Hayao Miyazaki As Auteur Techniques Tech

Hayao Miyazaki as Auteur: Techniques, Technology and
Aesthetics in Animation.
By
Bin Yee Ang
2013
Department of Media and Communications
Goldsmiths, University of London.
1
Abstract
In the animation industry today, there are not many who still practicing traditional animation
technique, the hand drawn cel animation. However, Hayao Miyazaki and Studio Ghibli animation is
the prominent example that traditional animation has redeemed its place in the digital era which
obtained successful result and very much welcome in animation cinema. Technology development
is inevitable for the studio and Miyazaki has implied digital methods along with the traditional
animation technique. In spite of that, digital implications have not overtaken the attention of the 2D
visual presentation in which traditional technique is dominant. It is what makes Miyazaki and
Studio Ghibli animation unique. As the title of the dissertation suggested, Hayao Miyazaki as an
Auteur, it is in order to explore how the technology development brings to the animation techniques
and how the development indeed affecting his authorship alongside with the studio.
The dissertation is to venture how technology development is affecting the authorship of Miyazaki
together with Studio Ghibli animation by looking at the earlier Studio Ghibli production (1980s –
2000) and recent Studio Ghibli production (2000 – now). The comparison of two different
timeframe productions is to study the effects animation and by looking into motions and depth via
the eye of techniques and technology development. Then, the consideration about the aesthetics of
Miyazaki and Studio Ghibli animation hence brings upon what it is proposed to be the quality of
imagination imbued by the comparison of techniques that evolved in the development of
technology. Altogether, the Auteur effect of Miyazaki in the studio becomes questionable as the
emergence of new directors in Studio Ghibli resulting from the animation techniques that are being
compared and studied especially in recent productions.
2
Overall, the dissertation that is focusing on Miyazaki and Studio Ghibli animation to discuss about
the animation techniques are contributed to the understanding of how the Auteur effect of Miyazaki
playing the vital role in huddling the techniques and technology with the aesthetics of the
animation. The dissertation is inducing the importance and value of animation techniques,
especially the hand drawn cel animation. It is also to enable the vision of how the importance and
value of animation techniques will bring continual growth in animation cinema.
3
Table of Content
Declarations 3
Acknowledgements 4
Abstract 5
Table of Content 7
Section 1 8
Introduction 9
Literature Review 14
Methodology 20
Section 2 26
Chapter 1: Techniques in Animation: Hayao Miyazaki and Studio Ghibli Animation 27
Effects Animation 29
Motions and Depth 40
Techniques and Technology 50
Chapter 2: Technology and Aesthetics: Miyazaki in Animation Process 52
Quality of Imagination 59
Aesthetics and Auteurism of Miyazaki 65
Chapter 3: “New Animators” “Old Animators” 68
Section 3 81
Conclusion 82
Bibliography 85
Appendices 89
Appendix 1: “The Bouncing Totoro”, The three-dimensional Zoetrope 90
Appendix 2: Panaroma Box 91
Appendix 3: Visual Analysis 92
- My Neighnour Totoro 92
- Whisper of the Heart 96
- Spirited Away 103
- Tales from Earthsea 111
- Ponyo 115
- The Borrower Arrietty 122
Appendix 4: Interview Questions 130
Appendix 5: Interview Transcript 134
Appendix 6: Haku and Chihiro go through bushes of rhododendron 151
Appendix 7: Last scene of Spirited Away 152
4
Section 1
5
Introduction
The room called –“The Beginning of Movement” is one of the exhibition rooms in Ghibli Museum
Mitaka. The most captivated feature inside this room it has to be The Bouncing Totoro, the three-
dimensional Zoetrope1. There are 18 fine sculpted figures for each character in My Neighbor Totoro
that matched the progression of movements placed on a round platform that rotates once per second.
As the platform is rotating, an LED that flashes 18 times per second hence forms the illusion of
movement, a 3D animation of the Totoro bouncing holding an umbrella and other characters
moving in various actions. Then the panorama boxes that are exhibited in the corner of the room
next to The Bouncing Totoro consist of breath-taking acrylic painted pictures on glass panels. In
each of the boxes, 7 to 10 painted glass panels are aligned from front to back. It resembles the cel
animation where different celluloid layers of images are overlaying each other. With certain angle
of the lights adjusted at the top and bottom of the box, the pictures on the flat glass panels that are
aligned with a certain distance between each other inside the box therefore create a sense of depth 2.
To begin the dissertation entitled “Hayao Miyazaki as Auteur: Techniques, Technology and
Aesthetics in Animation” with the description of the two interesting features in Ghibli Museum
Mitaka is because they somehow propel the question of technology and aesthetics in animation
process of Studio Ghibli under the supervision of the Auteur, Hayao Miyazaki in the cinema of
animation. How technology intertwines the techniques of animation with aesthetics of animation
produced by the studio under the authorship of the master of animation becomes the concern of the
1
Ghibli Museum, Mitaka Catalog. Third edition revised and enlarged, June 30, 2012. Published by The Tokuma Memorial Cultural
Foundation for Animation, Tosho Printing Co., Ltd. Scanned pg. 54. Refer to Appendix 1, pg.90
2
Foundation for Animation, Tosho Printing Co., Ltd. Scanned pg. 58, 272. Refer to Appendix 2, pg.91.
6
study in this dissertation. Hand drawn cel animation and the integration of 3D computer graphics
digital animation in traditional techniques which Hayao Miyazaki and Studio Ghibli is practicing
can be brought forward to the study, inspired by the three dimensional zoetrope of The Bouncing
Totoro and the panorama boxes.
Animation process is going through first from the mind – Ideas, secondly drawing and animation
tools – Technology and last but not least the materials that enable the visualization of ideas and
images – Medium. Nevertheless, it can be argued that medium is the technology. In The Anime
Machine, Thomas Lamarre begins with the association of train to animation and connecting the
train-cinema interfaces to how anime “think” technology3. The dissertation contain the study in
which is stemmed from the Media Theory of Animation by Lamarre. The expansion from
Lamarre’s insight to the study can be closely related to the idea by Marshall McLuhan in
Understanding Media4:
For the “message” of any medium or technology is the change of scale or pace
or pattern that it introduces into human affairs. The railway did not introduce movement or
transportation or wheel or road into human society, but it accelerated and enlarged
the scale of previous human functions, creating totally new kinds of cities and new
kinds of work and leisure.
Therefore, looking at the development of animation techniques, from hand-drawn cel animation to
digital animation, the technology never cease to change the way how humans are dealing with
animation process in terms of presentation of the art of movements. Specifically by studying Hayao
Miyazaki and Studio Ghibli productions and concentrating on animation techniques, how
technology is affecting his animation process or vice versa thus luring us into his signature style of
3
Thomas Lamarre, The Anime Machine, A Media Theory of Animation (University of Minnesota Press, Minneapolis, London, 2009)
Introduction.
4
Marshall McLuhan, “The Medium is the Message” in Understanding Media, The Extension of Man (Routledge, London, 1964)
pg.8
7
animation and the world of his story-telling. It is well-known that Studio Ghibli is still using the
traditional technique of cel animation. Digital methods are used in the process of image
enhancement and come into handy to achieve difficult visual presentation as well as accelerating the
working progress in some ways in recent productions. Hence it is significant to examine the
animation techniques based on Miyazaki and the studio by dividing the studio productions into two:
earlier Studio Ghibli Production (1980s-2000) and recent Studio Ghibli Production (2000-now).
This is in order to seek the position of traditional animation, where it is allocated in this era and how
long it is able to hold or facing its disappearance, sharing the same fate as film in the coming future
of this developing industry of animation. Hayao Miyazaki and his studio can be referred as
conservator who value traditional animation and strongly capture the essence of art of movements
from gestures of human characters to the animation of the environment. In Miyazaki’s point of view,
techniques of animation are the invention to present the subject matters and themes in storytelling5.
Hence, how development of technology, revolutions of techniques, preservation of traditional
techniques and the adoption of digital methods are affecting the animation features produced by
Miyazaki and Studio Ghibli in relation to the Auteur effect is to be talked about in this dissertation.
Furthermore, Susan J.Bigelow has provides profound insight in “Technologies of Perception:
Miyazaki in Theory and Practice”, where she managed to deliver the comprehension of Miyazaki’s
animation, technique is perception6 via the understanding of technology and human relationship
with technology. Picking up from this point, how technique is perception is being studied in this
dissertation is to bring the quality of imagination into discussion. The quality of imagination is to be
referred to as the imagination, the images biologically appear in the human brain (it can either be
5
Hayao Miyazaki, Translated by Huang Ying Fan and Zhang Ze Yi, Starting Point 1979-1996 宮崎駿出發點 1979－1996 (Printed
in Taiwan, Taiwan’s East trafficking ., 2006) Language: Traditional Chinese, pg.152.
6
Susan J. Bigelow, “Technologies of Perception: Miyazaki in Theory and Practice”, Animation:An Interdisciplinary Journal, Vol
4(1) (Published by SAGE, online version: http://anm.sagepub.com/cgi/content/abstract/4/1/55) pg.67.
8
real life or graphical, based on the creativity or logical thinking), to the level of accuracy these
images in the mind being able to be translated to a medium that able to hold the images, either
materials and becomes solidified, or to be transposed into a virtual space in the computer.
Aesthetics is thus derived from medium/technologies, marrying what it is perceived to the images
generated in the mind and involve the products of perception via animation process in regards to the
spectatorships.
Yasuo Otsuka said before, animation is about convincing the audience, and creating some sort of
virtual reality, genuine realism doesn’t suit animation, the realism in animation that we want is
constructed realism7.The attention to details in Miyazaki’s film, such as the motions of characters
and the background art, the effects like water animation, particles like smoke and rains, lightings
like sunrays and lens flare are incredibly done. These elements are imparting the realism of
animation where the realism comprises not only the animation of characters movements, but also
the ambiance to inform audience everything in this world is moving, the air, the clouds, the animals,
and even trees, grass and the continents move8. It can be related to the Shinto believe and animism9.
Hence, to question the realism in animation in the case study of Studio Ghibli and Hayao Miyazaki
animation, foremost it is to consider their traditional way of producing animation. Miyazaki thinks
that a motion picture is a thing of a substance. He does not think of it as data or information. In his
interview for Ghibli Museum Mitaka, this is his comment about motion pictures: “Films don’t come
out with the push of a button. Animation is a whole mass of images drawn on film by people. It is an
accumulation of effort, a product of labor, an object that was made by people’s hard work and
sweat. Information is neutral and inorganic, but an object is not…. An object changes with factors
7
Yasuo Otsuka’s Joy of Motion 大塚康生の動かす喜び, directed by Hayao Miyazaki (2004 Studio Ghibli Prodcution), DVD.
8
Hayao Miyazaki, Ghibli Museum, Mitaka Catalog. Third edition revised and enlarged, June 30, 2012. Published by The Tokuma
Memorial Cultural Foundation for Animation, Tosho Printing Co., Ltd. Pg.44.
9
Casper Bruun Jensen and Anders Blok, “Techno-animism in Japan: Shinto Cosmograms, Actor-Network Theory, and The Enabling
Powers of Non-Human Agencies”, Theory, Culture and Soceity 30(2) (Published by SAGE, online version:
http://tcs.sagepub.com/content/30/2/84)
9
such as mood of the viewer, the angle of view, lighting and time.”10 Regarding the realism in
animation together with this comment, it is seemingly important to think and imply the relevant of
the shift from analog to digital in film and photography into animation. Today, cinema is filled with
the computer generated images replacing the chemical base images to digital simulations thus this
situation is going to be applied into animation techniques that will be discussed in this dissertation.
Generally, the dissertation will be divided into three parts where the first chapter will be focusing
on technical studies of Studio Ghibli productions and the following two chapters will be associated
with theoretical discussion. Overall, the dissertation will be concentrating on the technology and
aesthetics in the application of techniques in Hayao Miyazaki Studio Ghibli animation by
comparing traditional and digital methods of animation especially by magnifying the effects
animation such as motions, water, and particles effects which deliver the believability and call upon
the realism into discussion. Henceforth realism in animation, where Otsuka refers to as constructed
realism opens the path to concern about the relation between technologies and creators of the
animation and quality of imagination will be highlighted based on that. Together in this study also
will be thinking about the analog and digital in animation process which by and large contributing
to Hayao Miyazaki as an Auteur especially the emergence of new generation directors diverging the
used of traditional animation techniques and bring in more apparent result of digital methods.
Thence, this dissertation opens the door to foresee the future and to value the past in animation
cinema via the eye of technology, serves as a window to behold the aesthetics of such beautiful
oeuvres created by human labour, harbouring their expertise and time, to enable the masterpieces to
be visualized. It is after all to embrace the art of movements – Animation.
10
Executive Hayao Miyazaki Interview 4, Ghibli Museum, Mitaka Catalog. Third edition revised and enlarged, June 30, 2012.
Published by The Tokuma Memorial Cultural Foundation for Animation, Tosho Printing Co., Ltd. Pg.199.
10
Literature Review
In order to look into the animation techniques in Hayao Miyazaki animation, The Anime Machine,
A Media Theory of Animation by Thomas Lamarre has provided significant information in
understanding Japanese Animation11. Lamarre’s concentration on “how anime thinks technology”
in this book becomes a notable reference to the research in relation to Hayao Miyazaki and Studio
Ghibli animation. He has focusing on compositing the images of the cel animation which contain
multiple layers placed before the animation stand. Animatic interval, the lacuna between layers
within the image is being paid vital attention to explore the movement within the images before
attempting to understand the movement across the images12. Then, open compositing and sliding of
planes of the multiplanar images are equally important elements in this book which provides a
further understanding in favour of this research to see animation vertically not only horizontally. He
differentiates cinematism and animetism in the first chapter in order to clarify the multiplanar image
in anime. Also, he has highlighted the movement into depth in which this research is going to
extend from his point of view and focus on Studio Ghibli animation. He carefully explains about the
structure of depth, volumetric compositing, geometric perspective and Cartesian model13. These
will become some of the terms that will be appearing in this dissertation.
As the research is emphasizes on cel animation, digital animation and integration of both techniques
in animation, specifically by studying Studio Ghibli films, these major techniques will be allied
with the Auteur effect of Hayao Miyazaki. Lamarre has mentioned about Auteur in chapter 8
“Giving Up the Gun” and he raises the questions “Do I see Miyazaki producing animation or
11
Thomas Lamarre, The Anime Machine, A Media Theory of Animation (University of Minnesota Press, Minneapolis, London, 2009)
12
Thomas Lamarre, The Anime Machine, A Media Theory of Animation (University of Minnesota Press, Minneapolis, London,
2009), pg. 7
13
2009), pg.32.
11
animation producing Miyazaki? Does Miyazaki determine animation or does animation determine
Miyazaki”14. These questions have become inspirational sources for the research to continue from
there and bringing in animation techniques to talk about the Auteur effect of Miyazaki. Also the
questions contribute to the concern of the emergence of new directors in Studio Ghibli productions,
based on the techniques of animation and the presentation of the films. In short, the animation
theories and knowledge furnished in The Anime Machine is an inspiring resource to be referred to
in the study of this dissertation.
Then, Technologies of Perception: Miyazaki in Theory and Practice, written by Susan J.Bigelow
where she draws attention to Zen-Shinto in relation to Miyazaki’s animation and about
technology15. Also she supplies readers Marshall McLuhan’s theory in media besides taking a
closer look to Miyazaki’s role in technologies of perception. She has quoted Miyazaki’s comments
in relation to the title of the article in which very helpful to this dissertation for the research is
evolves in techniques of animation and how Miyazaki presented and visualized his ideas through
animation. Additionally, Bigelow in her article has provides insight that captured the attention for
this study and here are some highlighted points in which are the concern of the study:
- Bigelow underlying McLuhan’s theory of language is the notion that all words in every
language are metaphors16. She applied this theory to enrich her point by bringing in the
principle of metaphors based on that. This is important to be covered in this dissertation
especially in chapter two, Technologies and Aesthetics: Miyazaki in Animation Process to
connect technique of perception with animation technique via quality of imagination.
14
2009), pg.88.
15
4(1) (Published by SAGE, online version: http://anm.sagepub.com/cgi/content/abstract/4/1/55)
16
12
- To support her point even further, she has included indispensable information about
Miyazaki in relation to her title: “Miyazaki still hand draws much of his work and, with an
acute awareness of the dynamic properties of his subject matter, he is known to insist on
each additional frame that helps to capture the sense of nature’s subtle rhythms, drawing
nature into himself and onto the page.”17 And “Miyazaki still privileges storytelling over
digital tricks to transport the viewer to that other world of imagination.” As well as
“Miyazaki’s response is that technique is perception. His drawing speaks the narrative, not
in photo-realistic imagery, but through a ‘contrived unreality’ that captures the essence of
reality better than reality itself.”18
- Also the point where she elaborated the understanding of relation between the painter, the
brush and the artwork in Zen19.
The highlighted points bring the possibilities to relate to the quality of imagination in regards to the
mentioned technique of perception by Bigelow in this dissertation. The quality of imagination is to
be referred to as the interrelation of the mind-generated images and the level of accuracy of the
images in the mind is able to be translated into a medium. The medium in this matter is a double
entendre where it can be interpreted as the carrier medium20 for example the screen, as well as the
tools and techniques that give life to ideas in which bridges the mind of the artist and the creation.
Similarly, it is to see how animation techniques play its part in the relation of “the painter, the brush
and the artwork” to transpose and to visualize the images in the mind of the artist that is closely
related to the real world experience to become a substance. Hence, technology and aesthetics are
17
18
19
Refer to footnote 18.
20
Hans Belting, An Anthropology of Images: Picture, Medium, Body in An Anthropology of images ( Princeton University Press,
2011) pg. 10, to Belting, images they are visual because of what makes them visible, because, that is, of their carrier mediums
regardless of whether they appear in a painting, a photographic print or on a monitor.
13
then playing an important role in this issue. Overall, Bigelow’s writing has ignited this research to
think and to explore the possibilities of animation as an art in visualizing ideas and narrations.
Therefore, the diagram below illustrates the points inherit from this essay and to be contributed to
the research of this dissertation to examine Hayao Miyazaki and Studio Ghibli animation with the
concern of Auteur effect:
Quality of Imagination
Techniques is perception ANIMATION Techniques of animation

