SPIRITED AWAY 2 PDF
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2. THE LISTENING / READING SCRIPT. From: myavr.info /myavr.info Spirited Away is a Japanese animated fantasy-. Get Free Read & Download Files Spirited Away Vol 2 PDF. SPIRITED AWAY VOL 2. Download: Spirited Away Vol 2. SPIRITED AWAY VOL 2 - In this site isn`t . Spirited Away Volume 1 Hayao Miyazaki - [PDF] [EPUB] Spirited Away Concept Design 2 Neville Page Titan Concept Review Compound.
Did some of you notice different sounds? Play them back to the class, can they guess what they are. When Disney took on the challenge to adapt the film for an English speaking audience the characters voices had to be changed. A new team of professionals were brought together to rework Spirited Away, and just like the making of the original, it was a lengthy process.
Writers were hired to translate the script from Japanese to English; they often asked the original team back in Japan for help with interpretation.
The writers thought it was the animal seal! Setting and Characters Spirited Away is set in two different words, a modern day Japan where Chihiro and her family live, and the parallel mysterious land where weird and wonderful creatures and spirits lurk. Some people have described Spirited Away as a classic fairy tale, like Alice in Wonderland, because the lead character goes on a journey of discovery and learns a lot about herself.
Do you agree? Can you think of any other films or stories that use this type of plot? Use the chart below to record what these problems are and how each character over came them.
Character What problem did the character How did they resolve them? At the end of the film she is excited about going to a new school and making new friends, is no longer frightened. Are there any similarities between you and Chihiro? If you were a creature in the film what you would you look like and what would you do?
Life in Japan Miyazaki chose to set the film in a bathhouse, an important place where people go to relax in large hot tubs. Most of the characters wear a Kimono, the traditional dress.
Japanese writing, lanterns and masks can also be seen in the film. All these things are examples of Japanese culture.
Where is Japan? How many people live there? What is the weather like? What do they eat? Use the school library to do some research. The River God In Japan for thousands of years, people have believed that gods and spirits live all around them in the rivers, the trees and houses.
Miyazaki used these beliefs and his own experience of helping to clear a river near his home that had become filled with waste, to create the smelly Stink Monster. The character is actually a River God who has become bunged up with grime, pollution and rubbish from the polluted river. Label the pictures with the reasons the creature became so dirty and what can be done to keep him clean.
But no matter how many times she walked down that path, she never came out in the spirit world. Twelve years. It had been twelve years! How much longer was Haku going to keep her waiting? Did he even remember his promise? Had he just said they would see each other again to make her leave? Chihiro didn't want to believe that. She wanted to believe Haku truly meant what he said.
But 12 years was a long time, and she was beginning to have her doubts. Then again, spirits didn't die unless they were killed, which was a very difficult thing to do. So time wasn't exactly the same for them.
In fact, spirits probably saw 12 years as humans saw days; not that long at all. But Chihiro was human, and 12 years was a very, very long time to her. Want to come? It will be a girl's night out. Come on, we could meet some real cute guys. You guys go have fun. We can all see it. Who is he? Come on, give us a hint. It's written all over your face.
Mimi sighed and folded her arms. I've known it for a long time. I've been patient, waiting for you to spill the beans, but you never say anything. I've tried wheedling it out of you, but you're just so stubborn. Why won't you tell me? How could she say that her thoughts were always on a certain river spirit that she hadn't seen in 12 years?
Everyone would think she was crazy. Does he have a girlfriend? Does he live far away? But Chihiro wouldn't crack. You're going to drive me crazy!
Mimi could really be a nuisance at times. But she was a good friend. One of the few Chihiro had in this world. Ever since her little run in with the spirit world, she never really reconnected with the human world. She didn't have many friends. She went to school and she went to work just like anyone else would, but then she went home and just hung out there. She just felt so misunderstood. She didn't feel like she belonged here. I want to go home. To my real home.
Earth to Chihiro. You still in there? She felt a major headache coming on. Are you going to tell me willingly, or am I going to have to get April to come get it out of you? She knew her friend could keep a secret, but April, the school's biggest gossip girl, definitely couldn't. She was excellent at getting things out of people and anything she found out would become public knowledge by the end of the day. Chihiro sighed and gave in. Mimi smirked at the look of defeat on her friend's face. She pushed her into a chair and sat in one across from her.
