. The film played a significant role in establishing Studio Ghibli's reputation and contributing to its eventual cultural phenomenon status (accept all similar answers) 4. A 5. the fear of losing a sick mother 6. Ghibli's approach of ambiguity, complexity, darkness and light together is starkly different to that of US cartoons, which are typically 'good-versus-evil. 7. Women in anime were often portrayed as passive characters who needed to be rescued. 8. B 9. The environmentalist and animistic aspect of Ghibli films is particularly relevant to the current global situation because they reflect the need for a more harmonious and sustainable relationship between humanity and the natural world, which is desperately needed in the face of climate change (accept all reasonable answers).
Forbes
5 days ago
- Entertainment
- Forbes
Isao Takahata Exhibition In Tokyo Is Both Poignant And Fascinating
The legendary Isao Takahata finally has a comprehensive exhibition of his work in anime, and it is both poignant as it is fascinating. Takahata was one of the co-founders of Studio Ghibli, along with Hayao Miyazaki, with whom he often collaborated. While Takahata sadly died in 2018, his work is very much with us, as this exhibition shows. Much of Ghibli's early output was cemented through Takahata's involvement and steady hand. He was a producer on both Nausicaä and Laputa, and his expertise is also very much present in the pre-Ghibli but still amazing Future Boy Conan. Being a very talented director and screenwriter in his own right, Takahata would also mark out his own career in anime. For many, though, it's his 1988 film, Grave of the Fireflies, that many really know him for. Dealing with the horrific reality of children attempting to survive the Second World War in Japan, it's a truly harrowing tale. Isao Takahata is a legendary figure in anime. So, this exhibition has an enormous amount of ground to cover, which it does with respectful thoroughness. From how Takahata started out in anime, to his work on early famous anime movies and popular TV shows, you really get to see how diligent and capable Takahata really was at managing these productions. FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder From Heidi to Anne of Green Gables, Takahata cemented himself as a genuinely wholesome and thoughtful anime director. I also feel that, along with Yoshiyuki Tomino, Takahata's contribution to Future Boy Conan is what makes it so remarkable. So, if you're in Tokyo and want to pay your respects to Takahata's impressive body of work, this exhibition comes very much recommended. The Isao Takahata Exhibition is now open to the public at the Azabudai Hills Gallery in Tokyo. Tickets start at 2,000 yen (or around $14 at the current exchange rate) and it will run until September 15. Isao Takahata Isao Takahata Exhibition Gallery Location: Azabudai Hills Gallery Duration: June 27th - September 15th Entrance: 2,000 yen Follow me on X, Facebook and YouTube. I also manage Mecha Damashii and am currently featured in the Giant Robots exhibition currently touring Japan.
The Guardian
20-06-2025
- Entertainment
- The Guardian
Ghibli's midlife crisis: as beloved Japanese studio turns 40 will the magic fade?
Disney, Pixar … Ghibli. For its legions of admirers, the Japanese studiohasn't just held its own against the American powerhouses, it has surpassed them with the impossible beauty of its hand-drawn animation and its commentary on the ambivalence of the human condition. Although he would refuse to acknowledge it, much of Studio Ghibli's success is down to one man: Hayao Miyazaki, a master animator whose presence towers over the studio's output. Making a feature-length anime the old-fashioned way may require a large and multitalented cast, but Miyazaki is the thread running through Ghibli's creative genius. Now, as the studio marks its 40th anniversary, it faces an uncertain future, amid renewed speculation that its figurehead auteur really has wielded his pencil for the last time. Roland Kelts, a visiting professor at the school of culture, media and society at Waseda University, said Ghibli had failed to anticipate a time when Miyazaki, who is 84, would no longer be at the helm, even after the succession question grew more urgent following the death in 2018 of co-founder Isao Takahata. Instead, the studio shifted its focus to commercial activities. 'The studio failed to produce heirs to Miyazaki and Takahata, and now it's a merchandising monster,' says Kelts, author of Japanamerica: How Japanese Pop Culture Has Invaded the US. In 2013, Miyazaki announced that he would no longer make feature-length films, citing the difficulty of living up to his own impossibly high standards. But four years later, Ghibli said its co-founder had had a change of heart and would make 'his final film, considering his age'. The result was The Boy and the Heron, winner of the 2024 Academy Award for best animated film. While Ghibli performs alchemy on the screen, there is nothing it can do to shapeshift itself clear of the march of mortality: Miyazaki's main colour designer, Yasuda Michiyo, whose work appeared in most of his films, died two years before Takahata, while another co-founder, producer Toshio Suzuki, is 76. As a result, the studio is finally looking ahead to a future without its leading creative light, notwithstanding persistent rumours that Miyazaki is not quite done yet. 