(medium = film, screen)
Technology (medium = tools)

and Aesthetics
Furthermore, by reviewing The Virtual Life of Film by David Norman Rodowick, the book is
contained with the ideas and potential arguments for the topic of this dissertation in chapter three.
Whereby this research is going to look into Rodowick concerns on the shift of analog to digital in
which significantly incites the comparison of 2D traditional hand drawn animation/cel animation to
3D digital animation and computer generated images (CGI)21. It is arguable that dematerialization is
when hand drawn animation is moving into digital. The concern of realism in depicting the art of
movements and gesture of traditional way compare to digital methods, the relation between
animation techniques and technology/medium in which all will be arrived to the point to question
the aesthetic of the animation cinema in relation to the case study of the dissertation: Studio Ghibli
animation and Miyazaki as an Auteur.
21
David Norman Rodowick, The Virtual Life of Film (Harvard University Press, Cambridge, Massachusetts, London, England, 2007)
14
The concerns in this dissertation can be materiality22 and physical relation, in which they are
referring to how 2D hand drawn animation together with its medium, paper/cels is differ from 3D
digital animation produced by simulation and computer calculation and thus images are rendered in
the form of data information. In Studio Ghibli productions, there are background paintings that are
scanned into the computer for minimal digital enhancement of the image, digital painting, 3D
computer graphics modelling and mapping to deliver certain camera movements, digital animation
and simulation. In short the integration of hand drawn techniques and digital techniques in
Miyazaki’s animation will be inserted with Rodowick concerns on film and photograph to the
digital imaging and to be implied into this dissertation. Furthermore, the notion of materiality for
the visual, texture and colour appeared in earlier Studio Ghibli animation for example My
Neighbour Totoro is a fully hand drawn animation and manually painted background artwork. Thus
spectators are reaffirmed with the notion of the materiality, a concrete material to hold the artwork
and illustration of movements before the animation appears on screen as a whole. Also, because the
gesture of the characters are drawn by hand, the animated movements are illustrated through human
interpretation and not with the aid of computer calculation although digital animation involved
human control of the program and based on human knowledge and observations. As the advent of
digital and technology development brings upon wider potentialities how animation and the visual
of the animated images can be enhanced by digital methods, it is something inevitable. However in
the case of Studio Ghibli, they preserved the hand drawn images and used digital methods to the
minimal. They utilized the human labour in creating beautiful background and animation of the
characters and the environment that behold the characters in storytelling, digital methods are used to
achieve certain visual presentation. In contrary, Disney and Pixar animation that are generating the
animation in a virtual space as Rodowick has called it “Computer-generated images are no longer
restricted to isolated special effects; they comprise in many sequences the whole of the mise-en-
22
Mary Ann Doane, “The Indexical and the Concept of Medium Specificity”, differences: A Journal of Feminist and Cultural
Studies Vol 18 (1), 2007.
15
scene to the point where even major characters are in whole or in part computer-generated”23. On
the other hand, Miyazaki is emphasizes artwork is material – it is not data24. Hence the question of
analog vs. digital and the concerns about the disappearance of film in The Virtual Life of Film to
the case of Studio Ghibli animation invites a path for discussion.
All the reading materials that are elaborated here will be the highlight in this dissertation. There are
other readings and resources that will be contributed into this dissertation to deliver a research that
is worth study.
23
David Norman Rodowick, The Virtual Life of Film (Harvard University Press, Cambridge, Massachusetts, London, England,
2007). Pg.6.
24
Exhibiting Animation, “Spirited Away” Special Exhibition at the Ghibli Museum, Mitaka. (Published by Tokuma Shoten, Printed
in Japan,2002) pg.92.
16
Methodology
Visual Analysis
Visual Analysis is an important component for this dissertation to study the differences in the visual
presentation of Miyazaki’s animation and overall Studio Ghibli productions. By comparing the two
different timeframe of the studio production: Earlier Studio Ghibli Production (1980s-2000) and
Recent Studio Ghibli Production (2000- now), this method is aim to carefully analysing the
differences of the visual presentation of the animation features namely the motion of movements of
characters and the background, water animation, and particles effects. The analysis will focus on the
animation techniques by comparing the traditional hand drawn animation and 3D computer
animation for creating the mentioned animation elements. Besides animation of the characters that
driving the plot of the story, these elements such as motion, water and particle dynamic system do
comprise how detailed and believable an animation film could be. The believability is based on the
constructed realism via animation at the same time reflecting how technology is influencing such
creation of effects animation. Speaking of technology, through this method, the observation of the
animation features is to understand how technology development brings along the development of
techniques that Miyazaki and his studio encounter in producing animation. There are numerous
numbers of Studio Ghibli productions however the chosen animation features for study are as
follow:
a) My Neighbour Totoro,1988
b) Whisper of the Heart,1995
c) Spirited Away,2001
d) Tales from Earthsea, 2006
e) Ponyo On The Cliff By The Sea, 2008
17
f) And The Borrower Arrietty, 2010
These films are substantial for study in regards to the time they are produced and based on the
technical perspective to be compared with each other, as well as based on the directors who directed
the films, Hayao Miyazaki and new directors in the studio across the timeline. This is an example of
how the analysis of the visual presentation of the films:
The motion blurs to show the movements of the characters/subject matter to the foreground and background of the shots
from My Neighboor Totoro and Spirited Away are being compared.
Hence visual study of the films25 will enable better understanding of the techniques used and relate
them to the technology and its development throughout time. Based on techniques and technology
that will be discussed further using this method of study for this dissertation thus aesthetics
becomes vital relation.
Qualitative Interview
In order to support the analysis gained from the study of the selected animation features from Studio
Ghibli, it is best to hear the voice from different perspective of the informants in the related field of
study. Therefore qualitative interview is conducted in order to uphold the outcome of visual study
of the films. The interview questions are designed and discussed with dissertation supervisor
Professor Sean Cubitt before the interview. There were initially two sets of similar questions
prepared for interview with Mr. Hayao Miyazaki or the animators of Studio Ghibli and for the
25
Refer to Appendix 3, pg.92.
18
students of university. However, for the first proposed interview with Mr. Hayao Miyazaki or the
animators, the request is only able to reach to the Promotion Department of Studio Ghibli where the
set of questions and letter of request are submitted to the person in charge of the department,
Ms.Yumiko Nishimura. As for the interview with students of university, the process of arrangement
to conduct the interview started with a meeting with Professor Keisuke Kitano from College of
Image Arts and Sciences, Ritsumeikan University, Kyoto during his visit to Goldsmiths, University
of London. After having a few conversations with Professor Keisuke Kitano, the research process is
motivated to gain valuable information from the point of view of the students who study in Japan in
regards to Japanese Animation. By sending in email of request to the college in Ritsumeikan
University and with the help of Professor Keisuke Kitano and Ms. Ogura Chie from the college
administration department, the interview was able to take place in College of Image Arts and
Sciences, Ritsumeikan University, Kyoto on 21st June 2013. There are 4 students who have
participated in the interview:
1. Kaito Ohata, a third year undergraduate student of College of Image Arts and Sciences,
Ritsumeikan University.
2. Xie Xingru, a postgraduate student from China, she previously worked as a game
designer and now pursuing her master in College of Image Arts and Sciences,
Ritsumeikan University who currently working on a research calls Indie-game
Promotion and Marketing.
3. Emily Matsunami, a student from Chapman University Dodge College of Film and
Media Arts who is attending a short course programme in College of Image Arts and
Sciences, Ritsumeikan University. She is majoring in Film Production and Japanese
Studies as her minor. She has experience in Digital Arts when she attended a module
called Introduction to Digital Arts.
19
4. Chika Kitano, postgraduate student of Education: Culture, Language and Identity in
Goldsmiths, University of London who is highly interested in Studio Ghibli productions.
The interview took around 1 hour and 40 minutes. The interview is an interactive semi-formal
interview with open-ended questions that require informants in providing their knowledge and
experience for answering the interview questions. There are 10 questions in total for the interview
where the first half of the questions are focusing on technical parts of animation and the second half
of the questions are designed in order to relate to theoretical part of animation26. The interview is
effectively contributed to the research for this dissertation with interesting viewpoints from different
background of studies and expertise in related field of study. The interview is supportively bringing
the qualities that are benefiting the observations gained from the visual analysis of the selected
films, for instance one of the interviewee, Xie shared her point of view about the sense of depth
related to Lamarre’s concern about layering of cels and sliding of the layers in cel animation by
providing The Angry Bird game, the 2D game application for mobile phones as an example.
Altogether, the four interviewees are friendly and helpful in providing opinions and sharing their
knowledge enthusiastically for the interview27.
Participant Observation
The trip to Tokyo and Kyoto, Japan is to strengthen the study and to go deeper into the research for
this dissertation besides to conduct the interview arranged in Ritsumeikan University, Kyoto. The
trip is a participant observation as the trip is in the favour to obtain knowledge other than from
reviewing the literatures related to this dissertation. It is an explorative and discoverable trip to
experience in person of what has learned from the pages and it is also able to see the anime culture
happening in the country and its origin. During the trip, places that are visited such as Ghibli
26
27
Refer to Appendix 5, pg.134, and for the example from the interview, refer to pg.144 of Appendix 5.
20
Museum at Mitaka, Suginami Animation Museum, Toei Animation Gallery as well as Kyoto
International Manga Museum have become absolute credit to obtain eye-opening information
applicable to this dissertation.
In Ghibli Museum Mitaka, it is full of creativity and unique display of the art works extracted from
the production archives together with machines and objects related to film and animation. The
museum that Hayao Miyazaki presented is a museum that is interestingly exhibiting the
unprecedented dense volume of items and it is a museum that are much can be discovered based on
a clear and consistent philosophy as well as brings enjoyment28. The first room right after the
entrance is called “The Beginning of Movement”, where the “ancestors” of animation are exhibited
in this room giving a sense that everything in this room is animation, showing the old technologies
and improvise the technologies in application to Ghibli productions. This is where the most
fascinating feature located, “The Bouncing Totoro”, a three-dimensional Zoetrope. The artworks
taken from the studio productions archives are placed in the room called “Where a Film is Born”
where visitors are privileged to get closer to understand the studio animation process. The sketches,
drawings, illustrations, and the cels images for animation are displayed. Besides, there is an
animation stand in the room for visitors to try to operate it, to experience the traditional way of how
the animations are filmed. Overall, Ghibli Museum Mitaka has offered this research much
credibility in understanding Hayao Miyazaki and Studio Ghibli animation and his Auteur effect in
animation.
Apart from visiting the museums and galleries relating to animation, the trip is including a visit to
Edo-Tokyo Open Air Architectural Museum29 where there is part of the area inside the museum is
28
Foundation for Animation, Tosho Printing Co., Ltd. Pg. 186.
29
http://tatemonoen.jp/english/index.html (Accessed June and July, 2013)
21
one of the inspirational location for Miyazaki’s Spirited Away. The visit to the architectural
museum provides the potentiality to imply the quality of imagination in this dissertation where the
imagination in Miyazaki’s mind is based on the real world and able to create a fantasy world, the
other world on its own that holds strongly to the story-telling and the animation. Consequently, it
relates to the medium and technology of animation making and the manner on how aesthetics can
be discussed by comparing the real world to the illustrated, the imaginative world created in
animation that brings upon to the screen.
The three methods that are used in conducting the research for this dissertation have provided
significant information and enriched the learning process during the study for this dissertation.
22
Section 2
23
Chapter 1
Techniques in Animation: Hayao Miyazaki and Studio Ghibli

