Customer Reviews

Hayao Miyazaki: Master of Japanese Animation

5 star:		(9)
4 star:		(6)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

This book provides a detailed look at the theatrical films made by Hayao Miyazaki (in Ms. McCarthy's assessment, the "Kurosawa of animation", director of such masterpieces as _Nausicaa of the valley of the wind_, _Laputa: the castle in the sky_, _My neighbor Totoro_, _Kiki's delivery service_, _Porco Rosso_, and _Princess Mononoke_).

After an introductory chapter giving a brief biography of Hayao Miyazaki and an overview of how animation is done, the book devotes a chapter to each of Miyazaki's films (those listed above, plus his _Lupin III: the castle of Cagliostro_).

Each chapter describes the context in which the film was made, and has sections describing the major characters, giving a detailed summary of the plot, and concluding with a critical assessment, placing the work in the context of Miyazaki's other films.

A concluding chapter talks about merchandising.

The book includes an extensive bibliography and filmography listing Miyazaki's written, drawn, and animated works.

Along the way, one learns about aspects of Japanese culture that shed new light on scenes in Miyazaki's works (e.g., in Japanese culture, cutting one's hair is a statement that one is committed to a path that may end in one's death --- which illuminates scenes in _Mononoke_, _Laputa_, and the Nausicaa manga; lost little Mei in _Totoro_ is sitting by idols dedicated to a god who protects small children, sending a subliminal message to _Totoro_'s Japanese viewers). Fans of Miyazaki's manga works will be a bit disappointed that they are given short shrift in this book (the title says *animation*, after all). Fans will also find a thing here and there to quibble about, but nothing really significant.

There are many illustrations. The book opens with a section of color plates --- one or two images from each of the movies discussed, and each chapter includes several illustrations. The color plates are reproduced very well, the gray-scale images are okay.

Although I appreciated Helen McCarthy's inside information from interviews and her filmography list, I found her analysis of these films very superficial. In short, I feel that any avid fan of Miyazaki could have written this book: it is simply a collection of facts and, as the other negative reviewer said, gushing about the films. There is no in-depth, intellectual engagement with Miyazaki's work.

"Hayao Miyazaki : Master of Japanese Animation" is an OK book, and stands out only in the "beggars can't be choosers" world of English books about Miyazaki. Helen McCarthy deserves praise for getting this book out in the first place, and it is certainly not terrible.

The book is full of justifiable praise for Miyazaki, and is clearly intended to be a fan book rather than a critical analysis of his films. Each film gets its own chapter, with a heavily detailed plot synopsis of each film (completely unnecessary to those who have actually seen the films) making up the bulk of the book. Lists of characters and character backgrounds are also included. There are several blatant factual/story errors in her interpretation, which makes me think a better editor might have been useful.

There is some attempt at critical analysis, and it is appreciated, but more depth would have been better. There is a touch of history about Miyazaki and Studio Ghibli, and a smap of detail about animation technology, but not enough to provide any real insight or background. I cannot say that I came away from this book with a deeper appreciation of his films.

As a fan book, it is strangely lacking in pictures and rare information. Photographs of interesting Ghibli products would have been appreciated, or rare character sketches or anything that cannot be gleaned from the films themselves. In many ways, that is its main failing. If you have the movies, there is no need for this book.

McCarthy has done us all movie lovers a great favor by filling this "first" book on Miyazaki with perceptive critical insights, generous illustrations, up-to-date news, and fascinating behind-the-making tidbits in a very eye-catching and reader-friendly edition. It is both an ideal intro for a new visitor just entering Miyazaki Universe, and an indispensible guide for a long-time fan like myself, who not only finds the book a fun read but also a fine study into the depths and richness of an artistic genius' work that I've treasured for years. For those millions of people out there who still haven't experienced Miyazaki, I envy you guys of "the magical first time" you're about to have. Go catch the movies and the book now!

As the first English-language study of one of the most (I'm using superlatives already) important figures in Japanese animation, Helen McCarthy's book is long overdue and an indispensable addition to the literature on anime. Other books have been written covering the field, (Antonia Levi's Samurai from Outer Space for one) but none have focused on a single artist.

McCarthy, unabashedly writing as a very enthusiastic fan, details Miyazaki's career and his seven major films from Lupin III: Cagliostro no Shiro (The Castle of Cagliostro) in 1980, to Mononoke Hime (Princess Mononoke), the most successful Japanese film of all time, released in 1997. While not as comprehensive of all his works as a true otaku might expect there is still much to admire here, not least being the genuine delight McCarthy takes in describing the sheer joy of seeing Miyazaki's films. Some may suggest that this leaves little room for harsher criticism or detached discernment (we rarely spend much time exposing the flaws of our favourite artists) but when the works under discussion are Miyazaki's, superlatives seem inadequate. I am as dumbstruck by the sheer talent of the man as McCarthy and equally keen to praise his films as highly as possible.

