Die Ghibli Filme sind natürlich die Klassiker schlechthin. Wer gerne mal einen guten Überblick über die Filme bekommen möchte, ohne sich gleich alle anschauen zu müssen, dem empfehle ich die Videos der amerikanischen Bloggerin JesuOtaku. Sie hat (fast) alle Filme analyisert und stellt diese in einem kurzen Video vor: Hier geht es zu dem ersten Video.
Sie macht ihre Sache recht gut, auch wenn ihr ab und zu einige Hintergrundinformationen zu der japanischen Kultur fehlen.
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@ Narcissu :
Wie kannst du nur! Uns diese wunderschöne Nachricht mittelen, mit der traurigen tatsache das es keine Karten mehr gibt
Meh. Ich will das sehen. Denn Mononoke ist mein absoluter Liebling von Ghibli. Und d aich ein großer Theater Freund bin. Und ich soweiso 2013 nach London wollte.
Maaan. ^^ Naja mal sehen, vielleicht kommt da ja noch was
!!
Ich will dabei gewesen sein.
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Geändert von Narcissu (26.01.2013 um 16:16 Uhr)
Am 3. Oktober, also in einer Woche, läuft Ponyo im Rahmen einer Themenwoche auf ZDFkultur. Unter Anderem läuft an dem Tag auch noch Summer Wars.
Zitat
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Ich würd ja eher wegen den zwei anderen Filmen einschalten.
Mh, Summer Wars. Der war wirklich cool gemacht.
Jap, fand ich auch. Sehr sympathischer Film.
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Also ich muss sagen meine persönlichen Lieblinge aus dieser Reihe ist Arrietty – Die wundersame Welt der Borger und Ponyo – Das große Abenteuer am MeerIch mag keine Filme in der Kinder leiden oder gar sterben nicht mal im Anime...
2013 wird ein Ghibli-Jahr!
Kaze Tachinu (風立ちぬ) („The Wind is Rising“)
– Release Sommer 2013
– Länge: ca. 125 Minuten
– Direktor: Hayao Miyazaki, Produzent: Toshio Suzuki, Musik: Joe Hisaishi
– hat als Hauptthema das Fliegen
– basiert auf dem gleichnamigen Manga Hayao Miyazaki (2010-2011), der auf dem gleichnamigen Roman von Tatsuo Hori aus dem Jahr 1937 basiert
– seit Juni 2012 in Entwicklung
– offizielle Website: http://www.kazetachinu.jp/
Inhalt: Der zehnjährige Jiro Horikoshi träumt vom Fliegen und will ein Pilot werden. Als Erwachsener, 32 Jahre später, arbeitet er selbst an Flugzeugen, doch der Krieg hat begonnen und Jiro soll einen „Jäger“ für ein Kriegsflugzeug bauen.
Der Film ist möglicherweise Hayao Miyazakis persönlichstes Werk. Miyazaki ist in einer Zeit des Pazifismus (Nachkriegszeit) aufgewachsen, in der aber trotzdem noch eine große Liebe zu Panzern und Kriegsflugzeugen verbreitet war. In dieser widersprüchlichen Situation scheint sich auch der Protagonist des Films zu befinden.
Kaguyuhime no Monogarari (かぐゆ姫の物語) (The Tale of Princess Kaguyu)
– Release Sommer 2013
– Länge: ca. 125 Minuten
– Direktor: Isao Takahata, Produzent: Yoshiaki Nishimura, Musik: Shinichiro Ikebe
– basiert auf einem klassischen japanischen Märchen Take-tori Monogatari (Tale of the Bamboo Cutter) ca. 900 n. Chr.
– sollte früher als Kaze Tachinu erscheinen; aufgrund von Problemen bei der Produktion erscheinen beide am gleichen Tag
– sollte ursprünglich 2005 als 30-minütiger Kurzfilm erscheinen
– laut Toshio Suzuki ist der Film wie „Heide – Das Mädchen aus den Alpen“, wenn es in Japan spielen würde
– Takahata sagte, dass dies möglicherweise sein bester Film werden könnte
– offizielle Website: http://www.kaguyahime-monogatari.jp/
Ausführender Produzent war Seiichiro Ujiie, der im März 2011 im Alter von 84 verstarb. Ujiie wollte den Film unbedingt vor seinem Tod sehen:
Mehr Details.