Animation
A little girl, red hair and wearing a pink dress running on the waves of water under the stormy
weather. The strong wind is blowing and she is running against the air current with a smile on her
face, Ponyo is her name and the name of the film. The water animation is the special effects that
enthralled the spectators as well as moving the hand drawn animation to an absolute synesthetic
viewing experience. The jaw-dropping water scenes are challenging animation, using traditional
technique to produce the film. It reminds us that even it is an opportune time for having digital
technology to aid the effects animation in this era, somehow traditional techniques are still able to
push the boundaries and to be improvised to serve the visual demands.
Hayao Miyazaki together with Studio Ghibli is using traditional animation, the hand drawn cel
animation. The 2D hand drawn animation that is emphasizes on lines drawing has an important
factor during layering of the cels. Lamarre’s concern in The Anime Machine is the gap between the
layers of cels in the compositing process, the effect of depth is the side effect he observes for the
technical arrangement of the cels with the use of animation stand under the condition of movement.
He explained that the more layers of cel are put together under the animation stand; it will create a
gap between the layers, an invisible yet palpable interval and called it the effects of depth30. The
30
2009), pg.17.
24
effect of depth recalls the panorama boxes displayed in Ghibli Museum. However this chapter will
not be concerning so much about the gap in between the layers of cel although it will be taken into
account in explaining the motions and depth in animation. On the other hand, digital technique for
Studio Ghibli and Miyazaki is not the 3D animation of Disney Pixar or DreamWorks animation.
There is a “policy for digital” in Studio Ghibli where computer graphics should not influence the art
style and overtake the attention of the hand-illustrated cel animation31. Computer graphics (CG) are
treated as another element to construct images, as an aid for image and visual enhancement, for
digital painting and composting for certain shots, to accelerate the work load in animation process
and deadlines32, as well as to achieve certain visual effects and cinematography that is difficult to
achieve using cel animation. Mitsunori Kataama, the digital animation supervisor for Spirited Away
in Studio Ghibli has voiced his comment when he talks about utilizing digital technology in the
film, “Everyone felt the limitations of cel animation. Animation is definitely going to change. But
Ghibli’s philosophy won’t change.33” Both traditional and digital techniques coexist in the studio
and continue to bring beautiful images to the screen. This is what it is unique about Miyazaki
animation and the studio.
Why effects animation? For character animation, we can depict the movements and gestures using
the technique of rotoscoping to give life to the graphical character to move as real as possible. The
effects animation for instance water, particle effects like rain, lightings as well as camera
movements to depict motion do comprise how detail and realistic an animation can be. These
effects animation and depiction of motions involve technical executions that are bringing closer
relations with technology and reflecting technology development rather than sheer examination on
31
The Art of Miyazaki’s Spirited Away, Original Edition Edited by Studio Ghibli, (First published by Tokuma Shoten Co., Ltd.
Japan, 2001, English translation published by VIZ Media, LLC, 2006) pg. 182.
32
Helen McCarthy, Hayao Miyazaki Master of Japanese Animation:Films,Themes,Artistry (Published by Stone Bridge Press,
Berkeley, California, 1999) pg. 35.
33
25
character animation. Everything in animation cinema is human creation. Yet it is arguable when we
talk about digital animation as it is computer simulation. Nevertheless, hand drawn animation and
digital animation are both implied human actions and interpretations in animation process. Hence,
by examining Hayao Miyazaki and Studio Ghibli animation, the relation of technology and
techniques is going to be explored begins with effects animation such as water and particles effects
and followed by the motions in regards to the sense of depth in 2D visual presentation.
Effects Animation
The water animation of Ponyo which served the opening of this chapter as it is the main concern of
the effects animation in this dissertation. In regard to the Auteur effect of Miyazaki, either
traditional animation or with the implementation of digital methods to deal with water animation,
the 2D-ness of the visual presentation of the animation is the key. Water animation in My
Neighbour Totoro is not a major animation like Ponyo, but the small stream at the beginning of the
film when Mei and Satsuki arrived to their house at the village, as well as the bathing scene of Mei,
Satsuki and their father offer the gist of the environment of the countryside living and the warmth of
family relation. The brook streaming under the bridge before entering the tunnel to the house where
Satsuki and Mei are checking out when they just arrived at the first five minutes of the film is part
of the establishing shot for the environment. The background painting and the separate layers of cel
animation which are: the plants in the foreground layer, water waves (the animated grey-curvy
lines) and the white fine lines with different length are animated to move in different tempo to
indicate motion of the flowing water, water splashes with apparent 2D shapes, reflections, as well as
the leaf are composited to form the whole image of the animation34.
34
26
The brook, cel animation in My Neighbour Totoro.
The leaf with two different shades of colour to show it is floating and flowing on the water surface,
the dark-shaded distorted shapes are animated for the reflection of the surrounding, and these show
the transparency of the water. Although the visual presentation is 2D, however the shot for the
brook stream never loses the essence of the realism and naturalistic of the environment to convince
the audience. Also, by looking at the example of the bathroom scene of Satsuki, Mei and the father,
the water animation especially the splashes and foams are in apparent 2D shapes in different
shading of colour white and light blue. The flatness of the 2D animation is somehow particularized
by the distorted lines and shapes of the tiles when the water is overflow from the bath tub as well as
the changes of colour when the tiles are covered with water. Additionally, when the bodies are
inside the water, the line drawings and shapes are distorted. These are to show the refraction and
also the transparency of the water animation using traditional techniques.
27
The bathing scene of Tatsuo Kasakabe, Satsuki
and Mei.
28
On the other hand, the water animation in Spirited Away, the integration of hand-drawn animation
with digital software to produce the water of the sea surface bringing in a different aesthetics
compare to My Neighbour Totoro and Ponyo. For the sea surface in the sequence where Haku
returns chasing by the paper planes, it is a beautiful example of the integration of traditional
animation with digital methods. The background painting of the building is hand-drawn, the waves
are created using Softimage, and light on the sea marsh is generated using computer, all these
elements are composited digitally including the white water waves which are animated from the key
drawings, morphed into gradation lines35. The white water waves are giving the hint of 2D-ness for
the digital composition of this water animation.
The sea surface in the sequence of Haku returns is an example of the integration of 2D traditional animation with
GCI.
Then, two decades later after My Neighbour Totoro is produced, Ponyo released in year 2008
surpassing the digital technology used in for example Spirited Away and Tales from Earthesea it is
an animation film fully created using traditional animation. In one of the informants from the
interview, Emily Matsunami comments that, it is not about the digital tools for example Softimage
35
29
XSI or Toonz specifically, it is the level of detail of the hand drawn water animation in Ponyo is
what the people really like about, and they favour Miyazaki’s films because of the animation36. The
difficulties to achieve the animation and the detail of the water with waves of fishes of the sea water
are very challenging using traditional hand drawn animation. Besides, the motion graphics of the
opening credit and the tsunami waves in the film resemble the Japanese ocean painting that
metaphorically presenting the retrospective of animation and art painting. Moreover, in comparison
to the two mentioned example, on the one hand the water animation in my Neighbour Totoro
depicts the liveliness of the nature and on the other, Spirited Away, the water animation of the sea
depicts mystery. Whereas the water animation in Ponyo is exemplifies animism37 as the water
waves are the souls of fishes engulfing the harbour and the town. The whole tsunami scene is the
resemblance of Japan traditional ocean painting in motion. Thus it is suggest that the on-going
technology development in art and animation, from pass to present is the proposed evidence in
which allows the invasion of human to find ways to depict the law of nature, illustrating the Shinto
believes via the art of movements infused with technology. In the case of Miyazaki and his
authorship, the traditional animation techniques and the hybridity of traditional techniques and
digital methods hence becomes the representation of that invasion.
36
Refer to Appendix 5, pg.143, interview question no.6.
37
Casper Bruun Jensen and Anders Blok, “Techno-animism in Japan: Shinto Cosmograms, Actor-Network Theory, and The
Enabling Powers of Non-Human Agencies”, Theory, Culture and Soceity 30(2) (Published by SAGE, online version:
http://tcs.sagepub.com/content/30/2/84) pg. 91.
30
(From top) Opening credits of Ponyo, the water animation of the tsunami. The water
animation resembles Japanese Ocean Painting. (“The Great Wave off Kanagawa”, Ukiyo-
e art. Image source:
http://upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Great_Wave_off_Kanagawa2.jpg/640p
x-Great_Wave_off_Kanagawa2.jpg )
31
The challenging water animation with waves of fishes of the sea water, the
fluidity of the animation using traditional techniques in Ponyo.
32
As the three Ghibli’s films that have been obseved, for even digital tools are used, the 2D-ness of
the visual presentation of the water animation is shown by the white water waves and splashes of
hand-illustration and animation. The constructed realism of Studio Ghibli animation for water has
its diversity in comparison to 3D simulation of water for example in Disney’s Tangled, the burst of
the dam, where water splashes and foams are rendered by computer realistically with certain
intensity of colour and level of transparency calculated by computer to mimic the water in real
world. Apparently for every buttons clicked and figures that are adjusted for the volume of the
water to be generated are human interpretations. However, the dependence of computer software
has the possibilties of giving universal quality of water simulation and similar result although with
different digital values for different calculation to generate the images using computer. By viewing
the differences, traditional hand drawn water animation that requires human labour to complete and
above all, the unique style of Miyazaki’s animation in Studio Ghibli is hence presented.
33
The scene in Disney’s Tangled where the realistic water simulation of the burst
of the dam rushing down from the dam and flooded the whole area.
34
After water animation is discussed and before moving on to talk about motions and depth, there is
one effects animation that is worth mention which is the particles effects. In Tales from Earthsea,
the climax scene where Arren confronts Cob at the tower, noticeably, the collapse of the bricks on
the top of the tower is a computer generated images (CGI) of dynamic particles effects with a 2D
visual presentation. When it is cut to a full shot of the whole tower, the collapse of the bricks is
animated using 2D animation for the particles effects. Kaito Ohata, a third year student of Image
Arts and Sciences in Ritsumeikan University Kyoto, when he is asked if he will be able to create
one of such a scene using hand drawn animation technique, his answer is that he will not try to use
hand drawn animation, “It’s impossible. I cannot go reverse.38” In the interview, he is representing
new generation who study animation and learning digital animation methods using Autodesk
MAYA for example, and he has certain level of knowledge in particles system of the software. Thus
from this perspective it is to show that if the particles effects using hand drawn animation for the
CGI collapse of the bricks, either it is very difficult to achieve the desire visual performance or it
will not appear to be as dynamic as it has appeared in the film. However the next shot showing the
wide angle of the whole tower, the collapsing bricks, debris and other scarttered fragments of the
tower somehow appear to be cel animation as the animated parts are not match with the background
painting. Therefore, for the two shots putting next to each other in this sequence and the differences
shown from the techniques used somehow strongly reflect the technology driven tecniques are
implying significant constitution of viewing experience based on the aesthetics of visual
performance in the animation.
38
35
The collapsing bricks in Tales from Earthsea.
36
Motions and Depth
In order to create a better understanding of how technology development in technical perspective to
conduct the sensational moving into depth animation in Studio Ghibili first we should concentrate
on Lamarre’s claims regarding the movement into depth in animation39:
In animation, the problem of movement into depth is not one of creating an illusion of depth
by using techniques of composition, as is commonly supposed. It is not enough to draw a
background in accordance with the principles of one-point perspective. Nor is the problem
one of depicting movement toward or away from the camera’s viewing position….Movement
into depth is a matter of viewing from the position of the speeding object.
Then begin with the example of My Neighboor Totoro, when Mei is exploring the surrounding of
the house on her own, she picks up a bottomless pail. It is her point of view shot as she discovers
the acorn.The movement of camera viewing position conveys a resemblance to the cinematic
technique of dolly zoom thus creates the illusion of depth in the 2D animation. The cels that are
composited contain a shallow one-point perspective of the bottomless pail, the acorn and the
background painting40. The animation of this shot is suggest to be animetism41 in Lamarre’s term,
but conveys cinematic camera movement. It is because the visual result of the multiplanar image of
the cel animation is to the likeness of dolly zoom camera effect that direct spectators’ eyes to see
when animation stand is the key apparatus. For Lamarre’s argument that Miyazaki films are
opposing cinematism as Lamarre claims that by supressing cinematism in his art42, Miyazaki is
developing other ways of working with potential of the moving image. In addition to this claim, it is
debatable as it is not as firmly applicable in recent productions of Studio Ghibli animation
especially in Tales from Earthsea and The Borrower Arrietty which will be discussed later.
39
2009), pg.20.
40
Refer to Appendix 3, pg 93.
41
2009), chapter 1 Cinematism and Animetism.
42
2009), pg.42. Lamarre points out that both Virilio and Miyazaki are opposed to cinematism.
37
Mei’s point of view on the acorn through the bottomless pail.
In addition to Lamarre’s animetism and how he relates animetism with train travelling to cinema, in
Whisper of the Heart, the train traveling scene of Shizuku where she meets the cat Moon, the depth
inside the train to the moving background scenery is produced by 2D techniques of multiple planes
of cel animation and filmed using animation stand. The drawings of each layers are based upon one
point perspective, starting from the bottom layer of the background animation, followed by the train
cars and other details such as the train holders and human characters. The shot is furnished with
geometric perspective inside the train that is able to present the sense of depth of a 2D visual
presentation of the animation43. This provides an alternative to examine the relation of motions and
depth. Thus, aniemtism of open composting and sliding of planes animation in Whisper of the Heart
is manage to create the illusion of depth in relation to the motion of the train. The train animation is
exactly like the mobility of a real moving train, together with the background animation and the
inertia of the passengers’ viewpoint inside the train in real life moving along with the locomotive.
43
Refer to Appendix 3, pg.97
38
The train scene in Whisper of the Heart.
Then in comparison to the recent productions, for example Spirited Away. The scene Haku and
Chihiro go through the bushes of rhedodendron is a 2-dimentional animation with notifiable
digitally driven camera movement, joining the cel animation of the characters and the background
to the resemblance of real cinematic camera result of moving into depth. The intergration of both
techniques in this scene, it is not merely a process of putting in 2D art for digital treatment. The
process invloved carefully arrangement of the cut out of rhododendron flowers one by one and
overlaid with some leaves cut out where all these layers of cels cut out are put on the top of two
green leaf backgrounds that is placed far at the back of the frame. The sense of depth is delivered
through the digital process where the image is moving towards the back synchonizing the character
animation44. Similarly to the ending shot where the car moves away from the tunnel, the layers of
trees overlay are placed on different planes like a stage set. Yet for this ending shot, the
backgrounds were mapped onto the inside of a cylinder space which is using 3D CG techniques for
such intergration45.
44
in Japan,2002) pg.30 and refer to Appendix 6, pg.151.
45
in Japan,2002) pg.68 and refer to Appendix 3, pg.105 aslo Appendix 7, pg.152.
39
(top) the rhododendron scene, (bottom) the ending shot when the car moving away from
the tunnel.
Furthermore, in Tales from Earthsea and The Borrower Arrietty, the motions in relation to depth
and camera movements which involve digital process together with traditional techniques and 2D
background art are getting more apparent. For example, the point of view shot of a flying Hawk
aiming at Cob who is standing on the top of a tower in Tales from Earthsea. Also the digital
composited shots resulting in The Borrower Arrietty, when Arrietty is being pulled upwards in the
house for her first borrowing experience and in the ending sequence when Sho rushes out in the
woods to greet the last goodbye with Arreitty are delivering the sentiment of moving into depth of
40
characters and camera movements46. As mentioned beforehand, both examples of the recent
productions present the apparent outcome of cinematism where such digital composition with hand
drawn animation is to enhance the 2D visual sensations of the film viewing experience.
The hawk is aiming at cob in Tales from Earthsea.
46
Refer to Appendix 3, pg.111, 112, 124, 125 and 128.
41
(Top) When Arrietty being pull upwards (bottom) Sho’s point of view rushing to greet the last
goodbye in The Borrower Arrietty.
These examples show the aesthetics which involve moving within a volumetric 3D space, as what
Lamarre called a mobile version of Cartesian coordinated space. It is agreeable for applying
Lamarre’s “volumetric compositing” for these examples of shots by refering to his claim that is able
to close the gaps within the image and between the images resulting from combining 2D hand
42
drawn animation with digital composition47. Furthermore, in Tales from Earthsea, the cinematic
camera movement of the flying Hawk point of view shot (similarly to ballistic viewpoint) aiming at
Cob on the top of the tower in the animaiton, to achieve this movement into depth camera angle it is
suggests to be nearly impossible to use 2D animaition techniques as it is a bird eye view camera
movement including a fast rotating camera movement48. Moreover, the shot in The Borrower
Arrietty when Sho running in the woods, the sentiment provided by the camera movement into
depth resemble first person shooter game point of view in a 3D space. Hence, it is to propose that
Miyazaki together with the studio is still in his attempt to rethink technology and develop ways
using traditional animation process, yet it is inevitable that technology development is affecting the
process so as the potentialities of cinematism involve in achieving certain visual presentation of the
animaition. Also, throughout the timeline of the animation features being discussed relating to
movement into depth, and with emergence of new directors other than Miyazaki and Takahata to
question the Auteur efffect, it is to imply that although with the development of the technology in
technical executions has alter the visual performance in certain aspect, but the characters animation
are still using traditional hand –drawn animation techniques as well as the character design is to be
perceived as from Hayao Miyazaki and Studio Ghbili.
Meanwhile, the essence of motion that defines the visual sensation of moving into depth camera
movements together with character animation, it is the motion blur that is going to be talked about
in relation to the constructed realism in order to convince the audience about the animation in
depicting motions in movement. Lines drawing are famous in anime to show motions, it is closely
related to manga drawing. In Studio Ghibli’s animation, My Neighbour Totoro, the attention to
details by bluring the images of the foreground to show the motion as the camera following the
47
2009), pg.32.
48
Refer to Appendix 5. The suggestion is provided by Kaito Ohata, one of the informants for the interview from College Image Arts
and Sciences, Ritsumeikan University Kyoto in question no. 3, pg.139.
43
character’s running. For example the shot where Satsuki running through the woods looking for
Mei. In contrary, both opening sequence of Spirited Away where the father drives his Audi passing
the woods and The Borrower Arrietty when Sho’s grandmother driving him to the house, the
motion blur effects are the result of digital treatment49. Also, by recalling the quote from Lamarre,
“Movement into depth is a matter of viewing from the position of the speeding object”50, it is
argueable that the motion blur effects too is correspondance to velocity in animation. Velocity is
very subjective in terms of hand drawn animaiton. It is because hand-drawn animation is unlike
computer animation to depict the speed of motion via the calculation of computer program. Yet, in
the case of The Borrower Arrietty, scale becomes an issue for the motion blur effects dependending
on the fact that different sense of the velocity applied for different sizes of the characters in relation
to the background when the characters are moving. The normal size human character, Sho, the
motion blur effect applied to the background as he moves is not as blur as when having a close up
shot to a smaller scale human character, Arrietty. In Starting Point 1979-1996, it is documented
Miyazaki’s talk in an elementary school in 1992 where he talked about the differences for
movement between elephants, mice, human and bees for one second of 24 frames in animation. He
has observed that it takes 0.5 second for an infant to move one step, 2 second for an elephant to
move one step and for a mouse it is in a very fast speed that he hardly been able to count51. Hence
scale and speed to the 24 frames per second animation do contributed to the importance of how the
motion blur effects is determining the visual appearances of the movements in animation.
Therefore, motion blur effects in the mentioned examples segregated the look of manga and limited
animation anime where lines drawings are commonly used for depicting motions in movement.
Also, motion blur is cultivating the use of technology in technical animation to provide detail
49
Refer to Appendix 3, pg.103, 122.
50
2009), pg.20.
51
Hayao Miyazaki, Translated by Huang Ying Fan and Zhang Ze Yi, Starting Point 1979-1996 宮崎駿出發點 1979－1996 (Printed
in Taiwan, Taiwan’s East trafficking , 2006) Language: Traditional Chinese, pg.155-157.
44
credibility in visual quality and presentation which is as well part of the Auteur effect of Miyazaki
along with Studio Ghibli.
The motion blurs effects based on speed of the movement for the different scale of the characters animation to
the background.
45
The motion blur effects are compared from (top) My Neighbour Totoro, (middle)
Spirited Away and (bottom)The Borrower Arrietty.
46
Techniques and Technology
According to Gabriel Marcel, technique is “a group of procedures, methodically elaborated, and
consequently capable of being taught and reproduced, and when these procedures are put into
operation, they assure the achievement of some definite concrete purpose.52” Through the
understanding of the definition, it is to believe that animation techniques entwined the basic
principles of what animation is and they are continuously developing in conjunction with
technology development. The traditional animation becomes the foundation of the digital methods
that are developed today. As in the world of animation, insofar as modern technology can brings to
a man, before the techniques of animation, he should ask the questions of what animation needs and
what animation does to men. In the documentary produced by Studio Ghibli about the Japanese
animator, Yasuo Otsuka, he had shared his experience when he was young and he begins with
sketching the locomotive in train station. He talks so earnestly showing his own sketches that are
well-kept for many years telling how the adults explained to him everything about the train when he
was young53. It is very agreeable to his thinking that somewhat we have to understand these things
for if we sketch without this understanding somehow it will not be convincing. Indeed, to discover
how the train works, observations and learning is the key. This is totally applicable to animation
process and this explained what animation needs. Also, technology is there to serve as the extension
of human, its existence is able to restructure human work and patterns the human relationships and
thinking, generation after generation undergoing development, either machinery technology or
automation technology54.Techniques are the invention of technology. For we have the technology
we must learn in order to operate the functions of the technology that is given to us, for we do not
have the technology, we will come out with ways to solve the problem and hence new technology is
52
Nzahabwanayo Sylvestre, Authentic and Inauthentic Existence Martin Heidegger versus Gabriel Marcel (Lap Lambert Academic
Publishing, 2005) pg. 95. Sylvestre quoted from Marcel’s “Man Against Mass Society”.
53
Yasuo Otsuka’s Joy of Motion 大塚康生の動かす喜び, directed by Hayao Miyazaki (2004 Studio Ghibli Prodcution), DVD.
54
Marshall McLuhan, “The Medium is the Message” in Understanding Media, The Extension of Man (Routledge, London, 1964)
pg.8.
47
born. So, techniques can be creatively utilized and optimized to uncover the potentialities just like
how it is applicable to animation and thus able to explain what animation does to men. For
Miyazaki as an Auteur, he observes, he thinks and the techniques that have succinctly contributed to
each of the animation features throughout the timeline shows that technology is evolved in technical
animation and vice versa. Miyazaki himself and the studio make use of the knowledge that is
already there and find ways to generate new ways, they innovate and improvise.
In fact, techniques and technology from the effects animation, motions and depth that are discussed,
including the technical aspects and relate them to Lamarre’s animation theory, the realism is
anchored in the observations of the real and transposes them into illustration and then animation.
Thus, the relationship of the mind, the animation techniques, tools and the medium will be involved
and will be discussed, inducing the quality of imagination in animation process in the next chapter.
The techniques and technology which are hitherto been focused, will then be channelled to pay
attention to Miyazaki as an Auteur, how he treats his animation as he emphasizes art work is
material and it is not data55. From here it will be a meeting point for technical aspects and the shift
of analog to digital in the animation industry. Therefore it is proposed to be a divergent of physical
relation of photography and film and the question of materiality that have enthralled the animation
cinema for further discussion.
55
48
Chapter 2
Technology and Aesthetics: Miyazaki in Animation Process
At the east zone of Edo-Tokyo Open air Architectural Museum in Koganei Tokyo, there are
buildings which are one of the inspirational place for the world in Spirited Away. The two terraces
of Japan traditional buildings facing each other are the architectural style during the Meiji period,
Edo period, Taisho era and Showa era. There is a typical Tokyo public bath house located right in
between called, “Kodakara-yu”. The whole construction at this particular zone in the museum
resembles the Yuya house and restaurant lots in the film. Bringing forward the description of this
museum for the start of this chapter is to relate the perception of the real world, how it is being
transposed into a form of art, a source for creation and inclination of realistic art creation to the
level of questioning realistic-ness performed in animation and graphical motions as a whole.
Supportively to this concern, Bigelow has prompted the principle of metaphor is also a technique of
perception that translates experience from one mode into another via all of our senses in
“Technologies of Perception: Miyazaki in Theory and Practice”56. Moreover, when thinking about
the interrelation of the human with tool and nature from her writing about Zen artist correlated to
the anthropologist Edward T.Hall57, the experience of the object, the brush as a tool and the artist
are unified. As for the first chapter conveys the technical part of animation, how techniques and
technology are affecting the animation process, thus it is to continue in this chapter how such
interrelation brings meaning to the cinema of animation.
56
57
49
(Clockwise) House of Uemura, Yamatoya Head Office, Maruni Shoten (Kitchenware Store),
Takei Sanshodo (Stationary Store) and Hanaichi (Flower Shop). Photography by Ang Bin Yee.
50
Public bathhouse Kodakara-yu. Photography by Ang Bin Yee.
Also included in Bigelow’s Technologies of Perception, there is a very interesting claim made by
Miyazaki in his response to French comic artist Jean Giraud is that technique is perception. It is
explained by Bigelow that Miyazaki’s drawing is able to speak the narrative “through a ‘contrived
unreality’ that captures the essence of reality better than reality itself.58” From here, technique is
perception can be further elaborated picking up from techniques and technology to look into the trio
connection of Mind – Ideas, drawing and animation tools – Technology, Images – Medium.
Perception is involving the senses, and how we perceive is connected to our mind from what we
have experienced through the fundamental five senses of sight, hearing, taste, smell and touch.
These psychological capacities will then become the data of perception to human brain. Ideas then
generated base on the history of experiences and memories stored including the knowledge. When
there are ideas, it is when techniques and technology are playing vital role in the execution of ideas,
including ideas for execution. In order to visualize the ideas what we need is the medium, a
substance or material to hold the unfolded and executed of ideas for instance, images and in the case
58
51
of this dissertation, animation is the concern. As to Miyazaki, technique is perception, thus his
animation speaks his mind, and technique is driven by perception in order for his ideas being
transposed to medium such as paper and celluloid through medium, the technologies like pencils,
brush and animation stand. However, when comparing traditional animation and digital methods in
the first chapter, the virtual space of the computer, the computer monitor screen, mouse and
keyboard, as if everything shrinks down to one medium in which the shift of analog to digital will
be discuss further in the following chapter. Besides, in conjunction with Rodowick’s The Virtual
Life of Film, he shares his definition for medium59:
A medium, then, is nothing more nor less than a set of potentialities from
which creative acts may unfold. These potentialities, the powers of the medium
as it were, are conditioned by multiple elements or components that can be
material, instrumental, and/or formal.
Furthermore, he expresses that Idea is belong to these potentialities in that they give life to the Idea.
Also he has given example for film and referring to the potentialities are conditioned by the
technological envelopes formed by lenses, shutters, photosensitive chemicals, as well as projection.
So, for animation, Wells reassures that “animation has expressed the continuing tension between a
medium in which innovation and creativity can continually take place while aligning with and
depicting the most human needs, desires, thoughts and feelings.60” Hence, in order to clarify further
how the trio connection of Ideas, Technology and Medium in animation, here is the proposed
example for explanation, the shot called The Deserted Kitchen in Spirited Away where the parents
have their meal and turn into pigs.
59
pg.85.
60
Paul Wells, Animation and America (Edinburgh University Press, 2002) pg.9.
52
The Deserted Kitchen.
The painted background and the pattern that is mapped onto the 3D object, the plate.
53
It is a panning shot showing an empty kitchen with the rotating of the fan where the lights are
seeping through the gaps between the blades, the knives on the cut board, the food and the fireplace
with burning fire. It depicts the emptiness yet strange atmosphere where things seem to work by
themselves without human around. For most of the props in this shot are drawn by background
artist, even for the food on the big plates displayed at the front counter. Miyazaki explained that
they will only paint on cels when they need to have the objects move, in other words to draw on
cels when it is going to be animated. If the objects are drawn on cels, the colour rarely match with
the background and will appeared to be flimsy and the viewer would be able to tell it was going to
move before it was supposed to move. Hence Miyazaki suggested an alternative for the shot when
Chihiro comes to look for her parents as they have turned into pig with all the plates and bowls are
falling. The plate was painted as detail as the background and the pattern is mapped onto a 3D
object. This is so that the background animation where a part that looks like the background
actually ends up moving, explained by Kataama, the digital animation supervisor for Spirited
Away61. Henceforth, by recalling the interrelation of the painter, the brush and the artwork in Zen62,
both examples reflect the executions of the idea in mind based on aesthetics and affective
dimensions as well as how techniques and technology are involved for an artist or an animator in
animation process. Also the medium, the set of potentialities, in the visual study of the two
examples therefore invites the consideration about materiality of the painted artwork and the digital
methods involve in the executions of the shots that will be discussed in following chapter.
Additionally, Miyazaki draws storyboards to tell the story and develop the story through drawings
instead of scriptwriting. As a result, for what is evolves between techniques and perception, it is to
propose and to induce the quality of imagination for further discussion based on Edo-Tokyo Open
61
in Japan,2002) pg.12 and The Art of Miyazaki’s Spirited Away, Original Edition Edited by Studio Ghibli, (First published by
Tokuma Shoten Co., Ltd. Japan, 2001, English translation published by VIZ Media, LLC, 2006) pg. 188 - Mapping of the Chinese
Restaurant Plates.
62
4(1) (Published by SAGE, online version: http://anm.sagepub.com/cgi/content/abstract/4/1/55) pg.68
54
air Architectural Museum and the background setting of Spirited Away which is mentioned in the
opening of this chapter.
The restaurants appear in Spirited Away (top) when Chihiro and her parents just arrived to the world, (bottom)
the dawn after Chihiro becomes the worker of Yuya house.
55
Quality of Imagination
Animation began with people’s desire to more vividly capture and depict the physical world, or the
desire to put into pictures the world of imagination. Of course, this starting point is common for all
artistic activities, and for filmmaking in particular. Yet, the big difference between animation and
other kinds of filmmaking is that to create a world of motion, one needs to undertake the
enormously labour-intensive task of drawing every single thing by hand.
Goro Miyazaki, Studio Ghibli Director
The statement made by Goro Miyazaki63 explains the kernel of this section – the quality of
imagination. In animation, especially in Studio Ghibli where they are still practicing traditional
hand-drawn animation, everything needs to be drawn from the animation to the background art
which involved greater concentration of seeing, thinking and creating. In the intensive process,
quality of imagination in this dissertation is to be meant by the imagination, the faculty of forming
ideas, concepts and above all the images that biologically generated in the human mind to the level
of precision of such images in the mind being translated to become external objects, to the medium
that able to hold the images. The precision in the context of this dissertation is not alluded as
mathematical numbering and measurements to talk about accuracy as in sciences and digital or
machinery technology, nor meant to be the authenticity to the original in reproduction of images,
how close it is the mimicry to the original. The original is the images produced in the mind. The
precision is the attribute to how these mind-generated images will be transposed as definite as
possible into graphical form of animation through techniques and technology and being visualized,
solidified, and mediated to, in the words of Belting, a carrier medium64. The quality of imagination
in this context to talk about animation is to figure out the believability, the realism through a
63
Foundation for Animation, Tosho Printing Co., Ltd. Pg.246 “A Message from the Managing Director”, Goro Miyazaki Managing
Director or Ghibli Museum, Mitaka.
64
2011) pg. 10.
56
constructed realism enveloping the spectatorship and the artist, who perceives and conveys what it
is perceived. According to Belting, “An “image” is more than a product of perception. It is created
as the result of personal or collective knowledge and intention. We live with images; we
comprehend the world in images. And this living repertory of our internal images connects with the
physical production of external pictures that we stage in the social realm.65” Insofar as Belting’s
medium-image-body/mind as well as mental and physical images that he has mentioned in An
Anthropology of Images, the concern now is to question the role of techniques and technology in
which they are intended to be medium that enable visualization onto a carrier medium. How the
techniques and technology play their part to transform the internal images of a human being into
graphical form in motions, regardless hand-drawn and digital modelling and rendering of the
animation as they are the two agencies influencing the image production and in the case study of
this dissertation the Auteur effect of Hayao Miyazaki in Studio Ghibli.
The Edo-Tokyo Open Air Architectural Museum and the background setting of Spirited Away, it is
to suggest that they are the prominent result where under the quality of imagination, the world that
is created in the animation is based on a real world. The background setting is created by
undergoing creativity process of the mind and the constructed realism is that the outcome of the
image captures the essence of the real location of the museum, based on the reference of the self-
experience and remembrance. Also, images of memory and imagination are generated in one’s own
body thus the body is the living medium that holds the images66. The extension of our body and
mind, the technologies; either it is a pencil or a piece of paper they are the medium which allows the
images to be transferrable and visualized from the living medium of the body and mind. Tools and
techniques are the invention of technology. They do bring differences in terms of qualities of the
65
2011) pg. 9.
66
2011) pg. 11.
57
artwork and configuring advancement of the extensions of human being in a way affecting the
quality of imagination, for instance, qualities and types of paper that show differences in drawing
and painting in Studio Ghibli.
58
(from top) Sunflower A drawing paper, Sunflower M drawing paper, TMK poster
paper, HG drawing paper.
source from: http://zokeifile.musabi.ac.jp/contents/gayoshi/gayoshi.pdf
59
The difference between TMK poster paper and Sunflower M drawing paper based on the level of water
absorption and water resistance.
Source from: Hayao Miyazaki’s Dream World Background Art. Scanned pg.86.
Studio Ghibli is mostly using TMK poster paper67. Compare to Sunflower M drawing paper, TMK
poster paper is acid-free paper with natural white colour and is relatively smooth despite a little
asperity. It is best for watercolour and illustration. As for Sunflower M drawing paper the pure
white drawing paper with slightly visible texture on the paper surface is suitable for pencil drawing,
watercolour and ink drawing68. For the background painting in Studio Ghibli, the levels of water
absorption and water resistance of paper qualities are the factors69. In addition, different types, sizes
and shapes of the brushes (i.e. round, flat, sumi and hake) and the materials (i.e. bristles, soft hair or
hog bristle)70 that are used to produce the brush are affecting the process of drawing and painting.
The techniques such as perspective drawings, adding lines or strokes onto the drawings, shading for
67
Hayao Miyazaki’s Dream World Background Art 宫崎骏の梦幻世界[场景篇], (Anhui Culture Audio Publishing 安徽文化音像
出版社, 2008) (Language: Simplified Chinese) pg.86.
68
Sources from: http://zokeifile.musabi.ac.jp/contents/gayoshi/gayoshi.pdf (Accessed July and August 2013)copyright of Musashino
Art University, 2007 and 2008 and http://www.muse-paper.co.jp/page2/muse2-3.html.(Accessed July and August 2013) Translation
via google translation. Translation and the written text extracted and paraphrased from the sources are proof read by Akane Miki,
current student of Goldsmiths University of London and former student of Musashino Art University, Japan.
69
70
Hayao Miyazaki’s Dream World Background Art 宫崎骏の梦幻世界[场景篇], (Anhui Culture Audio Publishing 安徽文化音像
出版社, 2008) (Language: Simplified Chinese) pg.88.
60
indicating light sources, colour gradient in the colouring process together with tools, the animation
that give life to the graphic and illustration then form the whole picture. Hence the interrelation of
the artist, the brush and the artwork as well as Ideas, Technologies and Medium thus reflected. For
digital technologies, computer becomes a combo of all the tools and techniques to be performed in
one single medium. Although it deals not necessary with only 3D objects, as digital drawing and
painting are made available using computer. However what a computer can provide an artist to be
able to transpose the images generated in mind is different than manual drawing. In the previous
chapter how techniques of animation are discussed and by comparing the visual outcomes for
instance, the water animation in My Neighbour Totoro and Spirited Away, they both are giving
away different viewing experience and aesthetics. The two different visual presentation of the
animation are not simply because they are produce in different period of time and the techniques
and technology are available during the time they are produced, it is the quality of imagination how
Miyazaki would like to present the animation. Kaito Ohata the student of Ritsumeikan University
suggested that Hayao Miyazaki able to see things three-dimensionally in traditional animation and
convey through two dimension71. Nevertheless, the possible factor that become the variable for
quality of imagination will be the actions such as adding a stroke onto the drawing lines or adjusting
a vertices of a 3D model in digital animation that do make a difference on the image. Also, for
motions and depth that are discussed in chapter one, the different scales of the characters in The
Borrower Arrietty, it is the result of logical thinking and imagination based on the logic and physics
how scale and speed are becoming factors to motion. As well as in Spirited Away where Haku and
Chihiro go through the bushes of rhododendron, how Miyazaki wanted the characters to see and the
spectatorship of the film, that the techniques and technology could supply him is closely related to
the quality of imagination. Hence, altogether disclosed how techniques and technology involve in
71
Refer to Appendix 5, interview question no. 10, pg.149.
61
quality of imagination. Consequently, quality of imagination is intently connected to aesthetics of
animation.
Aesthetics and Auteurism of Miyazaki
Aesthetics takes the work of art as an object, the object of aesthesis, of sensuous apprehension in
the wide sense. Today we call this apprehension experience. The way in which man experiences arts
is taken to provide information as to its essence. Experience is the source that is the standard not
only for art appreciation and enjoyment but also for artistic creation.
Martin Heidegger, Poetry, Language, Thought72.
Aesthetics is so much so related to quality of imagination because it is a result from the attributes of
internal images of a human mind. Heidegger has mentioned about apprehension experience for he
believes that people have abandoned the ethical conception of art, where art is designed to provide
“aesthetics experience” as the essential thing about art is that it is beautiful73. In Miyazaki’s
animation, background art is equally important as animation. The level of detail drawing and
painting as if to transpose as close as possible the images in the mind that based on solid references
or memories of self-experience for the creation of an imaginative world. Sometimes the
appreciation of audiences will not be noticing so much detail of the entire image that comprises the
whole screen. However, the aesthetics of the film manage to bring the sense of realism because
those details are becoming natural existence and seamlessly delivered. Besides, how quality of
imagination contributes to the Auteur effect of Miyazaki and aesthetics? In the case of the
background art in Studio Ghibli, Miyazaki said that even if the background artist have painted a
little different than his original intention, he would try as much as possible to work with the
72
Julian Young, Heidegger’s Philosophy of Art (Cambridge University Press, 2001), pg. 8. The quote is taken by the author from
Martin Heidegger, Poetry, Language, Thought (pg.79).
73
Julian Young, Heidegger’s Philosophy of Art (Cambridge University Press, 2001), pg. 8.
62
background that the artist has produced by bringing in reference, tell what is in his mind by
suggesting possibilities that can make the artwork to appear to be as close as he expected. It is often
that he will get the things that is not what he has in mind, however if he feels the artwork will make
possible to the look of the movie he will approve it74. It is of course the artists painted based on the
initial reference of the storyboard and ideas that Miyazaki has. On the other hand, Lamarre has talks
about the Auteur effect of Miyazaki where he pointed out that Miyazaki is well-known as he will
retouching and redoing images that do not meet his standard75. Hence, the look and feel is Miyazaki
style, the visual appreciation of his films are recognized as Miyazaki film as audience able to see his
vision, thus Miyazaki as Auteur is within Studio Ghibli.
Overall, it is to suggest that quality of imagination and aesthetics can be put together and adopting
the realistic tendencies and formative tendencies from Kracauer’s Theory of Film toward Studio
Ghibli and Miyazaki animation. Although to Kracauer it is a misconception for Emile Vuillermoz
thinks the “realism settings represent reality as seen by a perceptive painter are more real than
real-life shots because they impart the essence of what such shots are showing in relation to
realistic tendencies”76. Somehow this misconception is suggest to be applicable for constructed
realism in animation especially how Miyazaki tend to depict and document real life movement
either characters or background art via animation as details as possible. As for the fantasy world
that Miyazaki has created in his animation, the story setting and background are staged, just like the
formative tendencies for film, for example Spirited Away. Thus it is arguable where the world of
Miyazaki and Studio Ghibli animation is the clashes between the two tendencies from the
perspective of animation. In Whisper of the Heart where the setting is based on the real location
74
75
2009), pg.87.
76
Siegfried Kracauer, Theory of Film The Redemption of Physical Reality (Princeton University Press, 1997) pg.33-37.
63
around the area of Seiseki-Sakuragaoka station77. It is a fictional story and comprises surreal world
in the main character story-telling. It is an example to support the argument where it is the clashes
between realistic tendencies and formative tendencies. Then, Spirited Away the setting is based on
the quality of imagination and a thorough formative world with reference of the location in the real
world. Therefore, the suggested novelty of applying the two tendencies from Kracauer into
animation becomes the deviation for the discussion that relatively considers the aesthetics of the
constructed realism of animation resulting from quality of imagination.
Imagination is the beginning of creation78. Seemingly the technology development can brings
toward the techniques, tools and medium as they are the manipulator in relation to quality of
imagination is affecting how the images generated in the mind are mediated and visualized.
77
Chris Tham, travel blog. Sources from: http://japan08.blogspot.co.uk/2011/03/day-12-part-8-seiseki-sakuragaoka.html (Acessed
July 2013)
78
George Bernard Shaw, Back to Methuselah A Metabiological Pentateuch, In the Beginning Act I, the Serpent (London, Constable
and Company Limited, 1921) pg.9.
64
Chapter 3
“New Animators” “Old Animators”
The title of this chapter appear as “New Animators” and “Old Animators” as they are referring to,
first for technical wise, they represent the use of traditional animation and digital animation or the
integration of both techniques as the study of the animation productions are based on Earlier Studio
Ghibli productions (1980s-2000) and Recent Studio Ghibli productions (2000-now). Secondly, they
are referring to the animators and directors in Studio Ghibli other than Hayao Miyazaki and Isao
Takahata. The three directors that will be focused in this final chapter are Yoshifumi Kondo, Goro
Miyazaki and Hiromasa Yonebayashi. The late Yoshifumi Kondo is representing “Old Animator”
and a director who was practicing traditional animation in earlier Studio Ghibli productions as key
animator and animation director in films like Grave of the Fireflies, Kiki’s Delivery Service and
Porco Rosso before he directed Whisper of the Heart, 1995. He passed away in 1998 after the
production of Princess Mononoke where he was the animation director for the film79. Goro
Miyazaki and Hiromasa Yonebayashi are representing the “New Animators” and directors who
implemented apparent digital methods to Studio Ghibli’s productions in the recent years. Especially
“New Animator” like Hiromasa Yonebayashi who is active since 1997 in Princess Mononoke, he
worked as key animator for the film and in-between animator for My Neighbour the Yamadas80,
Spirited Away and Howl’s Moving Castle81. Noticeably all the productions mentioned are involved
digital techniques in animation process, and Ponyo is an exception in his experience before he
directed The Borrower Arrietty in 2010. Therefore, in relation to the idea of Auteur effect, this
79
Yoshifumi Kondo, Nausicaa.net. http://www.nausicaa.net/wiki/Yoshifumi_Kondo (Accessed July and August 2013)
80
Helen McCarthy, Hayao Miyazaki Master of Japanese Animation:Films,Themes,Artistry (Published by Stone Bridge Press,
Berkeley, California, 1999) pg. 35.
81
Hiromasa Yonebayashi, Nausicaa.net http://www.nausicaa.net/wiki/Hiromasa_Yonebayashi (Accessed July and August 2013)
65
chapter is to look into how these animation films directed by these new directors are being
compared to Miyazaki’s, in terms of techniques in animation.
When Rodowick put forward the concern about the disappearance of “film” as the emergence of
new media has urged the shift from analog to digital in The Virtual Life of Film, it moves the title
of this dissertation to think regarding Rodowick’s concern in animation cinema based on Studio
Ghibli productions82. Insofar as Rodowick focuses on film or photography, it is very interesting to
apply his way in understanding how film is waning before digital images to the comprehension of
animation cinema technically with the three responses which he finds appropriate83; first, the
different in technical process. In the first chapter of this dissertation, technical process of traditional
animation and digital animation are being discussed based on the two different timeframe of Studio
Ghibli productions and their visual outcomes. Second, it is by comparing their underlying
psychological process. In chapter two the animation process of techniques and technology that have
been through the psychological capacities of perception deliverable via the quality of imagination
based on cognition and self-experience. Third, evaluating aesthetic variations in which it becomes
the meeting point of the formerly discussed in techniques, technology and medium regarding
animation to the visual presentation. It is indeed ambiguous in qualitative judgement for Hayao
Miyazaki and Studio Ghibli animation productions considerably the application of the three
responses when examine the shift of analog to digital in the techniques of animation. It is posits that
it is the integration of the traditional animation techniques with the digital methods that offer the
ambiguity. In previous chapter, the virtual space of computer animation and computer becomes the
combo of tools and techniques; it is like what Rodowick has pointed out in his writing about the
82
83
pg.74.
66
shrinking medium in the beginning of the Virtual Life of Film when moving into digital. However it
is not so much the case in Studio Ghibli and Hayao Miyazaki animation. It is also to recall Hayao
Miyazaki’s “policy for digital”84 that is mentioned in previous chapter as they are practicing the
traditional animation techniques in production and to ensure that CG (computer graphics) will not
overtake the attention of cel animation. Nevertheless, the new directors especially Goro Miyazaki’s
Tales from Earthsea and Hiromasa Yonebayashi’s The Borrower Arrietty, from the result of visual
analysis and research to both of the films, the digital implementations are getting apparent in certain
aspects for example the movement into depth and the motion blur effects even to the lighting effect
of lens flare and sun rays.
84
67
The lens flare glowing effects in Tales from Earthsea is appeared to be digitally created.
68
The lens flare glowing effects and sun ray in The Borrower Arrietty are appeared to be digitally created
and been through digital treatment.
Even so, the animation still possessed the look of Miyazaki’s style, for example the characters
design and the fine detail background art for the films. It is also becomes the evidence that clarify
the ambiguity on how traditional animation techniques are used and compromised with the digital
methods for survival in today animation industry, pushing the boundaries of the idea of shrinking to
69
a single medium dominated by computer animation. In chapter one, the example of water animation
in Spirited Away, we can see how Miyazaki has brought the integration of both traditional
techniques and digital techniques in animation process, but in this chapter it is to pay more attention
towards how the new directors are tend to sustain the traditional animation together with digital
methods involved in the animation process. Thus, the Auteur effect of Miyazaki associate with the
new directors comes into discussion. According to the opinion shared by Kaito Ohata, student of
Ritsumeikan University85, when he sees Goro and Yonebayashi’s movies, he recognizes they are
Hayao Miyazaki’s movies because they are very similar. He thinks it is because they are made by
Studio Ghibli, and Miyazaki is the founder of the studio therefore Miyazaki’s effect is there in the
movies. Also, it is to think that another possibility will be, Hayao Miyazaki has involved in all the
animation directed by the new directors in concept and screenplay, hence his authorship reflected in
these film.
In order to further explain the ambiguity of how the integration of traditional techniques and digital
methods in Miyazaki and Studio Ghibli animation, they are said to be utilizing digital technology at
the same time reallocate traditional animation and bringing the visual outcomes of 2D animation to
a new level of aesthetics. In his interview for exhibiting animation of Spirited Away Ghibli
Museum Mitaka in 2001, Miyazaki mentioned he has posted memo that read “do the original
artwork by hand, even when using computer- this is the policy for this film86” during the production
period for Spirited Away. This comment on the memo becomes more accentuated when he further
explains with the following statements:
“…in order to treat an artwork with a computer, you must first have an artwork
that is worth it. We are not dealing with data, but with physical materials. The
85
Refer to Appendix 5. Interview question no.9, pg.147.
86
70
materials can be many things; it is a film, and it is also the artwork which makes
up the film. Artwork is material – it is not data.”
The spectators able to acknowledge the films are Studio Ghibli production and appreciate the vision
of the two icons of the studio, Hayao Miyazaki and Isao Takahata even though there are films
directed by new directors is because the quality of the characters design, hand drawn cels animation
and the artwork. The key here is materiality. The artwork, the film, cel animation, paper that
drawings are drawn these are all material, the physical medium. According to Mary Ann Doane, a
medium is a medium by virtue of its positive qualities and also its limitations, gaps and
incompletions87. The positive qualities are for instance visibility and texture of paint and the
limitations are for example the flatness and the frame. Supportively, Donne has strengthened the
intended argument where Miyazaki’s emphasis on artwork is material and not a form of digital data
in the virtual space. Consequently, the spectators are reaffirmed by the limitations of the physical
medium based on the knowledge of the 2D hand-drawn cel animation where the drawings of art of
movements and real human gestures are via human interpretations draw onto the medium as well as
the background art that is painted stroke by stroke of a paintbrush. It is also to postulate an invisible
physical relation is formed between the materiality of the artwork and the spectators penetrating the
screen, which is also a medium. Comparatively to Miyazaki, the director and “Old Animator”
Yoshifumi Kondo, he was predominantly present the traditional technique of animation in Whisper
of the Heart. The fine painted background art for the film shows remarkable artwork produced by
human labour. Also, the open compositing and sliding of planes for the cel animation, for example
when Shizuku is running down the stairs after she discovers the antique shop. Thus, the sense of
materiality is stronger in the animation based on the conventional animation process of the studio in
comparison to the recent productions which seemingly presented with digital compositions for the
animation.
87
Studies Vol 18 (1), 2007. Pg.130.
71
The fine painted artwork for the background art in Whisper of the Heart in regarding the materiality
is ideally shown in traditional animation.
72
Example of open compositing and sliding of planes in Whisper of the Heart.
On the other hand, for the artwork that is scanned to computer for digital treatment and visual
enhancement including 3D cinematic camera movement in recent productions for example Tales
from Earthsea and The Borrower Arrietty, thus the materiality of the artwork becomes questionable.
Yet, it is noted in The Virtual Life of Film what Thomas Elsaesser has pointed out, “as a graphic
mode, digital cinema joins painting also in another respect: it requires a new kind of individual
input, indeed manual application of craft and skill, which is to say, it marks the return of the ‘artist’
as source and origin of the image. In this respect, the digital image should be regarded as an
expressive, rather than reproductive medium, with both the software and the ‘effects’ it produces
bearing the imprint and signature of the creator.”88 The materiality of the artwork in the two
examples of animation directed by Goro Miyazaki and Hiromasa Yonebayashi are hence
diversified.
88
pg. 105 where author quote from Thomas Elsaesser, “Beyond Distance” pg 192-193.
73
Generally, the integration of traditional techniques and digital methods to the notion of materiality
of the medium for animation can be dissected into for instance, the composition of hand-drawn cel
animation of the characters with 3D digital animation. The shot in Tales from Earthsea when Arren
falling from the collapsing bricks on the top of the tower confronting Cob is the example. Also by
introducing a shot from Howl’s Moving Castle directed by Hayao Miyazaki to bring a better
illustration and as another example to support the former, when Sophie is falling into a worm hole
as she witnesses the boy Howl is making a deal with the fire demon. These two examples are to see
how Goro Miyazaki and Hayao Miyazaki are dealing with CG elements integrated with hand drawn
cels animation of the characters in terms of technical resulting in distinctive visual outcomes. The
2D visual outcomes but with CG dynamism is shown in Tales from Earthsea when the collapsing of
the bricks at where Arren is standing. However in Howl’s Moving Castle, the contour lines forming
the worm hole effects that is morphed over the time interval using 3D software Softimage is
keeping the aesthetics of the 2D-ness visual presentation89.
89
The Art of Howl’s Moving Castle, Original Edition Edited by Studio Ghibli, (First published by Tokuma Shoten Co., Ltd. Japan,
2004, English translation published by VIZ Media, LLC, 2005) pg. 187. The following image example of software working in
progress is scanned from the same page mentioned.
74
Comparing Tales from Earthsea (top) and Howl’s Moving Castle (bottom) where
the CG is using manually painted background as texture.
75
Another instance is that the background art that is scanned for digital treatment including mapping
for a volumetric 3D space moving into depth cinematic camera movements combine with
background art cel layers overlay. The example can be illustrated by the shots: the ending sequence
of Sho’s point of view running to greet the last goodbye with Arrietty in The Borrower Arrietty and
the ending of Spirited Away when the car is moving away from the tunnel of the entrance to the
other world which both are already appeared in chapter one movement into depth. Therefore, back
to the concern of materiality and to think about Elsaesser’s opinion as well as to ponder Rodowick’s
concern of the shift of analog to new media dominated by digital technologies. The propose
argument can be, first it is true that the implementation of digital methods to integrate with
traditional animation is a sign of moving manual animation techniques that possessed the quality of
materiality towards digital world of animation. It is in fact a sign of dematerialization for Doane has
mentioned “digital is a dream of immateriality”90. Secondly, Hayao Miyazaki together with the
studio possess their own stand to preserve, to prolong, to sustain, and possible to allocate the
traditional animation techniques in the digital era. Digital methods are served as supporting
techniques in the animation production. Only it is seems to be debateable when comparing the new
directors to Hayao Miyazaki in terms of technical executions and the aesthetics of the visual
outcomes. The animations are distinguishable although the traditional technique is still being
emphasized. The difference not only vividly tells the result of production from different
generations, it is also mirrored the effects of technology development throughout time.
90
Studies Vol 18 (1), 2007. Pg.143.
76
The two screen shots that are next to each other are from The Borrower Arrietty (top left) and Spirited Away (top
right). The two shots share certain level of similarity in executions.
In Margaret Talbot’s journal entitled “The Auteur of Anime”, Toshio Suzuki, the producer of
Studio Ghibli says that, “When silents moved to talkies, Chaplin held out the longest. When black-
and-white went to colour, Kurosawa held out the longest. Miyazaki feels he should be the one to
hold out the longest when it comes to computer animation.”91 Yet, the emergence of the new
directors–“New Animators” in Studio Ghibli productions open a new pathway to examine the
Auteur effect of Hayao Miyazaki instead of sheer focus on Hayao Miyazaki animation and the
techniques that make the animation throughout time.
91
Margaret Talbot, “The Auteur of Anime” The Asia-Pasific Journal: Japan Focus, article first appeared on The New Yoker,
January 17, 2005 and posted on Japan Focus on March 29, 2006. (Accessed July and August 2013)
77
Section 3
78
Conclusion
Before coming to a conclusion and in order to form a whole picture of the dissertation, it is
necessary to recall the three dimensional zoetrope, The Bouncing Totoro92, which is mentioned in
the Introduction. Knowingly, the zoetrope is an invention in 1833, and The Bouncing Totoro is a
2D converted 3D animation performs using the concept of zoetrope as foundation. The sculpted
figurines of Totoro and other characters in My Neighbour Totoro are based on the two dimensional
pictures drawn by an animator for converting them to three dimensional objects using clay.
However, it was a challenging mission to produce the zoetrope as the two dimensional drawings,
even with different angles are drawn, there are parts for example the number of legs for the Cat Bus
are never fully drawn and hence inconsistencies of the character animation do happen. In order to
resolve the issues that appeared, it is when digital technology comes into handy. The sculptors
photographed the figures with digital camera from various angles and check them in the series of
frames on computer to make necessary adjustment because they could not possibly rotate the clay
figurines to check their series of movement93.
Thence, based on the explanation, the animation process in this dissertation is said to resemble the
three dimensional zoetrope of The Bouncing Totoro as it involves the 2D traditional hand-drawn
cels animation and digital methods that portrays the techniques used in Hayao Miyazaki and Studio
Ghibli animation. The focus on water animation, particle effects, motions and depth, bring not only
the value of aesthetics of how the studio wisely performs the traditional techniques and digital
methods in animation process that determine the visual presentation. They are as well effectively
92
93
“An Interview with Yuzo Nishitani, Head of HAL, who sculpted the figures for Bouncing Totoro”, Ghibli Museum, Mitaka
Catalog. Third edition revised and enlarged, June 30, 2012. Published by The Tokuma Memorial Cultural Foundation for Animation,
Tosho Printing Co., Ltd. pg. 211.
79
delineated the techniques and technology development throughout the decades. Meanwhile the
preservation is shown as they are appraising the traditional animation techniques from the past, in
the present and also develop the potential for future employment of the animation techniques. Then
the dissertation continues to connect techniques and technology with perception by proposing the
quality of imagination. In a way, imagination can be considered as the variable in the mind of
human, in which is why the inquired quality of imagination by referring to the precision of the
images generated in the mind to be transposed to a physical medium becomes a challenge. Rather it
is nearly impossible to achieve a definite point like how photography documented what it is in front
of the lens at the very instant the shutter is pressed. Hence when it is induced a way to illustrate
quality of imagination, it comes with the two important factors in the explanations, first, techniques
and technology and second, the medium, where the two factors are proposed to be a counterweight
of each other and both are followed by Ideas, the images generated in the mind. For the first two
chapters in this dissertation have contributed to the discussion of animation cinema based on
Miyazaki and Studio Ghibli animation about techniques and technology as well as the
psychological concerns to both of them in relation to input and output of human perceptions. The
final chapter has joined the previous chapters by bringing in the issue of the emergence of new
directors in the studio to the aesthetics experience of the films. The final chapter also related to the
shift of analog to digital in animation as well as materiality of the animation artwork. To put in a
nutshell, the three chapters have manufactured the importance to the concern of Auteur effect of
Hayao Miyazaki that formed the whole study of the dissertation. Hayao Miyazaki as an Auteur and
the Auteur effect of Miyazaki redounds to Studio Ghibli as a whole. Miyazaki and the studio are
respecting the traditional animation and bringing out the best from what tradition techniques able to
achieve instead of declining the use of the technique. In other words, they have revived the
traditional animation production and demonstrated the traditional technique to reach new
80
potentialities94.Technology development becomes the credit that allows them to make full use of the
advancement and rethink the continual development of technology towards animation and its
techniques by keeping the Auteur’s vision, the vision that envisioned animation cinema through
hand drawn animation.
94
Tze-Yue G.Hu, Frames of Anime, Cuture and Image-Building (Hong Kong University Press, 2010) pg.118.
81
Bibliography
Howl's Moving Castle ハウルの動く城. Directed by Hayao Miyazaki. Performed by Animation.
2004.
My Neighbour Totoro となりのトトロ. Directed by Hayao Miyazaki. Performed by Animation.
1988.
Nausicaa of the Valley of the Wind 風の谷のナウシカ. Directed by Hayao Miyazaki. Performed
by Animation. 1984.
Ponyo (Ponyo on the Cliff) 崖の上のポニョ. Directed by Hayao Miyazaki. Performed by
Animation. 2008.
Spirited Away 千と千尋の神隠し. Directed by Hayao Miyazaki. Performed by Animation. 2001.
Tales from Earthsea ゲド戦記. Directed by Goro Miyazaki. Performed by Animation. 2006.
Tangled. Directed by Nathan Greno and Byron Howard. Performed by Animation. 2010.
The Borrower Arrietty 借りぐらしのアリエッティ. Directed by Hiromasa Yonebayashi.
Performed by Animation. 2010.

