{"id":488,"date":"2018-04-25T13:41:50","date_gmt":"2018-04-25T12:41:50","guid":{"rendered":"https:\/\/copyright.lboro.ac.uk\/research\/?p=488"},"modified":"2018-05-21T10:56:45","modified_gmt":"2018-05-21T09:56:45","slug":"remembering-isao-takahata-japanese-animator-made-us-see-world-children","status":"publish","type":"post","link":"https:\/\/blog.lboro.ac.uk\/research\/communication-culture-citizenship\/remembering-isao-takahata-japanese-animator-made-us-see-world-children\/","title":{"rendered":"Remembering Isao Takahata, the Japanese animator who made us see the world as children"},"content":{"rendered":"<p>The <a href=\"https:\/\/www.theguardian.com\/film\/2018\/apr\/08\/isao-takahata-obituary\">recent death<\/a> of <a href=\"https:\/\/www.studioghibli.com.au\/\">Studio Ghibli\u2019s<\/a> co-founder, producer and director <a href=\"https:\/\/www.theatlantic.com\/entertainment\/archive\/2018\/04\/remembering-isao-takahata\/557597\/\">Isao Takahata<\/a> has prompted a proper recognition of his work, liberating it from the shadow of his more celebrated partner, the <a href=\"http:\/\/pixartimes.com\/2013\/09\/10\/the-pixar-perspective-on-hayao-miyazakis-influence\/\">Pixar-championed<\/a> <a href=\"https:\/\/www.theguardian.com\/film\/2014\/may\/03\/studio-ghibli-hayao-miyazaki-wind-rises\">Hayao Miyazaki<\/a> who unlike Takahata, also designed and animated.<!--more--><\/p>\n<figure class=\"align-right \">\n<p><div style=\"width: 247px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/images.theconversation.com\/files\/216292\/original\/file-20180425-175035-16eyek0.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=237&amp;fit=clip\" alt=\"\" width=\"237\" height=\"297\" \/><p class=\"wp-caption-text\">Isao Takahata, who died on April 5, was a co-founder of Studio Ghibli, Japan\u2019s famous animation studio. <a href=\"http:\/\/www.epa.eu\/arts-culture-and-entertainment-photos\/cinema-photos\/locarno-international-film-festival-photos-01816931\">EPA<\/a>, <span class=\"attribution\"><a class=\"license\" href=\"http:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA<\/a><\/span><\/p><\/div><\/figure>\n<p>But for animation scholars, critics and fans, Takahata\u2019s films always had the same resonance, and foregrounded their own style and preoccupations. Takahata, unsung in many respects, defines the Ghibli style as much as Miyazaki; his grasp of the beauty of the mundane and his impressionistic apprehension of memory and feeling, is as memorable as Miyazaki\u2019s epiphanies in flight.<\/p>\n<h2>Toei story<\/h2>\n<p>Both began their careers at the <a href=\"http:\/\/www.toei-eigamura.com\/en\/\">Toei Studio<\/a>, Takahata directing the commercially unsuccessful Horusu, Prince of the Sun or The Little Norse Prince (1968), on which Miyazaki served as an animator. The pair then achieved success on the Takahata-directed and Miyazaki-designed Panda Kopanda films (1972\/1973), as well as TV work, and the literary adaptations produced by Nippon Animation, including Heidi, A Girl of the Alps (1974).<\/p>\n<p>Takahata directed features Chie the Brat (1981) and G\u00f5shu the Cellist (1982), before joining Miyazaki to produce Nausica\u00e4 of the Valley of the Wind (1984), along with long-time collaborators, composer <a href=\"http:\/\/www.scmp.com\/lifestyle\/arts-entertainment\/article\/1780283\/studio-ghibli-composer-joe-hisaishi-talks-about-how\">Joe Hisaishi<\/a> and producer <a href=\"https:\/\/www.animenewsnetwork.com\/news\/2014-03-09\/ghibli-co-founder-toshio-suzuki-retires-as-producer?ann-edition=uk\">Suzuki Toshio<\/a>, with whom they went on to form Studio Ghibli.<br \/>\n<iframe loading=\"lazy\" width=\"900\" height=\"506\" src=\"https:\/\/www.youtube.com\/embed\/4vPeTSRd580?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><br \/>\nThe studio\u2019s manifesto was to focus on the artist auteur and produce high quality animation, a significant risk in the highly commercial Japanese market of the time. Within three years, Studio Ghibli had produced what have become two acknowledged masterpieces, Miyazaki\u2019s My Neighbour Totoro (1988) and Takahata\u2019s Grave of the Fireflies (1988), the latter the product of Takahata\u2019s personal convictions as an anti-war activist.<\/p>\n<p>An adaptation of a short story by Akiyuki Nosaka, the film is informed by Takahata\u2019s own wartime memories in Okayama as he tells the tale of an orphaned brother and sister, Seita and Setsuko, as they try to survive after the allied fire-bombing of K\u00f5be, Japan, in World War II.<\/p>\n<figure class=\"align-left \">\n<p><div style=\"width: 247px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/images.theconversation.com\/files\/216293\/original\/file-20180425-175044-1w7lay3.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=237&amp;fit=clip\" alt=\"\" width=\"237\" height=\"327\" \/><p class=\"wp-caption-text\">Hiyao Miyazaki, Takahata\u2019s partner in animation at Studio Ghibli. <a href=\"http:\/\/www.epa.eu\/arts-culture-and-entertainment-photos\/cinema-photos\/hayao-miyazaki-announces-retirement-photos-50984223\">EPA<\/a>, <a href=\"http:\/\/creativecommons.org\/licenses\/by-sa\/4.0\/\">CC BY-SA<\/a><\/p><\/div><\/figure>\n<p>Again, for those invested in animation as a form, it comes as no surprise that an animated film can deliver narratives of significant import and emotional affect. Though like Miyazaki, Takahata\u2019s films feature children and childhood, and depict the childlike in such sensitive ways, they are never childish nor made only for a children\u2019s audience. Rather they speak to the commonality of experience for adults and children, and use the emphases on everyday gesture that animation so powerfully amplifies \u2013 the cutting of fruit, a baby pursuing frogs, picking a flower, placing a comforting hand on a shoulder \u2013 to communicate universal themes and connections.