Research on female Character shaping in Hayao Miyazakirsquo;s animation film
Xiang Fei Ma
School of art,Zhengzhou University of Industry Technology,Zhengzhou451100,China.
18633853@qq.com
Keywords: Female characters; Character shaping; Animation film; Hayao Miyazaki
Abstract： The animated movie role shaping is an important part of the animation film creation, through the study of the characteristics of the animation Character shaping can summed up a animation directors style, as a world famous animation master Hayao Miyazaki, his animated film has its unique role shaping characteristics. This paper based on Hayao Miyazakirsquo;s animation film female characters shape as the research object and take Hayao Miyazakirsquo;s animation film as the research material to studies the characteristics of the female characters in Hayao Miyazakirsquo;s animation film, through the analysis who can summarizes the characteristics of the female characters shaping and provide theoretical basis for the animated character by the research.
Introduction
As the most popular humanism masters of animation in japan, Hayao Miyazakirsquo;s animation works are deeply rooted in the hearts of the people from the first animated film Nausicaa of the Valley of The Winds to Spirited Away which is the most popular in the world, Hayao Miyazaki shows a magical world and stories for the audience constantly. These animated feature make the various character girl as leading role and through these psychological change of young girl from the ordinary to the great, from weak to strong, show the power of the womens unique to the audience. Hayao Miyazakirsquo;s animated film subverts the traditional gender view, shaping a batch of independent strong woman image and emphasis on womens liberation of personality[1].
This paper based on the female characters of hayao miyazaki animation model as the research target and take the hayao miyazakirsquo;s most representative animation production as the research material to analysis the female Character shaping.
The female Character shaping - Womens ideological emancipation
Japan is a strong feudal ideology country which womenrsquo;s social position is very low and roles of
traditional thought that women are inferior to men still exists. In modern Japan women are not allowed to take part in the work but stay as a housewife[2] . In Hayao Miyazakirsquo;s animated film, women are no longer protected by male as vulnerable groups, as contrast they always have their own specific ideas and goals, resolute character and independent ability to act, we will analysis from the following three aspects:
Female characterrsquo;s flying ability. In animation, the female characters have remarkable ability reflected in their ability to control the flight or have the ability to fly, Hayao Miyazaki once said: I think expressed by the flight is a break out of the liberation of gravity and the flying is a form of liberation. In his animated films, he gives these female characters ability of flight which reflects the womens liberation in both ideologically and psychologically. Such as Nausica in the film Nausicaa of the Valley of the Winds can free flight by drive the wind flying wings; Sheeta who is the he leading role in the film Castle in the Sky can flying by use pilot rock; Kiki who come from the movie Kikis Delivery Service can fly on a broom. Either flight by other force or has the ability of flight theirself, these female characters can have more ability than men,and even more outstanding than men in some ways.
The labor and the ability to control their own destiny. In traditional ideas the men have laborability and they possession of social resources,so they can control their own destiny,at the same time the women dominated by men and social status is lower because their disadvantages in labor ,But in Hayao Miyazakirsquo;s animated film has another kind of situation which the women have unique leadership,and reflects more strong courage than the male character when face to great difficulty.In the movie Princess Mononoke, dada city which imperator was women occupied by the women who controls the economic through their own labor, create their own weapons and used these weapons to fight with the enemy,they can free to joke about men,this scene is impossible to see in the reality Japan.
The character is a performer of animation, animation story play around animated characters and animation characterrsquo;s character changes affect the development of animation plot.Itrsquo;s a feature that the opposition between female character conversion in Hayao miyazaki lsquo;s animation creation, the female character development the story theme from cowardice to brave, from weak to have the courage, characters changes their personality through all kinds of hardships. In Spirited Away, for example, Chihiro who laziness and cowardice at beginning and become a brave, kind, know care about peoples girl after experience all kinds of difficulties; Sita as the leader in Castle in the Sky who is the girl that can only endure hardship to a women have the courage to challenge difficulties; Sophie in Howls Moving Castle, although became a old lady by the magic curse, but she freed themselves from the low mood and defeat the witch, lifted the curse finally through efforts herself.
Hayao Miyazaki give these simple kind woman with extraordinary ability through female characters
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宫崎骏动画电影中女性形象塑造研究
Xiang Fei Ma
School of art,Zhengzhou University of Industry Technology,Zhengzhou451100,China.