Whisper of the Heart 耳をすませば. Directed by Yoshifumi Kondo. Performed by Animation.
1995.
Belting, Hans. An Anthropology of Images: Picture, Medium, Body . Princeton University Press,
2011.
Blok, Casper Bruun Jensen and Anders. “Techno-animism in Japan: Shinto Cosmograms, Actor-
network Theory, and the Enabling Powers of Non-human Agencies.” Theory, Culture &
Society, 2013: 84-115.
Doane, Mary Ann. “The Indexical and Concept of Medium Specificity.” Differences: A Journal of
Feminist Cultural Studies, 2007: 128-152.
Edo-Tokyo Open Air Architectural Museum. n.d. http://tatemonoen.jp/english/ (accessed July
2013).
G.Hu, Tze-Yue. Frames of Anime Culture and Image-Building. Hong Kong: Hong Kong University
Press, 2010.
82
Ghibli Wiki . Nausicaa.net. n.d. http://www.nausicaa.net/wiki/Yoshifumi_Kondo (accessed July
2013).
Ghibli Wiki. Nausicaa.net. n.d. http://www.nausicaa.net/wiki/Hiromasa_Yonebayashi (accessed
July 2013).
J.Bigelow, Susan. “Technologies of Perception: Miyazaki in Theory and Practice.” Animation: An
Interdisciplinary Journal, 2009: 55-74.
Kracauer, Siegfried. Theory of Film, The Redemption of Physical Reality. Princeton University
Press, 1997.
Lamarre, Thomas. The Anime Machine A Media Theory of Animation. London: University of
Minnesota Press, 2009.
McCarthy, Helen. Hayao Miyazaki Master of Japanese Animation: Films, Themes, Artistry. Stone
Bridge Press, Berkeley California, 1999.
McLuhan, Marshall. Understanding Media, The Extensions of Man. Routledge London, 1964.
Musashino Art University. Drawing Paper 画用紙. 2007 and 2008.
http://zokeifile.musabi.ac.jp/contents/gayoshi/gayoshi.pdf (accessed July 2013).
Muse (Paper company Japan). n.d. http://www.muse-paper.co.jp/page2/muse2-3.html (accessed
July 2013).
Yasuo Otsuka's Joy of Motion (Documentary). Directed by Hayao Miyazaki. Performed by Yasuo
Otsuka. 2004.
Rodowick, David Norman. The Virtual Life of Film. Harvard University Press, 2007.
Shaw, George Bernard. Back to Methuselah A Metabiological Pentateuch . London: Constable and
Company Limited, 1921.
Studio Ghibli. Exhibiting Animation "Spirited Away" Special Exhibition at the Ghibli Museum,
Mitaka. Tokuma Shoten, 2002.
—. Ghibli Museum, Mitaka Catalog. Tokuma Memorial Cultural Foundation for Animation, Third
Edition, 2012.
—. Hayao Miyazaki’s Dream World Background Art 宫崎骏の梦幻世界[场景篇] (Language:
Simplified Chinese). 2008: Anhui Culture Audio Publishing 安徽文化音像出版社, n.d.
—. The Art of My Neighbour Totoro. VIZ Media, 2009.
83
—. The Art of Howl's Moving Castle. VIZ Media, 2005.
—. The Art of Miyazaki's Spirited Away. VIZ Media, 2006.
Sylvestre, Nzahabwanayo. Authentic and Inauthentic Existence, Martin Heidegger versus Gabriel
Marcel. LAP Lambert Academic Publishing, 2005.
Talbot, Margaret. “The Auteur of Anime .” The Asia-Pacific Journal: Japan Focus
(http://japanfocus.org/-Margaret-Talbot/1900), 2006.
Tham, Chris. Blogspot: Trip to Japan 2008. 21 April 2008.
http://japan08.blogspot.co.uk/2011/03/day-12-part-8-seiseki-sakuragaoka.html (accessed
July 2013).
Wells, Paul. Animation and America. Edinburgh University Press Ltd., 2002.
Young, Julian. Heidegger's Philosophy of Art. Cambridge University Press, 2001.