'Miyazaki is 84 and may not have time to make another movie,' says Kelts. The studio was formally established by Miyazaki, Suzuki and Takahata in 1985 – a year after it released the post-apocalyptic Nausicaä of the Valley of the Wind. It has since become a cultural phenomenon, winning an Oscar in 2003 for Spirited Away, and a second Oscar in 2024 for The Boy and the Heron. Told through the prism of the fantastical, and featuring characters and themes that defy the pigeonholing that underpins much of Hollywood's output, Studio Ghibli's films are widely considered masterpieces of their genre, earning two Oscars and the devotion of millions of fans across the world. Watching a Ghibli movie is like reading literature, says Miyuki Yonemura, a professor at Japan's Senshu University who studies cultural theories on animation. 'That's why some children have watched My Neighbour Totoro 40 times,' she says. 'Audiences discover something new every time.' In some ways, Ghibli shares certain values with Disney, says Susan Napier, a professor of Japanese studies at Tufts University in the US, believes. 'Both are family oriented, insist on high production standards and have distinctive worldviews. 'But what is striking about Ghibli is how for the last 40 years the studio has reflected and maintained a set of values and aesthetics that are clearly drawn from its founders and not from a corporate playbook,' adds Napier, author of Miyazakiworld: a Life in Art. Miyazaki has made no secret of his progressive politics, informed by his experience living through conflict and postwar austerity, and has publicly criticised attempts by conservative politicians to revise Japan's war-renouncing constitution. His films address the themes of war and the environment, but stop short of distilling the narrative into a simple battle of good versus evil. The Boy and the Heron, for example, opens with Mahito Maki, the 12-year-old protagonist, losing his mother in the US's aerial bombardment of Tokyo in March 1945, in which an estimated 100,000 people died. However, Ghibli's decades of independence ended in 2023 when the studio was acquired by Nippon TV – a move that the studio conceded came amid uncertainty over its future leadership. Speculation that Miyazaki's eldest son, Goro, was heir apparent has dampened since the latter voiced doubt about his ability to run the studio alone, and amid reports that artistic differences had contributed to 'strained' relations between father and son. Now it will be up to Nippon TV to develop a pool of directors to gradually replace the old guard, including those with expertise in computer animation, considered anathema to Ghibli's fierce commitment to hand-drawn frames. Ghibli has at least overcome its squeamishness towards broadening its commercial brief. The Ghibli Museum has been a huge success since it opened in western Tokyo in 2001, while visitors flock to Ghibli Park in central Japan, whose launch in 2022 was seen as an acknowledgment by the studio that it needed to build a brand that went beyond film-making. Now Ghibli merchandise is ubiquitous, from My Neighbour Totoro T-shirts and cuddly character toys to high-end leather handbags inspired by Spirited Away and Levi's branded Princess Mononoke jackets. Totoro, Miyazaki's 1988 film set in 1950s rural Japan, was turned into a play by the Royal Shakespeare Company in 2022. Last year a stage adaptation of Spirited Away received a four-star review in the Guardian. While computer-generated animation and AI make the painstaking, aesthetically stunning animation that Ghibli is renowned harder than it was a generation ago, Napier is not convinced the octogenarian auteur is ready to retire. 'I can't imagine someone like Miyazaki, with his intellectual and artistic vivacity, simply being content to sit around, so who knows?' Agence France-Presse contributed reporting
Metropolis Japan
19-06-2025
- Entertainment
- Metropolis Japan
Takahata Isao Exhibition: The Man Who Planted Japanese Animation
The year 2025 marks two significant milestones: 80 years ago, the Pacific War came to an end, and 90 years ago, the legendary anime director, producer, and co-founder of Studio Ghibli, Isao Takahata (1935-2018), was born. In celebration of the 90th anniversary of Takahata's birth, Azabudai Hills Gallery presents a comprehensive retrospective exhibition on Takahata's profound legacy and significant impact on Japanese animation from June 27 to September 15. The exhibition is organized in collaboration with Studio Ghibli, and delves into Takahata's imposing artistic journey: Tracing his early inspirations, creative philosophy, and groundbreaking innovations in Japanese animation. The exhibition features a special focus on Grave of the Fireflies (1988), a highly moving anti-war film shaped by Takahata's own experience growing up during World War II. By exploring Takahata's wide range of productions–including celebrated early projects such as Heidi, Girl of the Alps (1974) and Anne of Green Gables (1979) to his influential contributions at Studio Ghibli, including Only Yesterday (1991), Pom Poko (1994) and his final production The Tale of the Princess Kaguya (2013)–the exhibition deepens and unfolds Takahata's indelible mark on Japanese animation. The exhibition is open every day from 10.00 am-8.00 pm (last entry 7.30 pm). Please note, that in the period from June 27 to July 18, Tuesdays and Sundays are 10.00 am-5 pm with last entry 4.30 pm. Head to the website to learn more about tickets and special tours offered as part of the exhibition.