Chihiro never spoke to anyone, not even her parents, about what had happened all those years ago. She wasn't about to start now. Besides, everyone would think she was crazy. But since Mimi was forcing her to talk, she decided to just give enough information to satisfy her friend's curiosity. Give me details! I told you, it's written all over your face.
And so what if it was 12 years ago. We promised we would see each other again.
Guys will say anything to get in your pants. She dropped her voice so she wouldn't attract attention. I was only Realization dawned on Mimi's face.
But still, 12 years! And you haven't seen or heard from him once? Mimi nodded, knowing that she was right. Your Haku has. She wasn't even sure if Haku felt that way about her. How could he? He was a powerful river spirit, she was a human mortal. It could never work, no matter how much she wished it could.
Maybe he did forget about her. Maybe he saw her as a scared little girl and pitied her. Just face it.
"Spirited Away 2: Return To The Spirit World" Chapter 1: Twelve Long Years
You had a schoolgirl crush, that's all. Once you get a boyfriend you'll forget all about Kahu. She looked at her watch. You sure you don't wanna come? I can't make you change your mind. But just think about what I said. See you Monday. It seemed like she was alone a lot.
It wasn't that she liked to be alone or anything, she just always felt like such an outcast, like she didn't belong.
She once again found herself wishing she had failed Yubaba's test, or at least looked back while passing through the spirit gate.
She threw her things in the backseat and started up the engine. She wasn't planning on going home though.
Most of the story takes place in the bathhouse, where spirits, Gods, deities, Yokai and Kami visit for refreshment.
Chihiro struggles to survive in the bathhouse, while she ventures on an inward journey of self-revelation and maturation, while at the same time striving to escape the servitude of the bathhouse and turning her parents back to normal with the help of her handful of spirit friends.
This was to provide a sense of comfort, and offer a sense of purpose. The element which attracts our attention is that, there is no substantial structure upon which the plot revolves. There is no adrenaline stimulating action or suspense, or any proper climax. The story moves forward on its own fluctuating pace. Hence, watching Spirited Away only provides a serene and soothing experience. The possible reason behind such distinctive structure might be revealed in Miyazaki's own words, " I don't have the story finished and ready when we start work on a film.
Miyazaki's Spirited Away Picture Book
I usually don't have the time. So the story develops when I start drawing storyboards. The production starts very soon thereafter, while the storyboards are still developing. We never know where the story will go but we just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
However, Spirited Away is a work truly of Japanese origin in its essence, not just because of its experimentation and mingling with Japanese religion, folklore and myths, but also because of its profound insight into the culture and psychology, through the manners, actions, behaviour and scenic beauty of the rural Japan. There have been several debates regarding the theme of Spirited Away. Like Jeenwal writes, "In the essay "Towards Transactional Theory of Reading" Rosenblatt through a poem of Robert Frost shows how few lines of a poem can be interpreted in different variations by different individuals.
Each and every individual adds its own context in the interpretation. Whatever they have experienced in their life can be seen in their elucidation. Similarly in Spirited Away different viewers gave different opinions. The debate was highly productive because of cross cultural opinions " Jeenwal 2 It is not a simple fairy tale based on the orthodox norms of good versus evil. Miyazaki states ; "Americans understand my films in many different ways.
I never wanted to create a film where you can easily say "This is yes" or "This is no" or it's easy to put the "X" in a circle.
Things are way more difficult and complex. History is as well. We can't just say "Yes" or "No" to how we look at things. Beautifully described by Yoshida , p. The crucial point is that, as opposed to simplification and sanitization, he takes the advantages of animation as flexible tool of representation to convey messages in a creative and comprehensible manner, so that even young children can get the hang of it while feeling it genuinely. The plot deals with a strong female protagonist and her survival.
[PDF] The Art of Spirited Away [Read] Online
It is well acknowledged fact that many of Miyazaki's works depicts independent strong female characters of individual vigour. While in other works, portrayal of dominant female figures is a recurring mechanism of Miyazaki. Jessica Swopshire writes, "Chihiro and San are able to act as a symbol that challenges our society to reconsider the strength of a woman. The representation of culture in Miyazaki's films supports the idea of an individual seeking a sense of purpose in the larger society, and the chance for one to be defined by their actions instead of their gender.
There's also a theory often circulating on online portals, is that Spirited Away depicts the story of prostitution which bloomed to business under the camouflage of bathhouses.