宫崎骏, Hayao Miyazaki. Starting Point 1979-1996 出發點 1979－1996 （Chinese Version).
Taiwan's East trafficking, 2006.
Interviews/Informants
Kitano, Chika (2013) Postgraduate student of Goldsmiths University of London, MA in Education:
Culture, Language and Identity, 21st June 2013, College of Image Arts and Sciences, Ritsumeikan
University, Kyoto, Japan. [Informed Consent form]
Matsunami, Emily (2013) Film Production Major (Japanese Studies Minor) Dodge College of Film
and Media Arts, Chapman University, 21st June 2013, College of Image Arts and Sciences,
Ritsumeikan University, Kyoto, Japan. [Informed Consent form]
Miki, Akane (2013) Postgraduate student of Goldsmiths University of London, MFA Curating, 20th
July 2013, Ewen Henderson Court, New Cross London. Former Student of Musashino Art
University, 2012.
84
Ohata, Kaito (2013) 3rd Grade of Graduate School for Image Arts and Sciences, Ritsumeikan
Universtiy, Kyoto, 21st June 2013, College of Image Arts and Sciences, Ritsumeikan University,
Kyoto, Japan. [Informed Consent form]
Xingru, Xie (2013) Postgraduate student of Graduate School for Image Arts and Sciences,
Ritsumeikan Universtiy, Kyoto, 21st June 2013, College of Image Arts and Sciences, Ritsumeikan
University, Kyoto, Japan. [Informed Consent form]
Email Exchange
Kitano, Keisuke (2013) Professor of School of Image Arts and Science, Ritsumeikan University
Kyoto, 北野圭介先生, 立命館大学映像学部, 18th February 2013.
Nishimura, Yumiko (2013) Person in charge of Promotion Department in Studio Ghibli Production
西村由美子，制作業務部広報担当, 株式会社スタジオジブリ, 20th June 2013 [Namecard]
Ogura, Chie (2013) Administrative Office, College of Image Arts and Sciences Ritsumeikan
University, Kyoto, 小倉智恵,10th June 2013.
Siew Sok, Lee (2013) Part-time Translator, Graduate School of Bioscience and Biotechnology
Biomolecular Engineering, Tokyo Institute of Technology, 13th June 2013.
85
Appendices
86
Appendix 1: “The Bouncing Totoro”, The three-dimensional Zoetrope.
Source: Ghibli Museum, Mitaka Catalog (Scanned picture pg. 54)
87
Appendix 2: Panorama box
Source: Ghibli Museum, Mitaka Catalog (Scanned picture, top:pg.272, bottom: pg.58 )
88
Appendix 3: Visual Analysis
My Neighbour Totoro
- 04:27, 2D technique of the water animation of the brook stream under the bridge when Satsuki and
Mei first arrived their house, the current/flow of the water indicated by white fine lines and grey
curvy lines to show water waves. Water splashes and foam are painted with white uneven shapes.
Details are added, the reflections of the surrounding in dark shaded curvy lines and distorted shapes.
Different shaded colour of object (leaf) to indicate it is floating on water carried by the flow of the
water. Small fishes swimming to enhance the water animation to become livelier.
Water splashes and foam
Object (leaf) Water waves in grey (bold)

floating, animated shaded curvy lines.
moving in
accordance to the
flow of the water
and in apparent 2
Water current/flow is show
different shades of
by white lines and
colour to make it
animated the lines to
seems float and on
indicate motion.
water.
Reflections of the
surrounding in dark shaded
curvy lines and distorted
shapes
- 05:01, a sense of depth form by the 2D illustration itself that filled the entire frame, a detail painting
of the house with careful shaded area for shadow, angle and perspective, reflection and clearly
divided colour tones.
Shadow to show the direction of the sunlight,
giving clue to tell time.
The leaves of the plant
standing in between the
building and the pillar
delimited the flatness of
2D animation.
Shadow to form a sense of

Pillar is painted with in-depth.
detail texture of the wood
to show old and rotten
serves as a foreground
object, the interval Reflection of Satsuki and
between the pillar and the Mei.
building in this
illustration create a space
that can feel depth.
Reflection of the pillar and column on

the top of the pillar.
89
- Water scene in the bathroom, to present the refraction of part of the body is inside the bathtub, the
distorted and uneven curvy shape is animated.
- In the same water scene when they are having their bath, splashes of water and when the water is
flooded the floor and outside the bathtub, the square tile lines are animated to be distorted as well.
Water splashes are in white shapes and changing shapes.
- 28:00, Mei picks up the bottomless pail. When she looks through the hole, a point of view shot of
Mei, resemble cinematic dolly zoom camera movement.
- 36:25, When Satsuki running through the tunnel of the woods, the multiple layers of the tree
branches, the branches closest to the camera appear to be blur as the focus is on Satsuki. The blur
effect on the branches also indicate the camera movements follow the animation of Satsuki however
the motion blur established in this shot is different compare to Spirited Away the opening sequence
when Chihiro’s father driving into the entrance of the alternate world. The blurring effect enhanced
the 2D animation of motion in this case when it is compared to Nausicaa when she is departs to fly
with her glider.
90
- The Cat bus arrival in the rain. The detail of the refraction of light in the rain.
- 1:05:22 no motion blur for the surrounding when camera moves follow Satsuki and Mei’s running
animation.
91
- Sun ray animation
- 1:20:12, minimal detail for fast movement of animation for the surrounding and environment.
*for further information, refer to The Art of My Neighbour Totoro, published by VIZ Media, 2009.
92
Whisper of the Heart
- Establishing scene, camera panning and tilting – night scenery of Tokyo – city light.
- Clearly divided layers of foreground, middle ground and background in many shots and scenes. With
such delineated divisions of layering in the composition of images to form a shot, provides a sense of
depth in space although the appearance is 2-dimensional animation production. The foreground,
middle ground and background division when compositing the cels to form an image in which later
become a series of animation of a shot, can be related to the constructed realism by animation where
Yasuo Otsuka has commented in “Yasuo Otsuka’s Joy of Motion” documentary. It is because such
divisions create the sense of believability that able to convince the audience through the constructed
realism with such careful composition in detail animation process.
These are the examples:
Book shelves as
background.
Middle ground
divided by the
wall and window
from the
foreground
Kosaka sensei
appear in the
foreground
93
Shizuku and Yuko are
animated to be appeared at
The iron net fencing as
the background; it is to show
middle ground objects
the location of the blue bag
separated the
that belongs to Sugimura, as
background
the scene and conversation
related to him, and
introducing Sugimura to the
Soccer player film.
character appear in
the foreground
establishes the
activity and location
for Shizuku and Yuko
conversation
Train passing behind
Shizuku is the
background, it also
establishes an
indirectness
continuity to the
Shizuku appear in the previous shots of
middle ground how Shizuku arrives
to her destination.
Cars appear in the
foreground indicating
a busy time of the city
before lunch time, a
little hindrance for
Shizuku in her chase
of Moon.
- Light reflection, a detail indication of the texture/material in telling the weather and season: is under
the hot sun during summer.
- Moving train, the train coaches can be referred to Lamarre: 1. relative movement, 2. animatic
interval across the depths of multiplanar image. (Anime Machine pg.103, 104).
2D technique ~ multiple planes and cel animation used in the film and being divided to foreground,
middle ground and background –> foreground = the coach nearest to camera with passenger
characters closer to the camera with higher level of detail. Middle ground = second coach less
detailing, depend on one point perspective. A 3-dimensional illusion is formed. Background = the
scenery outside the train windows. In my opinion it is a method of reversing the animation to form
the background layer of the scenery moving backwards as the train moving. Background layer is
animated forward and being photographed in such a proceeding movement and is being reversed
94
later of the sequence of images so it appears to moving backwards.
- Reflection onto the window glass before Moon’s face. (The layer of the building reflection is filmed
in lower intensity and is being overlaid on to the top of the layer of the train window and Moon.)
- Shizuku moving forward and both side of the walls are animated in which they are sliding inwards
towards each other to show her moves on the slanted narrow path and further away from the entrance
into the path. => open compositing and sliding of planes.
- Shizuku moving towards Baron, noticeably depth of field is shown in the cinematograph for the shot,
the horse statue gradually becomes blurred. It is a point of view shot of Shizuku, her forward
movements can be seen through her own reflection of the mirror. Because it is from Shizuku’s point
of view, the camera moves imitating footsteps movements gradually proceeding towards the object –
the Baron. Her discovery is being emphasized through the apparent division of foreground, middle
ground and background as well until she reaches the Baron standing on the table: foreground – the
95
horse statue, middle ground – The Baron on the fine illustrated table with detail texture of the table
cloth, background – Shizuku’s reflection framed in the mirror.
96
- Exmaple of Lamarre’s animation theory of Miyazaki animation open compositing and sliding of
planes => multiplanar images and layering:
5th layer: background buildings

Background
and the curvature road.
4th layer: car

animation and the
road.
Middle ground
3rd layer: trees
2st layer:
metal fence
for the stairs.
Foreground
1st layer: Shizuku
97
- Sun beam animation
- Another example of Lamarre’s animation theory for Miyazaki animation of multiplanar image and
sliding of planes.
The houses and the

far away city lights
are static and serve
as the background
layer.
The road and

fence at the
side of the
road
animation are
in one layer
Seiji and his bicycle,

Trees and the streetlight Shizuku animations are
are in one layer and is under same layer.
sliding downwards
Car animation is a layer in which the car is gradually being scale smaller.
98
- Neon lights effects onto the foreground character.
- Z-depth is established in these shots and again with apparent division of foreground, middle ground
and background.
- Sunrise animation
99
Spirited Away
- digital compositing and motion blur effects to indicate fast movement of the car passing the woods.
- digital compositing and the virtual camera moves from right to left follow the movement of the car
passing the statue, generated a realistic point of view shot for Chihiro, the camera movement
cinematically resemble how human’s vision of the view outside the window in real life. In this
medium close up of the statue, the motion blur is applied to the woods and leaves. The fast motion is
being identified through this indication of motion thus enhance the realism of vision in graphics
animation.
- Movement into depth, 3D volumetric composition. Similarly to the ending sequence.