<\/p>\n<h2>Japanese legend<\/h2>\n<p>I had the good fortune to meet Takahata at Ghibli, and, though he did not draw himself, he noted that drawing always suggests the hand that creates the image, and as such, the human feeling that resides within it, and might be shared. He argued, too, that drawing always reminded him of the resourcefulness, energy and vulnerability of the child, which he tried to show in his films.<\/p>\n<p>Inspired initially by his studies of French literature in the 1950s, and particularly the poetry of <a href=\"http:\/\/www.notablebiographies.com\/supp\/Supplement-Mi-So\/Pr-vert-Jacques.html\">Jacques Pr\u00e9vert<\/a>, Takahata was enthused by an animated adaptation of Pr\u00e9vert\u2019s Le Roi et l\u2019Oiseau (1952) \u2013 The King and the Mockingbird \u2013 made by director <a href=\"https:\/\/www.nytimes.com\/2014\/11\/21\/movies\/the-king-and-the-mockingbird-from-paul-grimault.html\">Paul Grimault<\/a>. Grimault\u2019s lyrical style and colour palette were influential on Takahata\u2019s more realistic cartoon aesthetic, but as his oeuvre developed, a sometimes more comic-strip approach, such as in My Neighbours the Yamadas (1999), or a calligraphic style, like The Tale of the Princess Kaguya (2013), emerged in telling a particular story.<br \/>\n<iframe loading=\"lazy\" width=\"900\" height=\"506\" src=\"https:\/\/www.youtube.com\/embed\/tM6hcHp0_kU?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><br \/>\nThis calibration of form and subject enabled Takahata to adopt different tones and outlooks on what were essentially potentially tragic themes \u2013 suffering and death in Fireflies; pastoral utopia and urban drudgery in Only Yesterday (1991); environmental transformation in Pom Poko (1994); and dysfunctional families in the Yamadas.<\/p>\n<p>Crucially, Takahata drew upon the distinctive language of expression available in animation, often using metamorphoses and visual metaphors to move seamlessly between comic vignettes and serious observations, often prompting heart-wrenching, bittersweet endings.<br \/>\n<iframe loading=\"lazy\" width=\"900\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/KTvYh8ar3tc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen><\/iframe><br \/>\nTakahata observed that he didn\u2019t believe audiences watched live action films carefully, but that animation forced them to do so, because it produced reality more solidly than it actually is. This is surely never more affecting than in Setsuko\u2019s demise in Fireflies and the poignancy of her question, \u201cWhy do fireflies have to die so soon?\u201d<\/p>\n<p>Takahata once perceived himself to be a failure because he had not made a film like Frederic Back\u2019s The Man Who Planted Trees (1986), with its vivid commitment to human endeavour and the power of nature. But his own legacy refutes this self doubt, offering stories of human aspiration, good humour, love and the belief in life, in the face of the world\u2019s challenges.<\/p>\n<figure class=\"align-center \">\n<p><div style=\"width: 764px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/images.theconversation.com\/files\/216298\/original\/file-20180425-175050-1ex6ga8.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip\" alt=\"\" width=\"754\" height=\"468\" \/><p class=\"wp-caption-text\">Takahata\u2019s masterpiece, Grave of The Fireflies, the story of two children surviving after the end of WWII. Studio Ghibli<\/p><\/div><\/figure>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/counter.theconversation.com\/content\/95349\/count.gif?distributor=republish-lightbox-basic\" alt=\"The Conversation\" width=\"1\" height=\"1\" \/>As we wipe away our tears when watching Fireflies, we might hear the voice of Takahata himself, in the guise of a smiling man, who speaks to the children and says, \u201cBeautiful day, in spite of it all \u2026\u201d<\/p>\n<blockquote><p><a href=\"https:\/\/theconversation.com\/profiles\/paul-wells-467428\">Paul Wells<\/a>, Director of the Animation Academy, <em><a href=\"http:\/\/theconversation.com\/institutions\/loughborough-university-1336\">Loughborough University<\/a><\/em><\/p>\n<p>This article was originally published on <a href=\"http:\/\/theconversation.com\">The Conversation<\/a>. Read the <a href=\"https:\/\/theconversation.com\/remembering-isao-takahata-the-japanese-animator-who-made-us-see-the-world-as-children-95349\">original article<\/a>.<\/p><\/blockquote>\n<!-- AddThis Advanced Settings generic via filter on the_content --><!-- AddThis Share Buttons generic via filter on the_content -->","protected":false},"excerpt":{"rendered":"<p>The recent death of Studio Ghibli\u2019s co-founder, producer and director Isao Takahata has prompted a proper recognition of his work, liberating it from the shadow of his more celebrated partner, the Pixar-championed Hayao Miyazaki who unlike Takahata, also designed and animated.<!-- AddThis Advanced Settings generic via filter on get_the_excerpt --><!-- AddThis Share Buttons generic via filter on get_the_excerpt --><\/p>\n","protected":false},"author":108,"featured_media":489,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[4],"tags":[],"class_list":["post-488","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-communication-culture-citizenship"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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