I'm hyped.
Ich schätze, das könnten die letzten Filme der beiden werden, zumindest was die Regie angeht.
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Ich möchte den heutigen Tag als Anlass nehmen, Yoshifumi Kondous zu gedenken. Kondou war der Regisseur von „Die Stimme des Herzens – Whisper of the Heart“ (mimi o sumaseba / 耳をすませば), möglicherweise mein Lieblingsfilm des Studios. Kondou war zu der Zeit eine aufstrebende und vielversprechende Persönlichkeit, und Hayao Miyazaki, Toshio Suzuki und Isao Takahata waren sich einig, dass Kondou der Nachwuchsregisseur des Studios werden sollte.
Etwa drei Jahre nach seinem Debut mit „Die Stimme des Herzens“ starb Kondou allerdings im Alter von 47 Jahren an einem durch Überarbeitung bedingten Aneurysma. Das ist nun genau 15 Jahre her. Die Abschiedsreden von Miyazaki und Takahata verdienen es, in diesem Zusammenhang erwähnt zu werden, also hier sind sie:
Sending off Kondo Yoshifumi Kun
We called him Kon-Chan. He was one of the best among the hundreds of animators I ever met.
When he was young, his drawings were shining with the real admiration towards youthful freedom.
Just as when you climb a slope and finally see a vast blue ocean over the mountain, or like a fine clear sky - his work showed such a sense of freedom.
I pride myself as someone who appreciated his talent most deeply, and appropriately.
When he was in his 20s, and I was in my 30s, we used to talk about movies we wanted to make, sitting side by side, talking with our hands.
If we have an opportunity, even if it's only a small piece, let's make an animation which can express Kon-Chan's character, his admiration most - something like Tom's Midnight Garden by Phillipa Pearce. Although it was almost impossible considering the situation at that time, I had decided on my own that we would someday realize such a project.
Still, among his achievements, the works which he did with me were rather minor.
Although we had several opportunities, something just didn't click.
I am very impatient. I have many different opinions, many contradictions within me at the same time, and change my direction as I go through. But he was really slow-paced, and once he had made up his mind, he tried to stick to it.
And I'm a kind of person who abandons the ship even before it becomes clear the ship is sinking, while Kon-Chan was a kind of person who loves the ship and the people on the ship, and chooses to go down with the ship.
We departed from each other a little by little in the most critical moments, and Kon-Chan accomplished the works with Paku-San (Takahata-San) as his pinnacle as a professional (animator). Although I appreciated his high-quality, heavy works, I felt a bit of incongruity.
Why was he forcing himself to do this? Why couldn't he express his admiration in more straightforward way? Sometimes, I felt frustrated.
But, maybe Kon-Chan felt that he didn't want to be dragged around by impatient and forceful Miyazaki.
Even a small rift can be widened as the time goes by. Some awkwardness could not be helped. Still, when he directed "Whisper of the Heart", I felt that I finally kept the promise I made a long time ago.
He did a great work and met our expectation. It must have been tough on his mind and body, but he never complained once, and accomplished the work with his patience.
Although it has changed in its form as the time went by, "Whisper of the Heart" was definitely the work which we, in our 20s and 30s, had wanted to make someday.
I can't forget one scene which Kon-Chan did when he was young. It's a scene in "Future Boy Conan", where the hero laughs to cheer the heroine up.
Being very tired from the long work hours, he drew it half-unconscious, crouching over his desk with his long legs folded. Still, the expression of the boy was really cheerful, full of gentleness and consideration. It was really a great picture.
So, even when I saw Kon-Chan with many tubes attached to him in the ICU at the hospital, I could feel that the real Kon-Chan was inside, unharmed. I could feel that he would be all right.
He had punctured his lungs several times before. And even though the doctors had told him that he would die unless he was hospitalized, he always came back to work, managing the pain with acupuncture. I was convinced that he would surely come back this time, too....
Even though his lungs were about to be punctured, Kon-Chan didn't stop moving his pencil, withstanding his pain. In many ways, in our profession, we wear ourselves out, and once we get through this final rap, we can take a brief rest, and we can start working again -
- so I had assumed.