Motion blur effects to
indicate motion and
directing the focus to
the subject matter; the
entrance to the tunnel
and the statue.
100
2D animation of the
leaves.
Distorted graphical
animation and
blurriness when the
camera moving in high
speed.
Blur and distorted

graphics is lessening
as the car decelerating
and to focus on the
subject matter.
- Lighting direction and animation of the shadow detailing informing time and the light source.
- Motion blur of the background setting when Chihiro is running in fear, again the blurry effect is to
indicate motion.
101
- Another motion blur effects example.
- Moving into depth – 3D Cartesian perspective – Volumetric Compostion – virtual camera motion –
digital compositing –background are digitally composited whereby the animation of character is 2D
cel aniamtion. The point of view shot is a 3D moving in depth of the 2D graphical texture mapped
onto 3D objects.
102
- Z-depth in multiplanar images.
- the movement of the camera providing an illusion of depth similar to the following shot in The
Borrower Arrietty.
Spirited Away
The Borrower
Arrietty.
- in this shot, lines drawing to indicate motion can be seen, like manga together with the blurry
background.
- Borrowing Alberti’s idea of open window, and his idea of transformation of 3D to 2D, like the
function of the window frame. The nested doorway of the entrance to Yubaba’s room. The
geometrical perspective is obviously shown, especially for each door’s opening the lights are being
103
turned on one after another.
- 37:45, Yubaba flying towards the camera in a high speed animation, while the camera is moving
backwards at the same time as the animation of the character coming forward to fill the entire frame.
Pattern on the ceiling is being
enlarged gradually.
Shading in low intensity to

indicate motion, as well as
lighting direction (the light
source)
104
- Old technique, sliding of planes for the clouds and rain in different layers.
- Refraction on the crystal ball.
- Ocean water animation, 2D cel animation and CGI intergration.
- A sense of Z-depth and spatial relation within the composition.
105
- Z-depth, spatial relation of the building and camera movement.
- The volumetric perspective and moving into depth, motion blur effects.
- Another example of motion blur effects.
- Yubaba magic power, digital VFX.
Resemble the real life point

of view from inside the
moving train. (With CG Cel animation.
enhancement)
106
- One point perspective geometrical perspective.
- Spatial relation, z-depth, virtual camera movement and digitally composited shot as the camera angle
give a crane shot moving away from the 2 characters, Zeniba and Kaonashi (No Face).
107
Tales from Earthsea
- Water animation at the opening scene, water of the sea when Sparrowhawk arriving to the deserted
land and the water of the sea in Hort Town, a slow panning shot to get the overview of the busy port
from Arren view point. These water texture and animation can be compared in relation to the
integration of 2D and CGI digital animation.
- By referring to Thomas Lamarre’s The Anime Machine pg. 32, in Tales from Earthsea, the Cartesian
perspectivalism, movement into depth, and “volumetric compositing” are being established with a
computer generated virtual camera and appear in a number of POV shots, the movement into depth
is presented in a 2D animation. For the camera movements moving toward the subject or moving
away from it, the depth and the motion are generated through digital composition with a computer
calculated camera tracking. These shots are not appear to be flat, the integration of CG techniques
convey the z-coordination. This technique and outcome avoided the gaps between the layers which
usually the side-effects of the cel animation. In a way, the camera movements and the movement in
depth in these shots resemble gaming virtual reality environment and navigation. Motion blur effects
are added to enhance the believability of the motion. The motions blur effects to indicate motion is
replacing the lines drawing.
108
- when Arren is chased by wolves, the animetism is being shown in these shots in the scene. The
sliding of planes is noticeable in this shot of the multiple layers of wolves, the sand, Arren and the
far away desert
109
- Another example for sliding of planes in 2D animation is when Sparrowhawk and Arren finally
arrive to Hort Town and the town panoramic view is being established.
- the shot does not appear to be sliding planes of the images in different layering, but it does appear to
be resembling a real cinematic movement of dolly tracking the horse riding.
- The lens flare, is CGI.
- Morphing. The fluidity of the liquid and jelly formation of the effects that the character deforms into
a monster. The texture is a 2D visual graphics. The animation of the morphing of the character is just
like Sergei Eisenstein monograph on Disney when he talked about metamorphesis. The animation
effects is preseumably CGI and appear to be visually 2D.
- CGI collapse of the bricks on the tower, 3D dynamic and particle effects but rendered in 2D visual
presentation. However, when the angle changes, the shot of the full view of the tower, it is a 2D
animation.
110
- CG virtual camera movement, again is Tehanu, the dragon point of view, and this is resemble
ballistic perception as it is the flying movements of the dragon, it creates a 3D volumetric space and
z-depth thus giving a sense of gaming virtual reality environment following the navigation generated
in a 3D illusion on the flat screen. This camera movement and the desire angle of bird eye view is
harder to be created in 2D animation technique even if sliding the planes in an open composting
filming technique for 2D animation.
111
Ponyo
- 03:57, 04:27, and 23:45 example of sunray underwater, can be compared to sunray in My Neighbour
Totoro and The Borrower Arrietty.
Opening credit 05:20 lines and contour animation using traditional technique. The lines illustrating
the waves = Japanese traditional drawing.
- Colour pencil texture for the landscape and background, it is obvious for the establishing shot of the
town after the opening credit. The colour pencil texture combine with 2D cel animation.
- Distinguished colours combination. Ponyo – pink colour, Sousuke – yellow colour, pail – green
colour.
- 11.35 background –colour pencil. Cel animation for objects that move do not match with the colour
pencil background art.
112
The cel animation
of the moving
plants does not
match with the
Colour pencils
background art.
- 09:35 the animation for trees and grass also the colour pencil texture to indicate wind.
- 09:43, water splashes, white shapes ≈ My Neighbour Totoro
- 12:15, to indicate motion of the moving car, the view outside the window no digital motion blur
effects are apply, the blurriness animation is through scribble and shading of colour texture
animation.
- 22.32 When Fujimoto turns the water into a worm-liked waves. It is similar to Howl’s Moving
Castle. However, technically, Ponyo is using 2D animation; in Howl’s Moving Castle the digital
effects are added.
113
- 24:48, the animation is where camera moving tracking the movement of the car. Foreground: grass
which is blurred, middle ground: car Lisa is driving with Sousoke and the road divider (unevenness
of the animation), background: the ocean and the ships.
- 28:14, the lighting effects.
- 37.18 Ponyo successfully escaped from Fujimoto, the water scene is illustrated in the opening credit
specifically the lines and contour.
114
- The transformation of Ponyo from a fish to a full human form that reminds the “metamorphosis”
mentioned in Eisenstein on Disney.
As well as other small goldfishes transform into a complete fish form.
- 37:24, water waves tornado, the motion is indicated through lines drawing.
- Challenging fish and water animation.
115
- Rain animation similarly to My Neighbour Totoro, white/grey lines animation.
- Tsunami, which is the most spectacular scene in this film. The scene creates an affective viewing
experience for spectators, where it is comparable to the real tsunami happened in Japan. How will
this scene affect the audience in Japan? How this scene will connect those who never experience
tsunami to imagine the real happening? Here are the comparison of what happened in real life to the
tsunami scenes in Ponyo and the aftermath of the tsunami.
The real Tsunami happening in Japan 2011 The Tsunami scene in Ponyo.
The aftermath of tsunami in Japan in 2011. The aftermath of tsunami in Ponyo.
- The animation is like Japanese painting of waves come alive. ≈ opening credit ≈ Japanese traditional
ocean painting.
116
- The smoke. It can be part of the technical research, using traditional animation technique. While Lisa,
Sousoke and Ponyo are having hot tea and dinner.
- The water animation, technically, is to be part of the research as well. The level of details the 2D
drawing and animation can show and create without any 3D elements, it is a hand drawn animation
from start to finish. (Source from:
http://www.showroomworkstation.org.uk/media/Education/Ponyo.pdf. )
117
118
The Borrower Arrietty
- Opening sequence and many shots in The Borrower Arrietty with sun ray animation is said to be
done digitally and is differ than the sun ray appears in My Neighbour Totoro. Here are the examples
of the screenshots.
(clockwise) the beginning of the film, sun ray shows the summer, when the car passes the bridge can see the
continuity of the sun ray, the minimal animation for the sun ray in this shot when Sho gets out of the car and lifts
his head to look at the tree, continue to the following shot showing the subtle and the sun ray shines through the
leaves and branches and the beam of the sunshine beautifully illustrate the season and the peacefulness of the
environment Sho is coming for a short stay.
- 00:34, motion blur (digital computer generated blur effects) foreground, middle ground (Sho and his
grandmother’s car) is the focus point, the truck and the background. Constructing realism in
movements for the scenery as well as moving objects.
119
- 03:02, depth of field, atmospheric perspective. The detail illustration of the plants and bushes
composited the shot aesthetically to direct spectators to expect what is within the bushes.
- Another cinematography technique, the focus shift of the shot is able to construct the realism in the
composition to realistic filming through animated graphics.
- A result of virtual camera is tracking Arrietty running animation (2D animation), the motion blur
effects (computer generated effects) gives a different result compare to My Neighbour Totoro. This
is another example of the motion blur effects added in the sequence. The motion and the blur effects
provided mimic the realistic cinematic motion.
- Lighting effects, lens flare, shadow that is generated with softer edges and fading off in intensity of
the shadow as it is further away from the light source are presumably generated using computer
120
software.
- 10.27 A sense of 3D motion, a 3D volumetric space followed by a virtual camera behind Arrietty
looking downwards instead of sliding the planes in usual Ghibli films from the past.
- 11:46, another shot in giving a sense of 3D motion in 3D space providing the Z-depth 3D volumetric
world especially in this shot Arrietty is being lifted upwards in a fast movements and her size is scale
smaller than normal human character size, hence the 3D space able to give an echo atmospheric of
how big and deep in space under the house is as to emphasize her scale as a smaller human being in
contrary to normal size human characters.
121
- 12:34, considerably different technique used for glass refraction of character which is seldom
appears in past Ghibli films.
- 13:09, Arrietty moving forward is presumably using the “path map” technique as used in Howl’s
Moving Castle to convey the walking motion with the background movement, and can be referred to
the traditional type of camera work such as background animation processing (the objects on the
sheet and the camera move together, or the background can be drawn into the cell to allow complex
122
camera movements such as a veering shot). However this shot is no veering shot, it is merely motion
of walking forward with a camera angle tracking her movement by moving backwards as Arrietty
progresses her footsteps forward out of the kitchen cupboard.
- Same technique and similar shots appear in Spirited Away, Howl’s Moving Castle and now The
Borrower Arrietty in which this reflection shot do not appear in 1980s and 1990s.
- 22:22, top angle view, every object and arrangement contains a strong Z-depth persepective, the light
cast from the ceiling giving out the fine texture of objects besides the mattress and Sho, the sense of
3D in the room.
- The transparency of rain in the raining scene of Borrower Arrietty can be compared to My Neighbor
Totoro. In Borrower Arrietty, scale is the key. Hence rain drops are being enlarged and are presented
in detail. The realism of rain animation and the surface of rain drops together with the scale of the
size of Arrietty is important. The wet surface, refraction and reflection are to inform the spectator the
surface material, and the accumulated rain water on the surface is clearly presented as it is being
enlarged to fit the world of Arrietty. The world is being enlarged and zoomed to illustrate Arrietty
world in accordance to her scale, attention to detail to the motion of the rain animation is being
focused, as we look closer into things, it turns to be slower in this case. Therefore the motion blur is
added to indicate the speed and the enlarged objects of the environment. So as the bigger things are
to be slower in motion to the smaller scale organism.
123
The wet surface
caused by the rain,
higher level of
glossiness.
Transparency of
the rain
increased.
- 55:34 dust and particles effects and animation
- 1:04:06 The bigger things (human in this case, Haru’s hand) are to be slower in motion to the smaller
scale organism.
- 1:10:06, here is a very obvious comparison of normal size human walking animation, the speed of
Sho’s walking animation, but when it is cut to show Arrietty on his shoulder, Sho’s speed in walking
motions become slower, motion blur effect is strongly applied to the objects in the surrounding. It is
a 2D graphics and 2D animation with digital effects applied.
124
*can be compared to the similar animation of 3D Epic (2013), in which also concerns with different
scales of human characters for enormously big and particularly smaller in size human characters to
talk about motions in relation to speed, blur effects and animation in the over all visual experience
between 2D animation with intergration of digital computer generated images and fully 3D digital
animation.
Sho’s motion become slower when the focus is on Arrietty, it is because for a smaller scale
human character, the bigger scale human character is slower in motion, and therefore the
slow motion is clearly presented and accompanied by the motion blur effect of the
surrounding, providing the believability and logical composition of the shots in order to
construct realism in animation to convince the audience
- 1:27:08, the virtual camera movement in a 3D space resemble the “first person shooter” games in a
way as it is Sho’s point of view shot running, the Z-depth is provided through computer generated
space with 2D illustration of the environment.
125
- Same goes to 1:30:58. The camera is moving fluently with the flow of the stream instead of shaking
for Sho’s point of view while he is running on the above example.
- 3D digital animation/CGI/digital effects are getting more apparent especially to indicate motions.
- In this film, scale is the key point to take care about, especially when objects are being enlarged,
therefore the z-depth of objects is hardly able to be well presented with merely 2D techniques in
animation as well as design/drawing/texturing (colouring) etc.
- Hardly see obvious sliding planes although the multiple layering is appearing in composition of
shots.
126
Appendix 4: Interview Questions
1. Yasuo Otsuka said before, animation is about convincing the audience, and creating some sort
of virtual reality, genuine realism doesn’t suit animation, the realism in animation that we want is
constructed realism. Therefore, can you share your point of view regarding the realism of animation
by taking a closer look into the detail of animation such as motions and FX like water and particles
that appear in Studio Ghibli animations especially those animated features directed by Mr.Miyazaki?
2. Can you share your experience in animation in your academic studies? If you may, please
focus on the animation FX such as water and motions in animation (objects/characters and camera
movements) by comparing traditional techniques (i.e. drawing) to digital techniques (i.e. software).
3. By comparing traditional 2D techniques and 3D CGI, let’s look into Studio Ghibli’s production.
Noticeably, Nausicaa uses lines drawing to indicate motions; it is more like the look of manga; but
in Tales from Earthsea in most of the point of view shots of movements, the kind of motion blur is
produced digitally. What do you think regarding this comment by making comparison of past and
contemporary animation techniques to produce motions? How significantly each traditional and
digital technique is affecting the aesthetics of the films?
4. It may seem small; however particles like smoke, sun beams or lighting directions and lens
flares do comprise how detailed an animation film could be. Can you comment on the experience
technically in creating those FX? For example, comparing the sun ray in Nausicaa to The Borrower
Arrietty and light flare in Tales from Earthsea as follow:
5. If you were assigned to recreate any of the scenes of Studio Ghibli animation as mentioned in
previous questions, like the example of the print screen shots, how will you deal with these
animations using traditional techniques compared to digital techniques?
127
6. When digital tools are available (toonz and XSI), to make subtle effects such as water, in your
opinion, what special qualities do the traditional techniques used in the animated feature, Ponyo
especially the water scenes, give to the film?
7. Open compositing and multiplanar images are what defined Mr.Miyazaki and Studio Ghibli
animations. However, when moving into digital driven techniques, how do you value multiple plane
layers versus 3D vector space as ways of creating realistic or atmospheric spaces? How it will affect
the look of the animation specifically Studio Ghibli and Mr.Miyazaki’s production to be able to
sustain the signature style?
8. How effectively is technology development involves in the decision of techniques in your

animation process, regardless traditional or digital approach? Most importantly in terms of technical
technology and the quality of imagination, how technology is affecting you in visualizing the
images in your mind and being transposed to the screen through the medium like cell, paper or
using computer?
9. Speaking about Studio Ghibli and Mr.Miyazaki's presentation of animation and the look of
the animation production, recently young and fresh directors emerged in producing animation
features under the supervision of Mr.Miyazaki, for example Goro Miyazaki, Hiromasa Yonebayashi
and not to forget Yoshifumi Kondo who directed Whisper of the Heart in 1995. In relation to the
idea of Auteur effect, how, in terms of technique, do you think these animation films produced by
new directors are being compared to Mr.Miyazaki’s?
10. Lastly, by referring to Mr. Toshio Suzuki’s comment: “When silents moved to talkies,
Chaplin held out the longest. When black-and-white went to color, Kurosawa held out the longest.
Miyazaki feels he should be the one to hold out the longest when it comes to computer animation.”
In relation to these remarks and in terms of techniques and skills: traditional and digital methods,
between 2D animation and 3D CGI animation or the integration of both to produce animated
features, do you believe that as an Auteur, Mr. Miyazaki is able to reimagine what animation
technology can bring him? Or, in your point of view, as an Auteur, he is making creative use of the
technology by creating new ways to suit his needs in animation making?
128
インタビューの質問提案（日本アニメ学生）
1．大塚康生はかつて、このように発言しています。「アニメーションは観客を説得し、
ある種のヴァーチャルリアリティを作り出すもので、純粋なリアリズムはアニメには合い
ません。われわれがアニメに求めるリアリズムは、作り出されたリアリズムです」。スタ
ジオジブリのアニメーション、特に宮崎駿氏が監督したアニメ作品に見られる動きや、水
や粒子の特殊効果などの細部に目を向けるとき、このアニメに関するリアリズムと考え方
を共有することができますか？
2．あなたは、アニメーションにおける自身の経験をアカデミックな知識としてお話に
なれますか？可能でしたら、アニメーションにおける水などの特殊効果と動き（対象／
キャラクター、カメラの動き）について、伝統的な技法（例；ハンドドローイング）とデ
ジタル技法（例；ソフトウェア）を比較しながら重点的にお話しいただけますか。
3．伝統的な 2D 技法と 3DCGI を比較して、スタジオジブリの作品を見てみましょ