For any serious fan of anime it is a given that you will want this book. Hopefully it will help raise more awareness of Miyazaki's films (and manga) in the West. And if you think McCarthy hasn't done a good job, do as she suggests and write your own book. It would be difficult to run out of things to say.

Miyazaki is my favorite director, so I tend to carry this book around with me everywhere and pull it out whenever I'm at a loss for words to describe his films, which is, of course, everytime -how can you put words to beauty like that?! With about 5 pages of full color stills from his films, as well as a chapter on each of his major films, this is the perfect way to get an impression of his entire body of work. Particularly good for the new fan who just stumbled upon "Princess Mononoke" or "Spirited Away" and wants an idea of what else this genious has done.

I am, however in agreement with these other reviewers about the content. This isn't for the hardcore fan who wants every detail about the "master at work" so to speak. It isn't a book about Miyazaki so much as a book about his films. The behind-the-scenes pieces on some of the DVDs would be a better place to look right now. We're still waiting for a book like that.

I did not write the title of this review to be sarcastic. The handsome cover invites the eye to have a look inside, and those who do so will have a good time just browsing through. That said, this is a book written by a fan for other fans, and not a medular academic monograph. If you are also a fan, you'll probably enjoy reading it.
This is an introduction to the life and work of one of the great creators of animation, who has influenced this art form not just in Japan, but worldwide. The writer of this book has long been, and still is an enthusiastic promoter of Japanese animation (or Anime) in the UK, and is recognized as an authority on this topic. She has dedicated a good part of her life to the subject, and written several books about it. They include "The Anime Encyclopedia", coauthored with Jonathan Clemens, and of which a recently updated edition has been published by Stone Bridge Press (Berkeley, California). Unlike that book, the one discussed here is tightly focused on just one artist, Hayao Miyazaki.

WARNING: This book was published in 1999 (reprinted "with revisions" in 2002) so it ends with "Princess Mononoke", and it does not cover Miyazaki's later work, such as "Spirited Away" (2001), which won the Berlin Festival "Golden Bear" for Best Picture, and the second ever Oscar for Best Animated Feature (2003), among other prizes, and is one of the biggest movie hits of all times in Japan, and has been very successful abroad.

To help understand Miyazaki's work and his place in contemporary cinema, the author gives some background information on the development of contemporary animation in Japan, particularly after WWII. Central to Miyazaki's later work was the gradual coming together of a group of creators: himself, Suzuki, Takahata, Kono and others, that started, in the early `80s, the famous Studio Ghibli (pronounced "Ji-bu-ry"). Japanese animation is cooperative ensemble work involving several key players that often have known each other for a long time, worked together in various jobs at different times, and mutually influenced themselves in the process. Foreign artists, such as Herge--of "Tintin" fame--with his "clear line" style of drawing (inspired by old Chinese and Japanese prints), have also been influential on Anime in general, and on Miyazaki and his Ghibli colleagues in particular.
The contents of McCarthy's book are best described by the author herself in a "Note to Readers": "Each chapter of this book focuses on a particular title or aspect of Miyazaki's work...the origins of a movie; the main literary, film, or technical influences on it; character sketches; a story synopsis; a short staff list, including available details of English-language casting; and a critical appraisal or commentary. A brief section on how animated films are made is included...A Miyazaki filmography... [and a list of comic books he has worked on]...and notes appear at the back of the book."
If you are already a Miyazaki fan, you'll probably enjoy this book. If you are not one yet, maybe you could begin where Helen McCarthy herself begun her life-long passion: buying or borrowing a tape or DVD of Miyazaki's "My Neighbor Totoro". If watching it does not do much for you, do not buy this book. But if the movie delights you with the beauty of the drawings, of the colors, of the music, with the contrast between the whimsical, magical creatures that live in the summer woods, and the uncannily realistic portrayal of little children, of how they see the world, with the breathtaking details of everyday life closely observed---the story is set in Japan in the 1950s, but if it rings true, it could be anywhere---then this book is for you, and so is Miyazaki's work.

