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千と千尋の神隠し
Picture book of the movie Spirited Away by Miyazaki Hayao. A lazy spoiled girl must suddenly find incredible courage and energy to save her family, friends, and herself. In Japanese. Annotation copyright Tsai Fong Books, Inc. Distributed by Tsai Fong Books, Inc.
- GenresJapanese Literature
167 pages, Hardcover
Published August 1, 2001
3 people are currently reading
20 people want to read
About the author
Hayao Miyazaki
366 books3,508 followersHayao Miyazaki (Japanese: 宮崎 駿) is a celebrated Japanese animator, filmmaker, screenwriter, and manga artist, widely regarded as one of the most influential figures in the history of animation. He is the co-founder of Studio Ghibli, the animation studio responsible for producing many of Japan’s most beloved and internationally acclaimed animated films. Over the course of a career spanning decades, Miyazaki has developed a reputation for creating visually rich, emotionally resonant stories that often explore themes such as nature, pacifism, flight, childhood, and the human condition.
Miyazaki was born in Tokyo and developed an early interest in drawing and animation. His father’s work in the aviation industry had a significant influence on him, particularly in fostering his fascination with aircraft and flight, motifs that would become prominent throughout his later works. After studying political science and economics at university, Miyazaki began his professional career in animation when he joined Toei Animation. There, he worked under the mentorship of directors like Isao Takahata, with whom he would later form a lifelong creative partnership.
In his early years at Toei and other studios, Miyazaki contributed to several television series and animated films. He worked as a key animator and storyboard artist, gradually gaining recognition for his storytelling abilities and attention to detail. Among his early projects were contributions to series such as Heidi, Girl of the Alps and Future Boy Conan. His directorial debut in feature films came with The Castle of Cagliostro, a film adaptation of the Lupin III manga series, which already showed signs of his distinctive style and sensibilities.
Miyazaki's breakthrough came with the film Nausicaä of the Valley of the Wind, based on his own manga. The success of that film prompted the establishment of Studio Ghibli, which he co-founded with Takahata and producer Toshio Suzuki. From that point forward, Miyazaki directed and wrote many of Ghibli’s most iconic works, including My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, Princess Mononoke, and Howl’s Moving Castle. His films are known for their hand-drawn animation, strong character development, and philosophical underpinnings.
In 2001, Miyazaki directed Spirited Away, which became one of the most critically and commercially successful animated films of all time. The film received numerous awards and international recognition, including an Academy Award for Best Animated Feature. It also became the highest-grossing film in Japanese history at the time of its release. The film’s success further solidified Miyazaki’s reputation as a master storyteller and a visionary in global cinema.
Despite announcing his retirement several times, Miyazaki repeatedly returned to filmmaking. His later works, such as Ponyo and The Wind Rises, continued to showcase his evolving themes and storytelling maturity. His most recent project, The Boy and the Heron, marked a highly anticipated return to the director’s chair and once again captivated audiences with its dreamlike visuals and emotional depth.
Miyazaki’s films are often distinguished by their complex female protagonists, environmental messages, and moral ambiguity. Rather than presenting clear-cut villains and heroes, his stories explore the nuances of human behavior and often focus on characters finding their place in the world. Throughout his career, he has received numerous accolades and honors for his contributions to the arts, including lifetime achievement awards recognizing his impact on both Japanese and international cinema.
His legacy continues to influence generations of animators and filmmakers worldwide, and Studio Ghibli remains one of the most respected names in animation.
Miyazaki was born in Tokyo and developed an early interest in drawing and animation. His father’s work in the aviation industry had a significant influence on him, particularly in fostering his fascination with aircraft and flight, motifs that would become prominent throughout his later works. After studying political science and economics at university, Miyazaki began his professional career in animation when he joined Toei Animation. There, he worked under the mentorship of directors like Isao Takahata, with whom he would later form a lifelong creative partnership.
In his early years at Toei and other studios, Miyazaki contributed to several television series and animated films. He worked as a key animator and storyboard artist, gradually gaining recognition for his storytelling abilities and attention to detail. Among his early projects were contributions to series such as Heidi, Girl of the Alps and Future Boy Conan. His directorial debut in feature films came with The Castle of Cagliostro, a film adaptation of the Lupin III manga series, which already showed signs of his distinctive style and sensibilities.
Miyazaki's breakthrough came with the film Nausicaä of the Valley of the Wind, based on his own manga. The success of that film prompted the establishment of Studio Ghibli, which he co-founded with Takahata and producer Toshio Suzuki. From that point forward, Miyazaki directed and wrote many of Ghibli’s most iconic works, including My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, Princess Mononoke, and Howl’s Moving Castle. His films are known for their hand-drawn animation, strong character development, and philosophical underpinnings.
In 2001, Miyazaki directed Spirited Away, which became one of the most critically and commercially successful animated films of all time. The film received numerous awards and international recognition, including an Academy Award for Best Animated Feature. It also became the highest-grossing film in Japanese history at the time of its release. The film’s success further solidified Miyazaki’s reputation as a master storyteller and a visionary in global cinema.