Chihiro is the main protagonist of the film, and the film is just about her.
We only get to view the world of Spirited Away through the eyes of Chihiro. We are only able to perceive what she perceives.
We only view those places, where she wanders. And likeably Chihiro presents herself as the monumental image of transformation.
One is the first scene in the back of the car, where she is really a vulnerable little girl, and the other is the final scene, where she's full of life and has faced the whole world.
Those are two portraits of Chihiro which show the development of her character. The theme of metamorphosis is also apparent in the title of the movie itself.
It is notable how the Japanese title applies both the name of Chihiro and thus emphasizing Chihiro's transformation into Sen, and then again her self-discovery as Chihiro as she drastically matures. Chihiro loses her name to Yubaba, and is transformed into Sen This motif of transformation becomes more evident in Sawitri Pademiningsih's words, "This film is about a lost little girl named Chihiro. One of these elements is strong character development, which is evident in the character of Chihiro throughout the course of the movie, and becomes the central focus of the movie itself.
As the Japanese title suggests, Chihiro undergoes a significant change of character in the movie under the character of Sen. Her parents are transformed into pigs after greedily consuming food intended for the visiting Kami to the bathhouse. The broken Torii gate might be considered as a symbolic passage to the world of magic, but not a functional one. The old and discarded miniature shrine at the foot of the gate might signify the gradual shrinking of imagination in the modern era, as once they used to fall under the world of fantasy, but the reality kept spreading its boundaries, ultimately making them futile.
Again, at the end of the tunnel they find a large hall, somewhat similar to a waiting room of a rail station which is more implied by the faint sound of train they hear. It symbolises the advancement to a journey. But the final boundary could be considered as the dried up river, which imprisons them into the mystical valley.
As soon as they step into the river, they could smell the foods of the spirit world; these tiny details are what make Miyazaki special.
The manifestation of river visits the film repeatedly in various manners. Chihiro and her parents crossing a dried up river can be considered as an allegory of transitioning which snatches Chihiro away from the dependency and security of her parents, to the manual labour and servitude of the bathhouse. Again, we observe this river transforming itself into an ocean and engulfing the horizon after just a single evening of rain. It shocks the audience to remind them of the surreal world, and let them question about the relativity of space and imagination itself.
Chihiro's journey on the railway, through the flooded valley, to Zeniba's house, also represents a kind of metamorphosis, which ultimately leads her to freedom. The replenishment and cleansing of the River Spirit or Kawa no Kami in the bathhouse as Chihiro's first task signifies one's self-discovery and purgation, along with the overshadowing environmental issues.
The scene of the River Spirit's purification through mesmerising art and animation also channels the audience through an unequalled purgation of psyche. Indeed, the protagonist Chihiro walks across the river when she comes to the mysterious world, crosses the bridge to get into the bathhouse, and goes over the water to visit a good witch to save Haku and her friends.
The river, the bridge, and the water are all boundaries. If the first river symbolises metamorphosis and transition, while Kawa no Kami represents overcoming obstacles and purgation and replenishment. Haku becomes the metaphor of hope, love and empathy, through which one survives the reality, just like Chihiro survived the surreal world. Haku is the second most important character in the film.
From the very beginning to the very end, Haku guides Chihiro to strive and survive. However, it is not just a one-way aide. Which reflects the apparent feministic notion of strong Heroin present in most of the Miyazaki and Ghibli films. As well the artistry used in the films are what maintain expectation and viewings of Studio Ghibli films.
The first time Chihiro encounters with Haku symbolises the impact of inter- dimensional transition of both worlds. The very moment Chihiro steps on it, transcendence takes up pace. But Miyazaki does not hesitate to sink the sun and evoke the darkness of night in just few seconds of frames. Miyazaki uses the story as an anti-thesis of reality, which repeatedly becomes evident through the progress of the plot. Like the part where Chihiro starts fading away. Miyazaki attempts to depict that a rigid, logical, and rational mind is unfertile for imagination to flourish.
Ironically on the vice versa, we see spirits start appearing from the vessel.And it will continue to allure and ridicule critics and viewers with its enigmatic enchantment for many years to come. Everything was just as she remembered it. Chihiro sighed. Unauthorised reproduction or redistribution strictly prohibited. Oh, what she would do to go back to the spirit world.
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