Lovers & Conquerors : The Jade Crest (A Screenplay)

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He demands food and begins tipping extensively. He swallows two more workers when they interfere with his conversation with Sen. Sen sees paper Shikigami attacking a Japanese dragon and recognizes the dragon as Haku metamorphosed. When a grievously injured Haku crashes into Yubaba's penthouse, Sen follows him upstairs.

A shikigami that stowed away on her back shapeshifts into Zeniba, Yubaba's twin sister. She mutates Yubaba's son, Boh, into a mouse, creates a decoy Boh, and mutates Yubaba's harpy into a tiny, flylike bird.

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Zeniba tells Sen that Haku has stolen a magic golden seal from her, and warns Sen that it carries a deadly curse. Haku attacks the shikigami, which eliminates Zeniba's hologram. He falls into the boiler room with Sen, Boh, and the harpy on his back, where Sen feeds him part of the dumpling she had intended to give her parents, causing him to vomit both the seal and a black slug, which Sen crushes with her foot. With Haku unconscious, Sen resolves to return the seal and apologize to Zeniba. Sen confronts No-Face, who is now massive, and feeds him the rest of the dumpling.

No-Face follows Sen out of the bathhouse, steadily regurgitating everything he has eaten. Yubaba orders that Sen's parents be slaughtered, but Haku reveals that Boh is missing and offers to retrieve him if Yubaba releases Sen and her parents. Yubaba agrees, but only if Sen can pass a final test. Sen, No-Face, Boh, and the harpy meet with Zeniba, who reveals that Sen's love for Haku broke her curse and that Yubaba used the black slug to control Haku.

Haku appears at Zeniba's home in his dragon form and flies Sen, Boh, and the harpy to the bathhouse. No-Face decides to stay behind and become Zeniba's spinner. In mid-flight, Sen recalls falling years ago into the Kohaku River and being washed safely ashore, correctly guessing Haku's real identity as the spirit of the Kohaku River. When they arrive at the bathhouse, Yubaba forces Sen to identify her parents from among a group of pigs in order to break their curse.

After Sen answers correctly that none of the pigs are her parents, her contract combusts and she is given back her real name. Haku takes her to the now-dry riverbed and vows to meet her again. Chihiro crosses the riverbed to her restored parents, who do not remember anything after eating at the restaurant stall. They walk back to their car, which is now covered in dust and leaves. Before getting in, Chihiro is shown to still be wearing the hairband No-Face spun for her at Zeniba's home. Every summer, Hayao Miyazaki spent his vacation at a mountain cabin with his family and five girls who were friends of the family.

The idea for Spirited Away came about when he wanted to make a film for these friends. Miyazaki had previously directed films for small children and teenagers such as My Neighbor Totoro and Kiki's Delivery Service , but he had not created a film for year-old girls. When looking at his young friends, Miyazaki felt this was not what they "held dear in their hearts" and decided to produce the film about a young heroine whom they could look up to instead. Miyazaki's third proposal, which ended up becoming Sen and Chihiro's Spirited Away , was more successful.

The three stories revolved around a bathhouse that was inspired by one in Miyazaki's hometown. Miyazaki thought the bathhouse was a mysterious place, and there was a small door next to one of the bathtubs in the bathhouse. Miyazaki was always curious to what was behind it, and he made up several stories about it, one of which inspired the bathhouse setting of Spirited Away.

With the use of more computers and programs such as Softimage 3D , the staff learned the software, but used the technology carefully so that it enhanced the story, instead of 'stealing the show'. Each character was mostly hand-drawn, with Miyazaki working alongside his animators to see they were getting it just right. When production started, Miyazaki realized it would be more than three hours long if he made it according to his plot. He had to delete many scenes from the story, and tried to reduce the "eye candy" in the film because he wanted it to be simple.

Miyazaki did not want to make the hero a "pretty girl. Isn't there something we can do?

He often visited the museum for inspiration while working on the film. Miyazaki had always been interested in the Pseudo-Western style buildings from the Meiji period that were available there. The film score of Spirited Away was composed and conducted by Miyazaki's regular collaborator Joe Hisaishi , and performed by the New Japan Philharmonic. Under the supervision of Pixar animator John Lasseter , a Miyazaki fan, Lasseter would sit with his staff and watch Miyazaki's work when encountering story problems, and at one point they did so with Spirited Away , which impressed Lasseter.

Lasseter agreed to be the executive producer for the English adaptation. Ernst joined Lasseter as director and producer of Spirited Away respectively. Hewitt penned the English-language dialogue, which they wrote to match the characters' original Japanese-language lip movements. Advertising was limited, and Spirited Away was only mentioned in a small scrolling section of their film page on Disney's official website.

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Disney had sidelined their official website for Spirited Away , [30] and given the film a comparatively small promotional budget. The themes of the film are heavily influenced by Japanese Shinto-Buddhist folklore. The central location of the film is a Japanese bathhouse where a great variety of Japanese folklore creatures, including kami , come to bathe. Miyazaki cites the solstice rituals when villagers call forth their local kami and invite them into their baths.