He often irritated me with his stubbornness. He was the kind of person who patiently waits for the snow to melt. But this time, he has gone before me.
He was hospitalized right after I offered him another job together. He accepted it with his usual murmurs.
I can't say anything other than that I'm sorry.
I really regret it.
But he was really patient. So patient that the nurses were impressed.
Kon-Chan,
To the blue ocean over the mountain,
To the fine clear sky,
Melting gently with light, winds, trees, water, and earth,
Please rest in peace.
I will never forget you.
January 23, 1998
Miyazaki Hayao
Auf Nausicaa.net gibt es eine Seite zu Yoshifumi Kondou – die ist sehr sehenswert und von dort habe ich auch die Abschiedsreden.
Eulogy
Kondo Yoshifumi San, you passed away so suddenly. I can not accept such an injustice. We haven't gotten used to the reality of it yet. When I saw your desk, Kon-Chan, I just felt that you happen to be away, and that you'll be sitting there tomorrow as usual.
Still, it's true that you are not coming back any more, so we must mourn you.
Kondo Yoshifumi San, you had a rare talent. You were a great animator, character designer, and supervising animator. You have left many accomplishments, and was highly acclaimed for your direction in "Whisper of the Heart" and "Sorairo no Tane".
Kon-Chan, you used to remember the Don Gabacho's song in "Hyokkori Houtanjima" as "Even if today was no good, we still have tomorrow", changing it into something more positive, from the original "If today is no good, we'll do it tomorrow". I used it in "Only Yesterday". You always wanted to be positive, and on the side of social justice.
At the studio, you were beginning to assume a position of leading the entire staff members as a senior member.
We have many people here who admire such a personality of yours and your works. Many young people have been inspired by your works and chosen this profession. But you were still 47. It shouldn't have been the age to reflect. There are many things you wanted or had to do, in your life and work. Why did the things turn out this way? Everyone is vexed and can not help but feel sorry, but, you must be the one who feels the regret most.
Let me speak of personal matters. Selfishly, all the memories came back to me when I heard that you collapsed on the 26th of last month (ed: December, 1997). How much I have depended on you. How much you have helped me. If it were not for your great talent, huge efforts, and hard working, and before that, if you had not decided to work with me, there wouldn't have been "Grave of Fireflies" or "Only Yesterday".
I noticed you, Kon-Chan, when you did a scene in "Panda Kopanda, Rainy Circus", where characters had the breakfast on the roof in the morning after the flood. It was so care-free, lively, and shining. You were still 22 years old. You became better and better in a short time, and after you did such great work for "Future Boy Conan", I asked you to work as a character designer and supervising animator. That was when you were 28 years old.
We went to the Prince Edward Island together location hunting (ed: for "Anne of Green Gables"). Many photograph books about the island have been published these days, but they don't have a picture of the Driad's (sp?) Spring, which we saw and scooped the water with our own hands - we said so and grinned to each other - when was it? You came to my house, and we went through many trial-and-errors in character design. We discarded the sweet girl design which embodied your love for Anne, and finally decided on a skinny, large-eyed, almost skeleton-like Anne. But as the story progressed, the skinny Anne grew up amazingly to be a cheerful and beautiful young woman with class, as written in the original novel. It was very much like your sophisticated character, Kon-Chan. Your characters such as Anne and Setsuko in "Grave of the Fireflies" strongly influenced the anime characters afterward. I think that you must have been very proud of it, though you never mentioned anything.
The picture with a feeling, the movement with a feeling, and the person who can draw such a picture - Kon-Chan was such a person for me. Every time I challenged a new task, I trusted your talent, depended on it, and pulled you into the long hard journey, selfishly believing that it would make your talent flourish at the same time, and that you would get a joy and pride from such a work eventually. When I think that such hard work might have shortened your life, I don't know what to do.
When you were young, Kon-Chan, you were so skinny. You didn't speak much, didn't eat much, and you were calm. But your animation was so lively. You suffered from some serious illness, but you looked healthier these days. Although you were still calm, you began to speak more, and yet, you listened to others well. And you were looking for your own new way in the work, and you were about to step on the new road.
You loved your work, and even after the operation, you worried about the work, till the end. When I think of your regrets, I can not possibly find a word to send you off.