This book is great for any fan of Miyazaki. I bought it as a gift for my husband (21) last year and he loved it. It is informative enough and at the same time doesn't go over the head of someone new to anime like me. We both enjoyed reading it.
This book is what it is, a description of the Hayao Miyazaki movies, with maybe a few extra features such as a brief bio of Miyazaki himself. Good for a younger audience as it is entertaining, colorful and easy to understand. But if you've already watched every Miyazaki movie many times and have already researched every aspect of Hayao Miyazaki then this may not be for you.
I thoroughly enjoyed this book.

The book contains a preface, a note to readers, captions for the photos on the color pages, nine chapters, a filmography, notes, and a bibliography. Ms. McCarthy mentions in the preface that she had the opportunity to go to Japan to tour Studio Ghibli and to interview Hayao Miyazaki and Studio Ghibli producer Toshio Suzuki.

The first chapter of the book talks about Hayao Miyazaki, and also provides a basic guide about animation techniques. The next seven chapters are devoted to the films that Miyazaki had directed up to the point the book was published (Castle of Cagliostro, Nausicaa of the Valley of the Wind, Castle in the Sky, My Neighbor Totoro, Kiki's Delivery Service, Porco Rosso, and Princess Mononoke). The final chapter of the book talks about the merchandising done for Miyazaki's work, as well as the "On Your Mark" music video he worked on, and other projects he worked on. For the chapters about the films Miyazaki directed, they are broken up into five sections: Origins, Art and Technique, The Characters, The Story, and Commentary. It should be noted that in the section labeled, "The Story," Ms. McCarthy includes spoilers about the endings of each of the films that are talked about in the book. Each chapter has images included to help illustrate Ms. McCarthy's text.

Hayao Miyazaki: Master of Japanese Animation is a well-written book, and is easy for a more casual anime fan to follow. I would have to say that if I had to recommend a book for someone to read to learn more about Hayao Miyazaki and his work, I would point someone to this book over The Anime Art of Hayao Miyazaki. While this book may be missing a couple of the films that Miyazaki worked on after Princess Mononoke, this volume still gives you a good feel and understanding for Miyazaki and the themes that he puts forth in his work. Personally, I think this book should be part of any anime fan's collection.

Hayao Miyazaki is often referred to as the Walt Disney of Japan. In my opinion, this is an unfortunate label as it seem to diminish a great artist's own work. Both men shared several traits in common: Miyazaki is, and Disney was, both taskmasters willing to accept nothing but the highest quality product. Both men are internationally recognized household names, masters of their chosen professions who come from humble beginnings and are today respected even by their foreign counterparts (one of Miyazaki's most well-known and enthusiastic fans is none other than John Lasseter, co-founder of Pixar Animation Studios and currently the head of Disney Animation). But no one on this side of the Pacific ever refers to Walt Disney as "the Miyazaki of America".

Anyway, on to the book review itself:

Although "Master of Japanese Animation" was written in 1999, and is thus rather dated (published years before films such films as "Spirited Away", "Howl's Moving Castle" or "Ponyo" were released. In 1999 "Princess Mononoke" was the most current Miyazaki film; "Spirited Away" had not even been named yet, let alone completed. Significantly, there is no mention of it's historical Academy Award win) it is nevertheless a valuable addition to any Miyazaki fan's library, or any anime fan's. I cannot agree with reviewers who have criticised Helen McCarthy's book as lacking in information, or only being of interest to Miyazaki fans or the uninitiated animation viewer (I have been a devout anime fan for almost a quarter of a century; coincidentally, one of my early favorites was Miyazaki's "The Castle of Cagliostro").

In addition to a detailed overview of Miyazaki's films as director from 1979-1999 (including pre-Ghibli titles "The Castle of Cagliostro" and "Nausicaa of the Valley of the Wind") this volume outlinines the director's early life and career, and briefly explores the history of Studio Ghibli from it's founding to the post-"Mononoke" days of the late 20th century. Both of the latter are chock full of information that any anime fan, and especially any Miyazaki fan, should appreciate. Also included are a Miyazaki filmography, extensive bibliography and several pages of footnotes. Ghibli films which were not directed by Hayao Miyazaki may be mentioned, but are not reviewed in detail.

In short, although it may be better than a decade old at this point, "Master of Japanese Animation" is a worthwhile purchase, especially for the price. Perhaps it might be time for a second volume - or an updated edition of this one, covering Miyazaki-sensei's works since 2000 and maybe some of the more noteworthy non-Miyazaki Ghibli titles, such as "Pom Poko" and "Grave of the Fireflies" - but for now, we at least have this one. Readers looking for a more challenging title may prefer "Starting Point: 1979-1996" (written by Hayao Miyazaki himself), also available on this site.