Chihiro also encounters kami of animals and plants. Miyazaki says of this: "In my grandparents' time, it was believed that kami existed everywhere — in trees, rivers, insects, wells, anything. My generation does not believe this, but I like the idea that we should all treasure everything because spirits might exist there, and we should treasure everything because there is a kind of life to everything. The film has been compared to Lewis Carroll 's Alice's Adventures in Wonderland as the stories have some elements in common such as being set in a fantasy world, the plots including a disturbance in logic and stability, and there being motifs such as food having metamorphic qualities; though developments and themes are not shared.

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The major themes of Spirited Away center on the protagonist Chihiro and her liminal journey through the realm of spirits. The archetypal entrance into another world demarcates Chihiro's status as one somewhere between child and adult. Chihiro also stands outside societal boundaries in the supernatural setting. The use of the word kamikakushi literally "hidden by gods" within the Japanese title, and its associated folklore, reinforces this liminal passage: "Kamikakushi is a verdict of 'social death' in this world, and coming back to this world from Kamikakushi meant 'social resurrection.

Yubaba has many similarities to The Coachman from Pinocchio , in the sense that she mutates humans into pigs in a similar way that the boys of Pleasure Island were mutated into donkeys. Upon gaining employment at the bathhouse, Yubaba's seizure of Chihiro's true name symbolically kills the child, [34] who must then assume adulthood. She then undergoes a rite of passage according to the monomyth format; to recover continuity with her past, Chihiro must create a new identity.

Along with its function within the ostensible coming of age theme, Yubaba's act of taking Chihiro's name and replacing it with Sen an alternate reading of "chi", the first character in Chihiro's name — lit. The Meiji design of the abandoned theme park is the setting for Chihiro's parents' metamorphosis - the family arrives in an imported Audi car and the father wears a European-styled polo shirt, reassuring Chihiro that he has "credit cards and cash", before their morphing into literal consumerist pigs. Spirited Away contains critical commentary on modern Japanese society concerning generational conflicts and environmental issues.

At the very moment Chihiro says there is something odd about this town, her parents turn into pigs. Just as Chihiro seeks her past identity, Japan, in its anxiety over the economic downturn occurring during the release of the film in , sought to reconnect to past values. However, the bathhouse of the spirits cannot be seen as a place free of ambiguity and darkness. There are two major instances of allusions to environmental issues within the movie. The first is seen when Chihiro is dealing with the "stink spirit.

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It only became clean again when Chihiro pulled out a huge amount of trash, including car tires, garbage, and a bicycle. This alludes to human pollution of the environment, and how people can carelessly toss away things without thinking of the consequences and of where the trash will go. The second allusion is seen in Haku himself. Haku does not remember his name and lost his past, which is why he is stuck at the bathhouse. Eventually, Chihiro remembers that he used to be the spirit of the Kohaku River, which was destroyed and replaced with apartments.

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Because of humans' need for development, they destroyed a part of nature, causing Haku to lose his home and identity. This can be compared to deforestation and desertification; humans tear down nature, cause imbalance in the ecosystem, and demolish animals' homes to satisfy their want for more space housing, malls, stores, etc. Additional themes are expressed through the No-Face, who reflects the characters which surround him, learning by example and taking the traits of whomever he consumes.

This nature results in No-Face's monstrous rampage through the bathhouse. After Chihiro saves No-Face with the emetic dumpling, he becomes timid once more. At the end of the film, Zeniba decides to take care of No-Face so he can develop without the negative influence of the bathhouse.

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The dubbed version premiered at the Toronto International Film Festival on 7 September [45] and was later released in North America on 20 September Spirited Away had very little marketing, less than Disney's other B-films, with at most, theaters showing the film in About 18 years after its original release in Japan, Spirited Away had a theatrical release in China on 21 June Spirited Away received universal critical acclaim. The website's critics consensus reads, " Spirited Away is a dazzling, enchanting, and gorgeously drawn fairy tale that will leave viewers a little more curious and fascinated by the world around them.

Roger Ebert of the Chicago Sun-Times gave the film a full four stars, praising the film and Miyazaki's direction. Ebert also said that Spirited Away was one of "the year's best films. Mitchell also drew a favorable comparison to Lewis Carroll's Through the Looking-Glass and also said that his movies are about "moodiness as mood" and the characters "heightens the [film's] tension. Turan also praised Miyazaki's direction. In , Rotten Tomatoes ranked Spirited Away as the 13th-best animated film on the site, [74] and later in as the 17th.

In his book Otaku , Hiroki Azuma observed: "Between and , the otaku forms and markets quite rapidly won social recognition in Japan", and cites Miyazaki's win at the Academy Awards for Spirited Away among his examples. From Wikipedia, the free encyclopedia. Japanese theatrical release poster.