Despite announcing his retirement several times, Miyazaki repeatedly returned to filmmaking. His later works, such as Ponyo and The Wind Rises, continued to showcase his evolving themes and storytelling maturity. His most recent project, The Boy and the Heron, marked a highly anticipated return to the director’s chair and once again captivated audiences with its dreamlike visuals and emotional depth.
Miyazaki’s films are often distinguished by their complex female protagonists, environmental messages, and moral ambiguity. Rather than presenting clear-cut villains and heroes, his stories explore the nuances of human behavior and often focus on characters finding their place in the world. Throughout his career, he has received numerous accolades and honors for his contributions to the arts, including lifetime achievement awards recognizing his impact on both Japanese and international cinema.
His legacy continues to influence generations of animators and filmmakers worldwide, and Studio Ghibli remains one of the most respected names in animation.
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Displaying 1 - 2 of 2 reviews
July 20, 2021
千と千尋の神隠しこの映画はすごいです。ほんとにおもしろいと思います。この物語は小学生の千尋は、両親の車で引っ越し先に向かっていました。実はそこは神々の住む世界。両親は豚の姿に変えられました.両親のところから逃げ出した千尋は、謎の少年・ハクに出会いました。千尋がハクを見つけた後、ハクは千尋を神々が休むレストランに連れて行きました。千尋が湯婆婆と協定を結んだ後、湯婆婆は彼女の名前の一部を奪いました。不気味な姿をしたカオナシが油屋に侵入し、千尋以外の従業員たちは砂金を出してくるカオナシをもてなします。千尋はすべての問題に賢く取り組み、レストランをより良くするのを助けます。結局、ちひろは両親を見つけ、パパとママがブタに変えられてしまった姿を見ました。最後に一緒に現実に戻ることができました。ハクとチヒロは最後に別れなければならなくて、悲しいと思います。彼らは最後にお互いに会うことができるかもしれません。
すきな
ある場面で、「腐れ神」が油屋に来ました。腐れ神は汚すぎで、油屋の従業員たちは接待したくない。この時、千尋は不本意ながら、腐れ神を手伝いました。我が儘で、礼儀もなく頑固だった千尋は、油屋で働くことで、たくさん成長しました。千尋の世界がどんどん広がるようになりました。千尋が初めて誰かのために精一杯頑張る姿を見てすごく感動しました。
ですから、ここから、ちひろが最初はとても怖かったものから、今では他の人を助けようとしていることがわかります。 これが私がこのシーンが好きな理由です
嫌いな
鼓橋に佇然化物がとても迷惑なのが嫌いなシーンがあります。あのひとは黒く細長い身体に白いお面をつけた姿でした。 モンスターがくれたものをチヒロが受け入れたくないので、チヒロを廊下で追いかけたのも怖いです。カエルを飲み込んだシーンもとても怖いので、私はこれが好きではありません。
すきな
ある場面で、「腐れ神」が油屋に来ました。腐れ神は汚すぎで、油屋の従業員たちは接待したくない。この時、千尋は不本意ながら、腐れ神を手伝いました。我が儘で、礼儀もなく頑固だった千尋は、油屋で働くことで、たくさん成長しました。千尋の世界がどんどん広がるようになりました。千尋が初めて誰かのために精一杯頑張る姿を見てすごく感動しました。
ですから、ここから、ちひろが最初はとても怖かったものから、今では他の人を助けようとしていることがわかります。 これが私がこのシーンが好きな理由です
嫌いな
鼓橋に佇然化物がとても迷惑なのが嫌いなシーンがあります。あのひとは黒く細長い身体に白いお面をつけた姿でした。 モンスターがくれたものをチヒロが受け入れたくないので、チヒロを廊下で追いかけたのも怖いです。カエルを飲み込んだシーンもとても怖いので、私はこれが好きではありません。
December 4, 2022
Es una película que amo y adoro y el libro me ha encantado.
La única razón por la que no le pongo 5 estrellas es que no hay kanjis, están los de Caldera o los de Yubaba o algunos complicados, pero luego no encontro los de decir, escribir o salir... Es algo extraño y que me cuesta leer ya que no es mi idioma.
Eso si la canción si esta todos los kanjis 🤣
Lo recomendación para los estudiantes de japonés que quieran mejorar en la lectura y aumentar vocabulario.
La única razón por la que no le pongo 5 estrellas es que no hay kanjis, están los de Caldera o los de Yubaba o algunos complicados, pero luego no encontro los de decir, escribir o salir... Es algo extraño y que me cuesta leer ya que no es mi idioma.
Eso si la canción si esta todos los kanjis 🤣
Lo recomendación para los estudiantes de japonés que quieran mejorar en la lectura y aumentar vocabulario.
Displaying 1 - 2 of 2 reviews