vit_r продолжает жечьНесмотря на редкие срывы в "школота фигня", в большинстве случаев это такой наблюдатель-аналитик, которому, видимо, доставляет удовольствие просто созерцание расплывающегося аналитического текста по экрану. Из одной ссылки я заодно почерпнул еще одну хорошую цитату Мия-старшего. Вот оно:
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..I think that the Japanese did kill Shishi Gami around the time of the Muromachi era. And then, we stopped being in awe of forests. Well, I don't know if it was really during the Muromachi era or not, as there would certainly be regional differences, but at least from ancient times up to a certain time in the medieval period, there was a boundary beyond which humans should not enter. Within this boundary was our territory, so we ruled it as the human’s world with our rules, but beyond this road, we couldn’t do anything even if a crime has been committed, since it was no longer the human’s world—there was such asyl (a sanctuary which is free from the common world. It is a free and peaceful domain), or a sanctum. It is written in books by Kin-ya Abe or Yosihiko Amino (both are historians). I think that there were such things. As we gradually lost the awareness of such holy things, humans somehow lost their respect for nature. This film deals with such a process in its entirety.
"..In the past, humans hesitated when they took lives, even non-human lives. But society had changed, and they no longer felt that way. As humans grew stronger, I think that we became quite arrogant, losing the sorrow of "we have no other choice." I think that in the essence of human civilization, we have the desire to become rich without limit, by taking the lives of other creatures."
Любопытно, что насколько просты мысли художественных личностей, лириков, тем сложнее аналитика физиков по отношению к ним. И практически никогда их анализированию не удается ухватить линию первосказанного и добавить что-то своего, да так, чтобы что-то поняли люди которые их читают. Поэтому терпеть не могу идею реферата как документа, вообще.
Хорошая тема для реферата - "Реферат как убогий пересказ того, что каждый его читатель на самом деле должен сам пережить".
Но 2 ссылка очень даже ничего, автор про Лапуту показал свою позицию сразу, завел диалог с читателем и честно рассказывает со своей позиции, а не накидывает хаотичные предложения по разным темам. Все таки даже для описания физики необходим какой-никакой, а художественный талант, иначе это просто не будут читать.Пожалуй что это так хорошо, что я перекопирую сюда отдельно:
читать дальшеAnthony Lioi: "In "The Original Proposal for Castle in the Sky," Miyazaki explains that "[t]he story is set in an era when machines are still exciting and enjoyable, and science does not necessarily make people unhappy" (Miyazaki 253). "I wrote it," he says, "as science fiction written in the days of steam engines," which looks back to Jules Verne and forward to steampunk (419). Indeed, Laputa begins with Dickensian joy as the story of an orphan boy from a mining town who catches a girl as she falls from the sky. Pazu and Sheeta share an archetypal, fairy-tale quality: he is the magical boy, whose way with animals and machines compensates for his loss of family, while she is the secret princess, an heir to a glowing blue gem that allows her to levitate, command a robot army, and locate the home of her ancestors, the castle in the sky. Many commentators have noted Miyazaki's interest in strong female characters, and much American criticism has focused on his transformation of the shojo tradition of Japanese girl's comics (Napier 151-168). While it is true that Miyazaki favors the strong female protagonist, it is less noted that he often pairs them with boys who like strong girls. Pazu and Sheeta are the first in a line that includes Ashitaka and Mononoke in Princess Mononoke, Haku and Chihiro in Spirited Away, and Howl and Sophie in Howl's Moving Castle. All of these pairings involve a quest that needs to be completed and a secret that must be revealed, fulfilling American expectations of the way quest narratives behave. But American audiences also expect, in an adventure starring a boy and a girl, that the quest narrative should dovetail with a romance or marriage plot, such that the end of the adventure coincides with the creation of a couple. Miyazaki tends to disrupt such expectations – his male and female protagonists often are not allowed to stay together, or choose to separate – creating a lack of closure from an American perspective. A plot in which the quest is fulfilled but no union of souls is created is unsettling for American audiences trained by classic Disney movies, and where Disney has followed Miyazaki – as in Pocahontas – critical reaction has been mixed.[1]"
"Where Miyazaki has followed Disney and attempted a marriage plot – as in Howl's Moving Castle – critics have found the ending unconvincing.[2] American audiences expect the quest and the marriage plot to signify the restoration of proper world order, and see that telos as the true end of an animated children's film. Miyazaki's refusal to structure his films through an alliance of quest and marriage plot suggests that the restoration of proper world order either cannot happen or cannot happen yet in his stories. In Laputa, this disjunction between fulfilled quest and unfulfilled marriage plot does correlate with a failure to restore the best world order. At the end of the film, there is no marriage between human society and ecotopia; just as Pazu and Sheeta are too young to be married, humans as a species are not old enough to inhabit a utopian environment."
"..Here again, Miyazaki offers an image of the robot as friend of nature. It is overgrown with greenery around the shoulders, as if moss has become a mantle, indicating a kind of mechanical fertility. The animals playing around its head are the same fox-squirrels that appeared as Nausicaä's friends in the earlier Miyazaki production, Nausicaä of the Valley of the Wind (1984). For viewers of this earlier film, the endorsement of the fox-squirrels is a powerful sign of the robot's benevolence, since they are the companions of the princess-messiah who mediates between the human world and the post-nuclear landscape of the "Sea of Decay" as the sea restores itself. Any friend of Nausicaä is a friend of the environment..."
"..I suggest that the power of Miyazaki's art is exercised in transnational media networks that bypass the level of nationalistic culture entirely. The soft power exercised by Laputa in particular and anime in general is more about the shaping of the environmental imagination.."
"..Howard P. Segal, a historian of technological utopianism in American culture, has this to say about the nineteenth and early twentieth-century hope that technology was the answer to American social ills: "The innumerable technological advances that have come into being since 1933…have neither produced nor led to equivalent social advances. Certainly, many have made the lives of Americans less burdensome and more comfortable, but they have not made people's lives qualitatively happier, as had been predicted by technological utopians and non-utopian prophets alike""..