う。顕著な特徴ですが、「風の谷のナウシカ」では動きを表す描線が用いられており、よ
りマンガ的です。しかし「ゲド戦記」では、動きを表す視点ショットの大半で、ある種の
モーションブラーがデジタルで合成されています。動きに関する新旧のアニメ技法を比較
してこのように言うことについてどう思われますか？伝統的な技法とデジタルの技法は
それぞれ、フィルムの美的な表現にどのような違いを生み出しているのでしょうか。
4．細かい部分ですが、煙や日光のような粒子の動き、あるいは光の方向やレンズフレ
アは、アニメーションフィルムの細部のあり方に影響を与えます。あなたはそういった特
殊効果を作り出した経験について技術的なコメントがお出来になりますか？例えば、下
の「風の谷のナウシカ」から「借りぐらしのアリエッティ」に至る陽の光と、「ゲド戦記」
におけるライトフレアを比較すると、どうでしょうか。
5．前の質問で言及したスタジオジブリのアニメ作品のシーン、スクリーンショッ
トで例示されているもののいずれかのやり直しを引き受けるとしたら、デジタル技法に比
べると伝統的な技法を用いたこれらのアニメーションをどのように扱われますか？
6．デジタル機器（トゥーンズ、XSI）を使用して水などの微妙な効果を作り出せると
き、「崖の上のポニョ」の水のシーンで特に見られるような、アニメ作品で用いられる伝
統的な技法は、なにか特別な質感を与えると思われますか？
129
7．オープン構成とマルチプラナー映像は、宮崎氏とスタジオジブリの特徴を表す
ものです。しかし、デジタル主導の技術に移行しようとしているとき、リアルな、あるい
は独特の雰囲気の空間を作り出す方法として、3D ヴェクタースペースに対してマルチプ
ルプレーンレイヤーをどのように評価なさいますか？それはアニメーションの外見に、
特にスタジオジブリと宮崎氏の作品の特徴的なスタイルに対して、どのように影響するの
でしょうか。
8．伝統的なものかデジタルを利用したものかに関わらず、あなたのアニメーショ
ン作成プロセスにおける技法の決定に、テクノロジーの発達はどれほど実質的な関わりが
あるのでしょうか？特に重要なのは専門的なテクノロジーとイマジネーションの質に関
してですが、あなたの頭のなかから、セルや紙、あるいはコンピューターの使用を通じて
スクリーン上に取り出されるイメージの映像化に、テクノロジーはどのような影響を与え
るのでしょうか。
9．スタジオジブリと宮崎氏によるアニメーションのプレゼンテーションと制作の
動向においては、近年若く、新鮮な監督たちが宮崎氏の監修のもとアニメ作品の制作に頭
角を現しています。たとえば宮崎吾朗、米林宏昌、あるいは「耳をすませば」を 1995 年
に監督した近藤喜文も忘れられません。名匠の影響には大きなものがありますが、新しい
監督たちによって制作されたこれらのアニメーションは、技術的な面で宮崎氏の作品に比
肩するものだと思われますか？
10．最後に、鈴木敏男氏のことばに言及します。「サイレント映画からトーキーに
移ったあと、チャップリンはもっとも長きに渡って持ちこたえた。白黒からカラーになっ
たときは、黒澤がそうだった。宮崎は、コンピューターアニメーションへの移行に際して
そうありたいと思っている」。これらの発言と、技術や技能に関してお訊きします。アニ
メ作品を作り出す伝統的手法とデジタルの手法、2D アニメーションと 3DCGI アニメーシ
ョンおよびそれらの両者の統合に関して、巨匠の一人である宮崎氏は、アニメーションの
テクノロジーが彼にもたらしうるものを再創造することが出来るでしょうか？あるいは、
あなたの意見では、巨匠の一人として、氏はアニメーション作りにおいて自身のニーズに
あう新しいやり方を創造し、これらのテクノロジーをクリエイティヴに用い続けていると
思われますか？
130
Appendix 5: Interview Transcript
Ang Bin Yee = Me Kaito = K Xie = X Emily = E Chika = C
Prof. Keisuke Kitano = Kei
*note: Japanese tend to say hand writing/ hand write animation for hand-drawn animation
*note: Gedo Senki (Japanese title of the film) is referring to Tales from Earthsea.
Me: Hi, as you know I’m from Goldsmiths University of London, and I’m currently doing my
master in Film and Screen Studies, and my dissertation will be focusing on animation, and to be
more detail and specific will be Mr.Hayao Miyazaki and Studio Ghibli’s animation. As you have
read the questions and the conceptual framework as well of course, I will be focusing about the
technical terms of animation, between 2D and 3D animations, or integration of both. I try to narrow
down to motions and water animation and maybe some other particles like sun rays, sun beams and
stuff like that. Basically the whole thing is trying to compare both techniques, in terms of
technology and aesthetics how Ghibli’s films with these two, traditional and digital techniques
bring to you guys. First of all here is Kaito, say HI, Xie, HI, Emily, Hello, and Chika HI, Yes.
Me: Let’s start with the first question, Yasuo Otsuka said before, animation is about convincing
the audience, and creating some sort of virtual reality, genuine realism doesn’t suit animation, the
realism in animation that we want is constructed realism. Therefore, can you share your point of
view regarding the realism of animation by taking a closer look into the detail of animation such as
motions and FX like water and particles that appear in Studio Ghibli animations especially those
animated features directed by Mr.Miyazaki?
E: ok, see I am not too familiar with the technical aspect like the water and particle movement but I
feel like I agree with Otsuka to a degree. I feel like a lot of Ghibli films they have, they establish the
main, like the reality first, like in Spirited Away, we start off in a normal setting, same with Totoro,
same with I don’t quite remember Ponyo, I only briefly watched it once, but I guess they establish
the normal world first, and then they bring us into some different world, but I feel like they keep us
in genuine realism to a degree, at least like the law of nature like the water and stuff. But I agree
that animation is about convincing the audience, is like putting you into a different world, just so
you still able to believe what’s going on around, kind of like living in this world, but still able to
believe that might be more possibilities in this world, there could be a different world, in our world.
Me: Sure, thank you. Xie, maybe?
X: Ok, Xie speaking. I think about animation, it has to be, it has to have… based on the reality in
our real world. So… and the animators and the directors may have some thinking based on the real
131
world and then like Emily said, have… some more larger possibilities around the real world and
then tell the people, tell the audience, say, maybe the real world can be better in animation or even
worse in animation, is an imagination world based on the real world, I think. And… also, yeah, a lot
of Ghibli’s animations, I think they took photos, a lot of photos based on the real world like
sceneries or architectures and then they made them, paint them into the animation, used them, so
people can feel that, wow! It’s a real world! But, BUT, different from the real world, that kind of
feeling is, we live in the real world so we can actually feel what the real world is like, but, in the
animation we can feel something… (me: related to us), yeah yeah that’s right, that’s the point!
Make us…. 共鸣… (me: oh ok, 共鸣), (Kei: How do you translate that?) (me: like we share the
same experience) (Kei: sharing, a sense of sharing) (me: ok right.)
Me: Chika? Kaito? Ok, Kaito.
K: My opinion is, ahh…. Almost same as her opinion (Xie). Additionally, maybe their/ they are
(Ghibli) watching real world, but it is not always human perspective. Their perspectives are not
always human beings. But, the Borrower, like Arrietty, (me: yes) or Ponyo, the sea (me: the water,
the ocean, sea) yes. It is really different from human perspective. But like Hayao Miyazaki see,
what her/they see the real world and therefore we can recognize that… we can feel it real, I think
this is why (me: Miyazaki he can see how, like the Arrietty, the different scale of the people, he can
see from the character’s perspective that’s why we feel it’s real) K: yes yes yes. (me: ok good
thanks.)
Me: Chika.
C: yes, I think the way of drawing water is different from his works. For example, the case of
Totoro, the water looks like the real water but in the case of Ponyo, the waves of water looks more
like artificial. So I think he wants to express realism through his work, because Totoro is about
more realistic story but Ponyo, you know, is a created creature (me: like the mermaid, the story of
the mermaid, so the water is like very artificial) C: so very different from work to work. (me: I get
what you mean)
Me: Let’s move on to the second question. Can you share your experience in animation in your
academic studies? If you may, please focus on the animation FX such as water and motions in
animation (objects/characters and camera movements) by comparing traditional techniques (i.e.
drawing) to digital techniques (i.e. software). But if in your modules that’s never trained to, you
know, work with software and stuff like that but feel free to tell me if you are in this field, just share
your experience in your academic, in your courses like modules, like which modules you have been
taking and stuff like that. In this questions, if you are trained to do animation like which software
132
you are using… (Kei asked Kaito: do you take course like this? K: yes Maya.) ok yeah, but if you
guys no, you can share your academic experience. Ok, who start first?
K: me. I operate Maya, a little. (Kei: basically most of the students in this college are supposed to
take course of how to use Maya, me: that’s good) But I know the hand write animation, the
knowledge I know the hand drawing animation a little, but I have not drawn animation so I am not
so clear (me: you are not very clear about hand drawn animation, but you know just a little of how
the hand drawn animation works) K: yes, thank you. Me: no problem.
Me: when you work with Maya, how details? Did you do animation using Maya? Like starting from
modelling to texturing and then animation?
K: I do modelling, texturing, animation and lighting and I know a little about particles system, that
is a little, but I know it.
Me: How do you feel like when you work using Maya, how do you feel if I am asking you to draw
it using like hand drawn. K: I’m sorry. Me: if you know Maya software, and I give you a scene to
create, you manage to do everything using Maya but suddenly I ask you to change the techniques,
let’s do it 2D, let’s do it like hand drawn animation, how will you deal with that? If you have this
kind of situation. Well actually this is question no.5, but I just wanted to know…. (Kei: we do not
use 2D animation, you mean the hand drawn? Followed by Japanese translation of my English from
Professor Keisuke to Kaito).
K: I will not try to use hand writing animation…. It’s impossible.
Kei: But in your imagination do you think there will be no problem in changing from computer
graphics to hand writing animation?
Me: Yes, let’s go reverse, everybody moving forward like trying to create more software to make us
more conveniently to… you know…. everything is like a button clicked away. Let’s reverse it, let’s
go backwards, if 2D, do you think you can deal with it?
K: I think… I cannot go reverse.
Me: Ok. Well Xie.
Kei: Have you (Xie) study computer graphics or animation?
Xie: Yupe, actually I am a game designer. I like doing some main character designs so in my
university I did something like that. And my experience is when I did some the main character
animations I really prefer to do something like hand drawn, because it can… actually I wanted to
say the word Disney, like Disney animation, it can has some really interesting movements, like the
character emotion changed like laughing, crying anything. It looks so real, the effect looks so real
when you do some hand drawing on that part, and when I have to do some, do some promotion
video of this game and then the first thing I think about is using software, all kind of software like
133
Photoshop, After Effects, Maya, even I used Maya, why is that? It’s because our game actually is a
2D game but in the promotion video but I wanted to do some part about 5 seconds of the
movements of the… our main character which is a little ball, and is bounce like this. When we draw
it, we hand draw it, is just causing us so much time because you know the like this…. (me: the
squash and stretch) it will change, so it will be much easier when you do that with Maya. (me: it is
because it will calculate for you) yeah yeah, so I did the 5 seconds part in Maya and render it out
and put it into the After Effects and do all kind of other things to put all the things together.
Me: So you mean actually your game is a 2D game but in this promotion video you try to do it in
3D. Wow, that’s great what an experience I guess.
E: I am not in film production major or in animation major, but we are required taking Introduction
in Digital Arts. So I have a shallow experience in Photoshop, 3D Max, After Effects I think that’s it.
Well that’s pretty much it, I don’t like too much of this…
Me: Do you like in your own free time, do you open up the software and try out something, I mean
after the module is done, did you still trying to…
E: Not really. Actually I just remember we use Mudbox as well, and then one of the class we made
a first person shooter game, I think the most fun I had was just like playing around with Mudbox,
making a character but other than that I don’t have any…
Me: ok. Chika?
C: I’m sorry I don’t have experience with creating animation…
Me: well is ok. But what do you think of those who create the animation or how do you find their…
you know devotion of time and energy?
C: I think before I can use traditional one and digital method, maybe it might be difficult to use
hand drawing it takes very long time to complete the details and digital, with digital, we can make
something more realistic close to the reality, it can use a lot of colours, shades or something. (Kei:
you love hand draw) C: yeah just hand drawing but not animation.
------------------------------------Interview paused as Emily has to go for class. --------------------------------------
Me: well let’s continue to the 3rd question. By comparing traditional 2D techniques and 3D CGI,
let’s look into Studio Ghibli’s production. Here I compare Nausicaa to Tales from Earthsea because
I try to focus on the movements; how the movements of the characters and whatever the scenes to
indicate motions of their movements. I hereby proposed that the kind of motion blur that is
generated digitally but in Nausicaa the motion is like in manga drawing, using the lines drawing to
134
indicate motion. So what do you think regarding this statement and make comparison using the
past and current digital technology techniques.
K: Sorry, I haven’t seen the Tales from Earthsea. Is there some… (me: example?) Yes. (me: yes
yes).
----------Interview paused for showing example from Tales from Earthsea, the shot is the screen shots below----------
Me: Yeah, that is how I would like to compare the 2D techniques to CGI. Maybe Kaito you would
like to say….
K: It is completely different.
(Kei: shows the picture of animation stand)
Me: They have the multiplanes camera, they have the background, one layer, and then the middle
ground and the foreground, but for the old technique, they try to slide the planes, so sometime you
can see like…. In the anime Evangelion, you can see when they drive the cars you can see the
background actually moves but the car just you know… you can feel that there is sliding of the
background, maybe the mountain they just move away as the car moves forward, that’s the old
technique, compare to like for this example (refer to the print screen shot), and in Gedo Senki, there
is with more this kind of…. You can feel there is a virtual camera generated by the computer to
show how the movements of this, of course the characters are moving like just now, riding the horse
the character himself and the animal are actually moving and of course together with the camera. So
how do you feel, well of course they are completely different but how do you feel, is it the 3D way
you can feel WOW! That’s more realistic or you will feel like more towards games point of view.
K: Maybe I have to, I have to… maybe we have to take one more movie, Howl’s Moving Castle.
Howl’s Moving Castle made in 3D and 2D, there is a cut they use this…. Pan, camera pan. It’s not
follow, so if Sophie is there and the pan is there, and camera follows Sophie it is moving together,
camera and Sophie and background…
Me: I think you are talking about the scene of Sophie first meeting with Howl, and they walk
together in a pathway…
135
K: Kind of… but it is pan. So the animators should write all the background. It is 3D moving, it is
3D motion background. So it is a very big difference, 2D and 3D CGI. Have you seen the Hayao
Miyazaki’s conti?
Me: Storyboard?
K: it saysなに, なに, なに (English: what/ here refer to: something) and cut to scene 1 cut to scene
2….. it is very very different from the pan and follow it (the camera).
Me: Oh, the camera panning and the camera following the character
K: so he can direct which should be 3D CGI and which can be written by 2D.
Me: So you are saying that these kinds of motions are camera panning or camera following the
characters, actually they can do it in CGI as well… it is what you mean?
K: (showing the clip of the print screen shot), maybe, maybe, to this cut, if it is to write with 2D
animation, it is nearly impossible. But, it can explain it with 3D CGI.
Me: So, this kind of camera movement can be expressed using the 3D methods if 2D is impossible?
K: Yes, I think.
Me: or nearly impossible. Maybe for 2D. Ok I get what you mean.
K: so there is a big difference.
Me: and Xie.
X: Ok, I think the 2D techniques and the 3D techniques are both very important to animation. First
of all, yes, like Kaito just said is nearly impossible to, if you want to do some really really real
things like this. (Pointing to the print screen shot above). It is very very inconvenient if you are to
do it with 2D and yeah like hand drawing. It will cost a lot, and take a lot of time. If we have the
tech-knowledge to do it with 3D, why do we have to do it with 2D… yeah like the traditional ways.
But, of course some people will say that 2D technical they can make some differencing, like they
have the feeling of the traditional thing, they like something ancient, old, where people will feel
good, but, I mean is a developing world so, why bother…?
Me: if like this film, (refer to Tales from Earthsea) it’s a very apparent combination like 3D and
then certain scenes using the old techniques, so, the whole film you will be like keep on seeing
some old techniques and suddenly you can see some of the CGI which is like very apparent, and
camera movement, how do you find… you know in one film, there are 2 apparent changes of the
mood because of the techniques used. Like some I noticed that they are using the sliding of planes
when the wolves attacking the main character, you know that’s actually it is still using the old
technique, you know they slide the foreground image of the desert, yeah, and then when it comes to
this (the print screen shot) they are using CGI, so it is like the whole film there are 2 apparent
136
combination, like you can differentiate, well cause usually Ghibli’s films like Spirited Away we
hardly know there is CGI but in this film (Tales from Earthsea) it is noticeable, so how do you find
when you watching it? I know if you haven’t watched the whole film, but from the examples you
know there are apparent changes… what is the aesthetic…?
X: Changes my mood… like… how do I feel about it……yeah like…
Me: does it like bothers you? Or you may want it to be doing it all digitally?
X: No no no… I don’t want all digital because yeah like I just said there are something very good in
traditional ways so maybe the… both of them put together…
Me: because this might be affecting… you know like my concept… it will all go down to the
Auteur effect of Miyazaki, because the films directed by him, and this is his son directed it… so if
we talking about the future of Ghibli, the heir of Ghibli you know, there is 2 apparent….
X: yeah… I get what you mean…
Me: How do you find if like… well when you watch Ghibli films… and you watch Totoro and
growing up together with Totoro, suddenly the new generation of directors are coming and this is
what he gives us like very apparent, very obvious CGI how do you find the Auteur Effect… Chika,
you love Ghibli…
C: Actually I was shocked, when I watched the Spirited Away, because it is too vivid and more 3D
atmosphere (me: 3D feeling) is not different from Miyazaki’s work, just it is too vivid! It was what
I want to watch I thought, in terms of colours and shades and especially Zeniba, (me: or Yubaba?)
Yes, Yubaba! Like a Sailormoon character.
Me: So you are saying that if like Miyazaki you feel like you want to watch it even the combination
of… but this one (Gedo Senki) you will feel shocked?
C: yeah! Shock!
Me: because you feel so different.
C: it changed!
Me: yeah this might be affecting the Auteur effect that I was trying to…. Yeah… to narrow down…
X: can I speak a little more?
Me: yeah of course!
X: I think the… it is a good thing for the technical to develop but I think there is a different of the
anime and the film, you know the films can be as real as possible, but animation, they are
animations, so what do I mean is animation should has some traditional things but they can be
produced, they can be made from the high technical things but at last the effects I think, the
working… at last show up to us to the audience should be has something like the traditional… look
like the traditional ways made these things like… yeah… so.. I want to say it is cool to see such
137
kind of angle changes, but if the whole film the whole anime is full of such kind of things we won’t
feel fit… so my point is we should use high technical to make things…
Me: but you still should have the genuine, the authentic of what animation should be…
X: it has to be just to make the process to be convenient, to be easier to make..
Me: but not changing the mood…. No... But not changing the meaning of animation!
X: yes! That’s right
Me: Ok right… Cool. I think we move on to question no.4. This is even more technical, yeah I
would like to talk about smoke and sun beams and lighting direction and lens flare like just now the
example, some sort of… like Gandalf in LOTR the kind of witchcraft thing the lights and the beams
actually generated… CGI computer generated images so; this is like a continuation of the previous
question. But this is even more specific on particles and lighting. Like in Borrower Arritetty, this is
the example of the sun ray (referring to the visual analysis print out), and there are a lot more, in the
film you can constantly seeing this kind of sunray, actually in my point of view this is more realistic
and more natural compares to you know… Nausicaa, like a very accurate, direct sun light,
(Borrower Arrietty) this is integrated beautifully… but of course it is up to you guys how you
interpret the details of such animation when you watch. This (Borrower Arrietty) is a film produced
in 2010, and Nausicaa is like way 2 decades ago, so how do you feel when this kind of details and
technology can bring to you and when you look at it… do you prefer… well yeah… how…
K: Do you feel…. These two are similar techniques? (Tales from Earthsea Sparrowhawk and
Arrietty sun ray)
Me: I… I think so… Actually my assumption is that they both using computer techniques to
generate it, the lens flare, and this is the sun ray… This is when I looked at it, I feel is like in
LOTR… this is kind of animation, when this kind of lighting generated gives us a feeling, I mean at
least it gives the visual effects like in motion pictures, particularly this object here (Sparrowhawk’s
wand), when come to you guys, what do you think?
X: I don’t know…. I like this (Sparrowhawk’s wand), it looks more natural, when you look at this
(Nausicaa) (me: is like manga?) yeah. And you can see, oh yes, it is made about 2 decades ago…
Me: do you think like for example this (Tales from Earthsea) do you think it will spoil the… like I
said the authentic…. or meaning of animation?
X: I think is still ok, but if you use so much then it will feel (me: overly done)
Me: What about you? (Kaito) you know a little bit about particles in Maya.
K: Is there any other scenes with this kind of ray?
Me: well there is another one, it is not exactly sun ray but in Totoro, there is a scene in the
bathroom, and here are the gaps and there is lights coming in, if you compare to Arrietty, the lights
138
are actually very different, because in Totoro, the way they build the lighting system… as shown
here, actually they are using different cels, the layers like black, white and they arrange it and then
they put the matte and make it blur so it becomes like…(referring to The Art of Totoro book pg.155)
because the bathroom is hot, the steam from the water…. so when the lights come in it is actually
very different compare to this one (Arreitty) the sun ray just like the example (the sun ray shining
through the tree) and when the cat tries to catch Arrietty too. For this is the 2D ways of making
(Totoro) with different cels and this is a computer generated, but visually in Totoro if without me
showing you this 2D technique, if you are not watching it closely you don’t even feel the air is
actually moving, I study over and over again so I noticed that the lights and air movement, you can
see is actually very minimal movement but it constructed the whole thing and it becomes believable
that the water is hot, they are having a hot bath and comparing to this the lights of course from the
outside to create the more natural sun lights… you know is like 2D and 3D used in each of this but
how come the outcome is like you can’t even notice. (Totoro) this is not generated by Maya this is
just cels animation….
K: I think this is natural (Nausicaa) when I watch this, Nausicaa… I think because… I think it is
natural because the other scenes… (me: you mean here the background and everything) K: I
mean… (me: other shots?) K: yes. Use this kind of ray… so I feel it is natural.
Me: you are saying is natural because you are comparing through the entire film? The visual
presentation of the film?
K: yes yes.
Me: What about you Xie?
X: I don’t know I still like this (Tales from Earthsea)
Me: I think I will skip question 5 as I have already asked Kaito, if you are assigned a scenes….
Let’s move on to question 6, when digital tools are available (toonz and XSI), to make subtle
effects such as water, in your opinion, what special qualities do the traditional techniques used in
the animated feature, Ponyo especially the water scenes, give to the film?
----------------------------Interview paused for a while. Emily is back to the interview -------------------------------
K: I think it is special effects, I think; the clarity of water, the clarity of water is that I can see
through as 3D, in 3D animation. In 3D CGI, I can see through… (me: the transparency) yes yes.
But in 2D, in 2D animation, like Ponyo it is a little plain, plain water, so it is like… I think the plain
feeling is the (me: the flatness, it is very flat) the flatness is special effects (he meant the quality).
Me: Ok. What about you Xie?
139
X: I think it makes the… I mean the digital tools make..ehm… add more possibilities for the
anime… I mean like the effect, it will be much easier for people to make different kind of
imaginational effects when we have digital tools so yeah, something like that.
Me: Well maybe we go for Chika and come back to Emily.
E: Actually I have nothing to contribute to this question… Cause I am not too familiar with this
kind of things…
Me: Ok. Chika.
C: Ok… ahh… if compare with Spirited Away was broadcasted before Ponyo, I feel it is more 2D
especially the sea….. (me: tsunami) yeah yeah tsunami…. Like more artificial the waves… I feel
because it is an imagined world.
Me: Anything else would like to add to question 6?
E: I actually have something to add…. It’s not about digital tools specifically but I just remember
my friends saying that they really really like Ponyo because of the water animation and how detail
that was, I don’t quite remember Ponyo myself but I remember friends saying that they favour
Miyazaki’s film because of the animation.
Me: the 2D water animation..
E: yeah.
Me: ok cool. Let’s move on to question 7. Well the technical terms for open compositing and
multiplanar images actually I borrowed the words from Thomas Lamarre, The Anime Machine.
Open compositing and multiplanar images are just like how just now the animation stand, the
camera. (looking at Emily) Do you know what animation stand is? Animation stand actually is a
camera for photographing the layers. E: nope…. Me: well is ok. Let me explain the multiplanar
images is like different cels, so the cel animation is like the first layer the bottom is the background,
and the character in the middle ground and there is a foreground. This is the most basic things so it
become what we called multiplane, you can change things in the middle and keep the foreground
and the background, so yeah it is what define Studio Ghibli and Miyazaki’s animation. They slide
the planes to move for the animation. So when moving into digital driven techniques, how do you
value the multiple plane layers versus 3D vector space as ways of creating realistic or atmospheric
spaces? I have an example from Spirited Away. For the opening scene right, when they move into
the world, I’m not sure whether you remember when Chihiro she turns and looks you can feel they
are moving into depth, the whole mood generated…. Well the one point perspective…. Giving you
the sense of depth, the volume. So how do you feel like…. If like moving the planes right is just 2D,
the drawing on different layers, just moving around you don’t feel like there is a sense of the z-
depth in 3D. But of course the digital can give you the z-depth. So how do you value this kind of
140
digital realism? Do you find the 2D planes are too plain or… but, there is a but for example this
film Whisper of the Heart, still it is sliding of planes but you can see the train there is like a depth,
so how do you define? How do you… you know value this kind of depth comparing 2D and 3D. of
course 3D software there is already a z-depth, but for this kind of 2D how do you value the
differentiation between the two? Kaito?
K: you are talking about the depth. The 3D composition it is different than the composition that…
and this camera and this kind of layers, and it can also be like the camera moving and there is… if
there is a camera coming, there is 2 ways to express this…. One is just the scaling another one is
camera moving (me: camera zooming in or move the camera towards it) yes. For 3D.
Me: You are trying to say the feeling of depth is that you can either move the camera into it so you
can feel yourself watching it and going into the depth of the space. It is what you are trying to say?
K: yes.
Me: Is there anything else you would like to add?
K: I think is not… I think is not… the special features of Studio Ghibli, because this multiplanar
images is used by other anime as well. I think it is not represent Mr.Miyazaki’s animation.
Me: What about you, Xie?
X: Kaito talked about something, about the 3D, so I would like to talk about 2D, I think the layers
can show a lot of the depths in 2D tools, I have to draw something…. Like in this picture, I made
games so I want to take games as example, like in Angry Bird you know, you know the game
Angry Bird right? (me: yes) here is something and here is the obstacles and at the back there are a
lot of trees and mountain…. Or whatever and I would like to analyze it… it is like 1, 2, 3, 4, 4
layers, and the first layer, you know the screen can be moved like this (left right) when you move
the screen you can see the depth through these layers because the movements and the speed of the
movements is different like… the background, is move in the… the speed is move (K: Slower)
yeah slow, (me: and the foreground is faster) like that. So in this the different speed yeah you can
see the depth, the depth can be shown….
Me: even it is a 2D animation…
X: yeah yeah this is a 2D game. I think it is not only in games, it is also show a lot in the
animation… I can’t exactly think of an animation example now so… yeah I think anime used that a
lot…
Me: ok, thank you. And Emily?
E: first, I have a question. How did Miyazaki draws this, you said that there are layers. You said
there is a background layer….
141
Me: yeah for this train scene, this one is actually the foreground, here is transparent this is the layer,
imagine if it is without the background, so for the window if you put on the white paper here are all
white. So this is the one layer and this is the background layer which is houses and buildings.
Because the cels are transparent. When you put it on the top of this (background), and you add one
more layer for the second car of the train, when the camera is static and you try to move and slide
the background layer, you will actually see only the buildings are moving and then if you move the
second layer the… the other car of the train, so you can see like you know, the train moves you can
see the car is like moving so this shot is how they made it… it is 2D techniques layering of cels….
E: so is that mean there is more detail?
Me: My point is that when 2D….. for you… like for this shot, you can see the depth because there
is another layer of this (the second car of the train layer) you can see depth. How do you
differentiate this kind of 2D-ness depth to the 3D animation like you can feel the space, how do you
differentiate? How to you appreciate? Well this has its own beautiful, aesthetic for you or 3D? How
do you value depth? Well she has given an example of Angry Bird where actually 2D can give you
this sense of depth… why 2D or maybe why 3D? The appreciation you have for the films?
E: I am not sure if this will completely answer your question, but I just appreciate like how they are
able to like draw it like everything with this 2D perspective like all the details they put in, how
everything like get smaller and scale them perfectly.
Me: well don’t worry you are answering the question.
E: yeah I think mostly like the detail that really astonishes me, is like if you go back you can still…
like so many… yeah this is all that impresses me about Miyazaki’s work like especially in Spirited
Away, when she is at Yubaba’s place, you can see like all those intricate drawings, that’s doesn’t
really got anything to do with depth but just like the detail.
Me: right. Thank you. And Chika?
C: Yes… I can’t really get the effective 2D and 3D vector space but I think is more sensational and
emotional because the pictures are drawn by hand, so the artist, the drawer, have to write, draw
pictures according to the depth, they have to change the size of the people and things so it is more
emotional and sensational better than 3D technology.
Me: yeah, thank you and let’s move on to question 8. This is in your animation process, if you
have never tried animation before maybe you can skip this and the 2 of you have done some
animation work yeah maybe you can give some opinion because quality of imagination actually
both of you (Emily and Chika) share your point of view even not technical because this is about
quality of imagination. The quality of imagination is that if you have something in mind and you
want to transfer it to a medium, a paper or the computer using technology, how technology can help
142
you achieve accurately, as accurate as possible from what you visualize in your mind, because a pen
is a technology as well. So if you have something, like if you want to draw an apple, you want to
transfer it to paper how accurate when you draw it on paper compare to the one in your mind when
you close your eyes. How accurate to you think the quality of imagination and technology can help
you either a pen or mouse or a computer screen.
K: I think, I have to think sorry.
X: I really hope that someone can invent a printer that can print my imagination. I think it is quite
difficult to visualize all of my imagination.
Me: do you think talent is one of the issues like if you have the talent of drawing so you can
visualize what is in your mind better?
X: I think talent, how well you can draw, it affects a lot. But it is not everything because it also can
be affected by the tech-knowledge. Yeah, is like maybe 30 years ago there is no 3D software in this
world yet so people can only draw things like the… if you want to have a main character design you
have to draw the face, the back, left and right side, all sides of it you have to draw it, so other people
can understand oh yeah this is your main character in your imagination… I don’t know what I am
saying…
Me: yeah I get what you trying to say… if 3D you can turn 360 degree…
X: yeah, 3D you can change a little bit change a little bit to fit… yeah like that… so technology is
also important. I really hope someone can invent a printer…. Hahahhaha yeah!
Me: Emily, do you have something to say?
E: ehmm… I see that…. Usually when I’m imagine things is not completely solidify like
concrete… it’s just be like if I see a building I won’t see like every single window and stuff like that.
So I think technology kind of helps you to have a solid thing in front of you and kind of shape it and
see the perspective and I think is kind of help you plan as you go on. And what you said about talent
earlier on, I guess people with more talent would be like an easier time to draw it on paper like from
nothing and just create something but if you have like Mudbox and a bunch of clay it is like easier
to see things and start crafting and fixing things so I think that’s how technology can help visualize
things.
Me: ok. Chika?
C: I want to pass the question because I have no experience hahhaha…
Me: Kaito?
K: Yes, maybe… if I prefer the hand writing like sketching, if it is a 3D vector image with be very
precise, and it also can be….. (me: stroke? Different strokes and scribbles?) Express by
143
technology… so that kind of technology can help me make this kind of sketching… the technology
help us to visualize what is in our mind.
Me: we move on to question 9. Yeah this is about the new directors. Previously I am explaining
about… in the conceptual framework, you can see the old animators and new animators, and
definitely you have to think about the future of Ghibli if…. Well I mean… we have to think about
the future as well… Since technology is never stop developing so… and you can see like….
(pointing to Emily) have you watched Tales from Earthsea?
E: yeah long time ago…
Me: but surely you can see the difference, you can feel like there is digital thing in it right?
E: I don’t quite remember… when I look at things I am kind of like focusing on the characters and
story I guess…
Me: it’s ok… well the main thing here is that, other than Miyazaki, like Yoshifumi Kondo the way
he worked he directed the film Whisper of the Heart is more like he is following what Miyazaki did,
but right now there is Goro Miyazaki and Hiromasa Yonebayashi he directed The Borrower Arrietty,
they implement more and more CGI, so… well start to think about the future!
K: I think the… when I see the Goro and Yonebayashi’s movies, I feel, oh it is Hayao’s movies. It
is very similar. I think it is because maybe they are made by Studio Ghibli. So Mr.Miyazaki Hayao
made the Studio Ghibli, therefore Hayao Miyazaki effects are still there.
Me: Even there are new directors….
K: Therefore it is their choice. It is not program or technique, technical….
Me: It is not a technical… not really influenced by techniques…
K: There are technical, but they can, the new directors can choose which technique to use to
express.
Me: Ok yupe. Thank you.
X: I have to think for a while.
Me: Emily?
E: I only watched Gedo Senki, I have not watched Whisper of The Heart. What I can remember
from Gedo Senki was… I feel like the artwork was still beautiful, like detail still had the elements
of Miyazaki I guess, I need to re-watch it, and I am not as detail as in art department I guess I have
to digital art friends they are more knowledgeable about this.
Me: yeah is fine, Chika?
144
C: I think I could distinguish the Miyazaki’s work and the new directors, I could… before this…
but these days I cannot distinguish… for example コクリコ坂からKokurikosakakara, who is the
director?
K: Goro.
C: I really confuse because the way of drawing…
Me: which film is that?
C: Kokurikosakakara, I don’t know the English name…
Me: From up the Poppy Hill?
C: maybe something Hill…
Me: ah… From up the Poppy Hill, the latest one by Goro Miyazaki right?
C: yeah. Because… Maybe their skills are getting similar to Miyazaki’s skill… I don’t know…
Me: But you can distinguish which movie is by Miyazaki and which is not?
C: But in the case of Gedo Senki, I could distinguish is different from Miyazaki’s works because
the story is boring… hahahhaha… The image of the movie is dark in terms of the visual and the
story… so hahhahaa…
Me: So in short, you feel that previously comparing to Whisper of the Heart, you cannot distinguish
whether it’s Miyazaki or is a new director but right now you can see which is directed by Miyazaki
and which it’s new director.
C: Yeah.
Me: Ok. Thank you.
X: Actually, there is something I agree with Chika is like I distinguish who direct this anime not by
the technique but mostly by the story I think. Because everyone has... everyone story has to have
their own style like Mr.Miyazaki he usually prevent something…(me: dark?) No no no… it can
touch our hearts, you can be touched when you watch the anime so… maybe yes there are some
unique things about his artwork, the detail of his works. I think mostly by the content, yeah the
story.
E: can I add something?
Me: yeah sure!
E: I’m kind of like didn’t talk about the story either because I thought it was like irrelevant, but I
agree with the story part that was mainly how that you could tell… and also I remember someone
saying about the artwork that the characters’ expressions, they didn’t show as much they were like
same expression a lot… X: yeah yeah!
Me: you mean the new directors?
145
E: the Gedo Senki.
Me: So, last question. Actually I quote from the producer of Studio Ghibli…. Anyone want to start
to say something? Chika?
C: Miyazaki think new technology can change his job, his work more… ah.. like a revolution of
animation, why he changes the way of drawing when he made Ponyo? Why?
Me: hahhahaha… well that’s actually my question…
C: because Spirited Away he uses new technology, 3D technology but Ponyo, he changed,
backwards…
Me: yeah he goes backwards he used traditional ways….
C: why he goes backwards?
Me: well I did ask him… I mean the questions I sent to Ghibli. I don’t know… hahhahahhaha…
well it is great that we share the same puzzle… why…
E: so the water in Ponyo is hand drawn?
Me: yeah. Fully hand drawn. Well Emily maybe you would like to give some comment?
E: I think I definitely agree with the quote right here, I’m not……. I don’t know….. I feel like
Miyazaki sees the beauty in his artwork I guess…
Me: it will be shocking if everything change to 3D like Pixar! Hahahhahaa
E: hahhahahahhaa yeah! Like all the beauty from Ghibli’s film… just like the detail… I think he is
aware of that that’s why he uses 3D to the minimum I guess…
X: yeah I totally agree… yeah is about the traditions vs the new technologies… I don’t know… I
think there is a kind of value to keep some traditional things….
Me: lastly, Kaito?
K: I think he is different from others is because he has the y-axis perspective he can think the world
in 3D (me: using 2D?) (K continues) Most of the human, most of us can only see in x or z…. but he
has the y-axis (me: y? or is the z? he can see the z-depth?) no… he can see the y-axis… (me: how?)
for example, the laputa… (me: laputa the castle in the sky?) yeah, uses 3D camera movements
therefore, Hayao Miyazaki has the special talent in 3D.
Me: but he conveys through 2D? He has the vision of 3D but he conveys through…. He shows it
through 2D ways?
K: yes. But, one more thing is… he is making a new movie, Kaze Tachinu that is a planes movie,
combat planes… well maybe he is using 3D model…
Me: hahaha we can anticipate the movie…
K: yeah we should watch how he animates the planes…
E: very excited! Hahhaha
146
Me: yeah! And that’s all about it! Thank you so much!
--------------------------------------------------End of the interview---------------------------------------------
147
Appendix 6: Haku and Chihiro go through bushes of rhododendron.
Exhibition display board of Spirited Away in Ghibli Museum, Mitaka 2001
Source: Exhibiting Animation “Spirited Away” Special Exhibition Catalog Ghibli Museum, Mitaka, picture scanned pg.31.
148
Appendix 7: Last scene of Spirited Away.
Exhibition display board of Spirited Away in Ghibli Museum, Mitaka 2001
Source: Exhibiting Animation “Spirited Away” Special Exhibition Catalog Ghibli Museum, Mitaka, picture
scanned pg.69.
149
Essay Feedback Form (to be filled out by the marker, NOT by the student)
Fully Not
met met
Has the student addressed the question 1 2 3 4 5
throughout the essay?
Marker’s assessment
Does the essay have a clear and logical structure? 1 2 3 4 5