摘要：动画电影对角色的塑造是动画电影创作的重要组成部分，通过研究动画角色塑造的特点，甚至可以总结出一个动画导演的风格，宫崎骏作为世界著名的动画大师，他的动画电影中的角色塑造有着自己独特的塑造特点。本文基于宫崎骏的动画电影，以其中的女性形象为研究对象。以宫崎骏的动画电影为研究材料，来研究宫崎骏动画电影中女性角色的人物特征，通过分析可以总结出女性角色的塑造特点，并通过研究为动画角色创作提供理论依据。
关键词：女性角色; 角色塑造; 动漫电影; 宫崎骏
介绍
宫崎骏作为日本最受欢迎的人文主义动画大师，他的动画作品深入人心，从他的第一部动画片“风之谷”到“千与千寻”，他的动画影片是世界上最受欢迎的影片之一。动画电影“风之谷”，宫崎骏向观众不断展示了一个神奇的世界和故事。这些动画特色使各种性格的女孩成为主角，并通过塑造这些年轻女孩的心理变化，从平凡到伟大，从懦弱到坚强，展现出女性角色对观众独有的人格魅力。宫崎骏的动画电影颠覆了传统的性别观点，塑造了一批独立强势的女性形象，并强调女性的人格解放[1]。
本文以宫崎骏动画电影中的女性角色特征为研究对象，以宫崎骏最具代表性的动画为研究材料来分析女性角色的塑造。
女性角色塑造 - 女性思想的解放
日本是一个有着强烈封建思想的国家，妇女的社会地位非常低，认为女人不如男人的传统思想仍然存在。在现代日本女性是不允许参加工作的，必须留在家里做家庭主妇[2]。但在宫崎骏的动画片中，女性不再是那种受男性保护的弱势群体，相反，她们总是有着自己独特的具体的想法和目标，她们有着坚定的品格和独立的行为能力，我们主要从以下三个方面来具体分析：
女性角色有着飞行的能力。在动画中，女性角色具有非凡的能力，主要体现在她们有着控制飞行的能力或有着飞行的能力，宫崎骏曾说过：我认为通过飞行可以表达出脱离固有的思想，飞行是一种思想上的解放。在他的动画电影中，他给这些女性角色赋予的飞行能力反映了妇女在思想上和心理上的解放。如电影《风之谷》中的莫西卡，她可以通过驱动风翼飞行来自由飞行; 在电影“天空之城”中担任主角的希达可以驾驶石头飞行;来自电影《琪琪的送货服务》的Kiki可以用扫帚飞行。无论是通过其它道具才能飞行还是自己有飞行能力的，这些女性角色可以比男性有更大的能力，在某些方面甚至比男性更加优秀
通过劳动和才能控制自己命运。在传统观念中，男性具有劳动能力，拥有社会资源，因此他们才能控制自己的命运，由男性主导的社会，女性的社会地位较低，因为她们的劣势在于缺乏劳动力，但在宫崎骏的动画片中，女性拥有另一种能力，独特的领导力，在面对困难时，体现出了比男性更勇敢的勇气。电影《幽灵公主》中，达达市是一个由女性通过劳动控制经济的城市，她们创造自己的武器并使用这些武器与敌人作战，他们可以随意开玩笑取笑男人，这一幕在日本是不可能的。
角色是动画的表演者，故事情节是围绕动画角色展开的，动画角色的性格变化影响着动画情节的发展。这是宫崎骏动画创作中女性角色性格的转换，女性角色发展的性格从懦弱到勇敢，通过各种艰苦的故事剧情来让性格更加坚强。例如，在千与千寻中，千寻在开始时懒惰和怯懦，遇到各种困难后，最后变成一个勇敢，善良，知道关心别人的女孩;斯塔作为天空之城的领导者，是一个忍受封建思想苦难的女孩，勇于挑战困难;苏菲在哈尔的移动城堡中，虽然变成了魔法诅咒的老太太，但她从低调中解脱出来，打败了女巫，终于通过自己的努力解除了诅咒。
宫崎骏通过女性角色思想解放给这些朴实无华的女性带来超凡的能力，展现给观众女性独特的性格魅力，女性角色也有着强烈的意志和战斗精神，她们可以通过自己的努力克服困难并且最终取得胜利[3]。
女性角色塑造 - 民族性格
民族性格是指在群体生活和发展过程中对民族文化特征的表现作为一个民族的共同特征的心理状态，尽管日本的民族性格复杂，但勇敢却是日本民族性格的一个重要方面，宫崎骏的动画片在女性形象塑造上，体现出了这一民族特色。