Kon-Chan, I truly thank you for your great work. I am sure that your work will continue to live, be loved by people, and influence people.
January 23, 1998
Takahata Isao
Es ist noch gar nicht so lange her, dass ich von Kondous Tod erfahren habe. Ich wusste, dass „Die Stimme des Herzens“ einen anderen Regisseur hatte, und ich hatte gehofft, eines Tages einen weiteren Film von Kondou zu sehen. Nun, das ist leider nicht mehr möglich.
Abschließen will ich mit einem Abschiedsgedicht von Miyazaki:
Dem stimme ich zu. Ruhe weiterhin in Frieden, Yoshifumi Kondou.
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Meine Lieblinge von Ghibli sind Nausicaä, Mononoke, Laputa, Arrietty, Erdsee, Das Wandelnde Schloss, Chihiro und Meine Nachbarn die Yamadas. Kann mich aber nicht entscheiden, ob ich Nausicaä (dessen Geschichte ich auch als Manga bewundere) oder Mononoke am allerbesten finde ... oder die Yamadas, auf eine liebenswert verpeilte, ganz andere WeiseStehe also hauptsächlich auf die epischeren Sachen die mehr in die Fantasy-Richtung gehen. Habe aber auch die meisten anderen Filme gesehen. Einige waren ganz große Kunst, wie Hotaru no Haka, andere niedliche Unterhaltung. Aber nicht alles hat mir durchweg gefallen. Ponyo zum Beispiel finde ich seltsam überbewertet für einen so kitschig-infantilen Film mit äußerst wirrer Handlung, irritierendem Pacing und extrem nervigen Theme-Song (soll nicht zu böse klingen, unter anderem animationstechnisch war natürlich auch das ein Meisterwerk) ^^ Kikis Lieferservice und Totoro fand ich zwar nett aber auch irgendwie etwas zu seicht. Falle bei manchen dieser Werke wohl auch einfach längst aus der entsprechenden Zielgruppe raus *g* The Cat Returns war auch nicht so meins.
Mein nächster Hoffnungsträger ist Kaguyahime no Monogatari, was ich auch alleine schon deshalb interessant finde, weil die Magisterarbeit einer Freundin u. a. japanische Märchen zum Gegenstand hat
Ich bin auf beide der kommenden Filme sehr gespannt, lege meine Hoffnungen aber insgeheim mehr in Kaze Tachinu, weil mir das Thema hingegen sehr gut gefällt. In Takahata habe ich aber natürlich auch viel Vertrauen.
Falls du ihn noch nicht kennst: Children Who Chase Lost Voices (Hoshi o Ou Kodomo) von Makoto Shinkai ist auch ein ziemlich netter Film, der ein wenig ghibliesque wirkt, das das Fantasy-Setting betrifft. Sicherlich ist er nicht so episch und bedeutungsvoll wie z.B. Mononoke, aber das Setting gefällt mir dennoch ziemlich gut, insbesondere mit den tollen Kreaturen.
Schade, dass Hayao Miyazaki nicht Erdsee verfilmt hat, sondern sein Sohn. Im Gegensatz zu den meisten anderen Leuten mag ich den Film zwar wirklich gern, aber er war 1) eine schlechte Buch-Adaption und 2) konnte den Ghibli-Charme nicht transportieren. Hayao Miyazaki war zu dem Zeitpunkt leider mit Howl beschäftigt. :/
Wenn es eine Fortsetzung zu einem Film geben wird, dann wohl ein Porco Rosso 2, das war ja schon lange im Gespräch und Porco Rosso war ja auch Miyazakis Lieblingsghibli. Wobei ich mir vorstellen kann, dass Kaze Tachinu das ändern wird. Ich denke, es ist auch gut möglich, dass Kaze Tachinu Miyazakis abschließendes Werk sein wird, bei dem er im Regiestuhl sitzt. Danach darf er aber gerne weiterhin wie z.B. bei Arrietty die Drehbücher schreiben. Hiromasa Yonebayashi, auch wenn noch keiner den Namen kennt, hat bei Arrietty als Regisseur nämlich tolle Arbeit geleistet.
Takahata wird danach wohl auch keinen Film mehr machen, schätze ich. :/
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