Has the student demonstrated understanding of 1 2 3 4 5

the main concepts and/or theories?
Has the student put forward a reasoned argument 1 2 3 4 5

which shows evaluation and analysis?
Has the student made good use of examples, 1 2 3 4 5

evidence and sources to support the essay
answer?
Is the essay well written and clearly presented? 1 2 3 4 5

Does the essay have an effective introduction and 1 2 3 4 5

conclusion?
Has the student made effective use of referencing 1 2 3 4 5

and is there an adequate bibliography?
Overall Comment:
Marker’s Name:
150

Hayao Miyazaki As Auteur Techniques Tech

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Hayao Miyazaki As Auteur Techniques Tech

Caricato da

Copyright:

Formati disponibili

Hayao Miyazaki as Auteur: Techniques, Technology and

Bin Yee Ang

Department of Media and Communications

Goldsmiths, University of London.

imagination imbued by the comparison of techniques that evolved in the development of

compared and studied especially in recent productions.

value of animation techniques will bring continual growth in animation cinema.

Appendix 1: “The Bouncing Totoro”, The three-dimensional Zoetrope 90

Appendix 2: Panaroma Box 91

Appendix 3: Visual Analysis 92

Appendix 4: Interview Questions 130

Appendix 5: Interview Transcript 134

Appendix 6: Haku and Chihiro go through bushes of rhododendron 151

Appendix 7: Last scene of Spirited Away 152

Totoro and the panorama boxes.

kinds of work and leisure.

Hence, how development of technology, revolutions of techniques, preservation of traditional

Furthermore, Susan J.Bigelow has provides profound insight in “Technologies of Perception:

aesthetics in the application of techniques in Hayao Miyazaki Studio Ghibli animation by

be visualized. It is after all to embrace the art of movements – Animation.

A Media Theory of Animation by Thomas Lamarre has provided significant information in

understanding Japanese Animation11. Lamarre’s concentration on “how anime thinks technology”

in the study of this dissertation.

principle of metaphors based on that. This is important to be covered in this dissertation

especially in chapter two, Technologies and Aesthetics: Miyazaki in Animation Process to

connect technique of perception with animation technique via quality of imagination.

reality better than reality itself.”18

brush and the artwork in Zen19.

mentioned technique of perception by Bigelow in this dissertation. The quality of imagination is to

concern of Auteur effect:

Techniques is perception ANIMATION Techniques of animation

Technology (medium = tools)

animation and Miyazaki as an Auteur.

the case of Studio Ghibli animation invites a path for discussion.

b) Whisper of the Heart,1995

d) Tales from Earthsea, 2006

e) Ponyo On The Cliff By The Sea, 2008

how the analysis of the visual presentation of the films:

becomes vital relation.

regards to Japanese Animation. By sending in email of request to the college in Ritsumeikan

participated in the interview:

Ritsumeikan University who currently working on a research calls Indie-game

Promotion and Marketing.

Sciences, Ritsumeikan University. She is majoring in Film Production and Japanese

called Introduction to Digital Arts.

Goldsmiths, University of London who is highly interested in Studio Ghibli productions.

knowledge enthusiastically for the interview27.

applicable to this dissertation.

animation that brings upon to the screen.

Techniques in Animation: Hayao Miyazaki and Studio Ghibli

push the boundaries and to be improvised to serve the visual demands.

animation and the studio.

also the transparency of the water animation using traditional techniques.

the digital composition of this water animation.

digital methods hence becomes the representation of that invasion.

implying significant constitution of viewing experience based on the aesthetics of visual

performance in the animation.

In order to create a better understanding of how technology development in technical perspective to

on Lamarre’s claims regarding the movement into depth in animation39:

by using techniques of composition, as is commonly supposed. It is not enough to draw a

debatable as it is not as firmly applicable in recent productions of Studio Ghibli animation

Chihiro go through the bushes of rhedodendron is a 2-dimentional animation with notifiable

The hawk is aiming at cob in Tales from Earthsea.