女性角色的人生观很强。宫崎骏动画电影中的女性年龄是大约10岁，最小的只有4岁，他们的生活环境有一个共同的问题，他们的父母不怎么陪伴他们，他们会承受比其他孩子更大的压力，在这样的家庭背景下他们会更成熟，这种情况使得他们更加勇敢，经历孤独后变得独立，这符合日本人的民族性格。小月在《龙猫》中是一个非常勇敢的女孩，当小女孩知道她母亲生病了，她拿着玉米想要去他母亲的医院给她妈妈吃，并希望母亲的病能很快的好起来，这种纯洁的想法，勇敢的举动使人不得不原谅孩子的冲动[4]。
莫西卡在的电影“风之谷”中，他的父亲和母亲被坏人杀死，父亲的职责是保护风之谷的安全而牺牲，她力量薄弱，缺乏经验并面临威胁，敌人杀死父亲并腐蚀大海，但她仍然坚持不懈地夺取了一切，解决了各种困难，最终捍卫了风之谷的平安，并惩罚了杀害父亲的坏人，这体现了她拥有英勇的勇气和超越男人的独特魅力。
警笛和战士有着双重性格。宫崎骏动画中的女性角色具有神奇的力量，例如电影“奇奇的送货服务”中的奇奇是一种警笛，可以用扫帚飞行;斯塔是天空之城的继承人;公主幽灵是狼的女儿;波妞是海王星的女儿。所有的女性角色都具有独特的新娘气质，他们的地位会引起观众的兴趣，而不仅仅是警笛，他们也具有强烈的战斗精神，被狼神接纳的公主幽灵被父母当作小孩抛弃，她穿着一身兽皮，手里拿着一把锋利的刀，每当她骑着狼冲向前方时，他们就会与摧毁森林的敌人一起战斗，以便再次击败达达城的突击攻击，她有着一个勇敢的战士的性格[5]。
伴随着冒险精神。 宫崎骏的电影还有几个元素：超级能力，魔法和冒险的飞行女孩。 奇奇在电影“奇奇的送货服务”中，13岁离开家时，她认为一个人在城市可以独立生活，并且完成练习警笛，但她到海边的城市发现并不是她所想的那样充满热情，奇奇遇到了一系列的挫折。风之谷中的莫西卡用自己的力量发现了人类的灾难，并最终通过自己的力量实现了人类的拯救;尽管千寻只是一个普通的女孩，但她有勇气和冒险精神，她决定到女巫的家里是一个巨大的风险，她上了一辆有勇气的火车，开始了冒险之旅，最后用她自己的力量救了别人。
概要
通过分析我们可以发现，宫崎骏动画电影中的女性角色塑造就是放弃传统的男性主导角色，解放了思想，女性角色的民族性格是如此强烈且生动，而且令人印象深刻，具有惊人的力量[6]。她们通过克服困难实现自我成长，有时也为了帮助他人，有时甚至为了拯救世界。 宫崎骏对这些朴实无华的女孩表达了他对美丽的追求和愿望，这些人物展现了宫崎骏的人文主义思想，对我们在动画创作中塑造人物有着积极的作用。
参考文献：
[1]Lin Gao. The feature of animation audio-visual language in Animation Film from Up. Movie literature.2010,No. 16,p.30-31.
[2] Jun Fan. Analysis on the storyboard of animation. Home of drama.2014,No. 8，p.218-219.
[3] Jian Wu .Discussion in action design of animation role performance. Art Criticism,.2013,No.3,p. 13-116.
[4] Peng Chen .Effects of characteristic motions in animation film.Movieiterature.2015,No.3,p.83-85.
[5] Jian Wu.Discussion in action design of animation role performance. Art Criticism,.2013,No.3,p.13-116.
[6] Qing Lu.The 'experience' performance of the cartoon character.Art Review.2015,No.10,p.127-129.
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