||This article's lead section may not adequately summarize key points of its contents. (October 2013)|
Japanese theatrical poster for Princess Mononoke
|Directed by||Hayao Miyazaki|
|Produced by||Toshio Suzuki|
|Written by||Hayao Miyazaki|
|Music by||Joe Hisaishi|
|Editing by||Takeshi Seyama|
|Running time||133 minutes|
Princess Mononoke (もののけ姫 Mononoke-hime) is a 1997 anime epic historical fantasy adventure film written and directed by Hayao Miyazaki, animated by Studio Ghibli and produced by Toshio Suzuki. The film stars the voices of Yōji Matsuda, Yuriko Ishida, Yūko Tanaka, Kaoru Kobayashi, Masahiko Nishimura, Tsunehiko Kamijō, Akihiro Miwa, Mitsuko Mori and Hisaya Morishige. The term "Mononoke" (物の怪 or もののけ) is not a name, but a general term in the Japanese language for a spirit or monster; a closer rendering of the title into English would be "The Mononoke Princess" or "The Spirit Princess". The film was first released in Japan on July 12, 1997, and in the United States on October 29, 1999. It was the first Studio Ghibli film to be a major hit and receive worldwide attention.
Princess Mononoke is a period drama set in the late Muromachi period (approximately 1337 to 1573) of ancient Japan, but with fantasy elements. The story follows the young warrior Ashitaka's involvement in the struggle between the supernatural guardians of a forest and the humans who consume its resources.
In Muromachi period Japan, an Emishi village is attacked by a demon (祟り神 tatari-gami ). The last Emishi prince, Ashitaka, kills the demon before it reaches the village, but not before its corruption curses his right arm. The curse gives him superhuman fighting ability, but will eventually kill him. The demon is revealed to be a boar god, Nago, corrupted by an iron ball lodged in his body. The village's wise woman (Oracle in the original dub) tells Ashitaka that he may find a cure in the western lands Nago came from under exile.
Heading west, Ashitaka meets Jigo (Jiko-bō in the original dub), a wandering monk, who tells Ashitaka that he might find help from the Great Forest Spirit (Deer God (シシ神 Shishi-gami )), a Kirin-like creature by day and a giant Nightwalker by night. Nearby, a convoy returning to Irontown (たたら場 Tataraba ), led by Lady Eboshi, are attacked by a wolf clan led by the wolf-goddess Moro. Riding one of the wolves is San, a human girl. Later, Ashitaka discovers two injured Irontown men, and sees San and the wolf clan; he greets them, but they ignore him and leave. He carries the injured through the forest, where he encounters many kodama (木魂), and glimpses the Forest Spirit.
In Irontown, Ashitaka learns Eboshi has built the town by clear-cutting forests to reclaim ironsand and produce iron, leading to conflict with the forest gods. The town is a refuge for social outcasts, including former brothel workers and lepers, whom Eboshi employs to manufacture firearms to defend against the gods. Ashitaka also learns Eboshi is responsible for turning Nago into the demon. Eboshi explains that San, whom she calls Princess Mononoke (もののけ姫 Mononoke-hime), was raised by the wolves as one of their own, and has a deep hatred for humankind.
Soon after, San infiltrates Irontown to kill Eboshi, but Ashitaka intervenes, knocking them both unconscious. As he leaves the town carrying San, he is shot by a villager, and falls unconscious while heading for the forest. San awakens and is about to kill the dying Ashitaka, but hesitates when he tells her that she is beautiful. She takes him to the forest, and decides to trust him after the mighty Forest Spirit saves his life. San soon begins to develop mutual romantic feelings for Ashitaka.
Meanwhile, a large clan of boars, led by the blind boar-god Okkoto (Okkotonushi) attack Irontown to save the forest. Eboshi prepares for battle and sets out to kill the Forest Spirit. Jigo, revealed to be a mercenary, intends to give the god's head to the Emperor of Japan in return for protection from local daimyos. According to legend, the severed head of the Forest Spirit can grant immortality and longevity.
In the battle, Okkoto is corrupted by multiple gunshot wounds. Disguising themselves in boars' skins, Jigo's men trick the rampaging Okkoto into leading them to the Forest Spirit. San desperately tries to stop him, but is swept up in the corruption consuming his body. Ashitaka attempts to save her, but is also swallowed up into the corruption, until Moro attacks the fully corrupted Okkoto, and appeals to Ashitaka to use his love for San to save her, which he does. However, Ashitaka's infection is accelerated and San is also infected. Eboshi beheads the Forest Spirit during its transformation into the Night-walker; corruption pours from its body, killing any living being it touches as it searches for its head, which Jigo has taken with him. Moro, dying from injuries sustained in the battle, uses the last of her strength to bite off Eboshi's right arm. After bandaging Eboshi and convincing San to help him get the Forest Spirit's head back, Ashitaka and San follow Jigo to near Irontown, where they manage to return the god's head. Restored, the Forest Spirit falls into the lake, healing the land, and cures Ashitaka and San of the curse.[clarification needed]
Although she tells Ashitaka how much he means to her, San still hates humans for their actions and decides to remain in the forest. Ashitaka chooses to help rebuild Irontown, but tells San he will occasionally visit her in the forest. In gratitude to Ashitaka's efforts to save the people of Irontown, Eboshi vows to rebuild a better town and Jigo decides that he cannot win against "fools."
- Yōji Matsuda voices Ashitaka (アシタカ), the last prince of the Emishi tribe whose traveling companion is Yakul (ヤックル Yakkuru ), a red elk. Miyazaki did not want Ashitaka to be a typical hero, saying that he is a "melancholic boy who has a fate" and also stated that Ashitaka's curse "is similar to the lives of people [at the time]" Ashitaka's English voice actor Billy Crudup stated that he liked Ashitaka as "an unexpected hero. He’s not your usual wild, brave guy. He’s really just a young, earnest man who’s trying to lead a valuable life and protect his village."
- Yuriko Ishida voices San (サン), a young woman who was raised by the wolves and feels hatred for humans, but eventually comes to really care about Ashitaka. In the English version, San is voiced by Claire Danes.
- Yūko Tanaka provides the voice of Lady Eboshi (エボシ御前 Eboshi Gozen ), the ruler of Iron Town who continually clears the forest. Miyazaki stated that Eboshi was supposed to have a traumatic past, although it is not specifically mentioned in the film. Miyazaki said that Eboshi has strong and secure personality, evident in the fact that she let Ashitaka move freely through the settlement unescorted, despite his unclear motives. He also said that Eboshi does not acknowledge the Emperor's authority in Irontown, a revolutionary view for the time, and displays an atypical attitude for a woman of that era in that she wouldn't hesitate to sacrifice herself or those around her for her dreams. Miyazaki also said that Eboshi resembles a shirabyōshi. Eboshi's English voice actress Minnie Driver stated that she was interested in "the challenge of playing [a] woman who supports industry and represents the interests of man, in terms of achievement and greed." Driver viewed Eboshi as "a warrior, an innovator and a protector."
- Kaoru Kobayashi provides the voice of Jiko-bō (ジコ坊, called "Jigo" in the English version), a monk and mercenary who befriends Ashitaka on his journey to the west. Miyazaki was unsure whether to make Jiko-bō a government spy, a ninja, a member of a religious group or "a very good guy." He eventually decided to give Jigo elements of the above groups. In the English version, Jiko-bō is voiced by Billy Bob Thornton.
- Masahiko Nishimura voices Kohroku (甲六 Kōroku ), an ox driver; John DeMita voiced Kohroku in the English version.
- Tsunehiko Kamijō provides the voice of Gonza (ゴンザ), Eboshi's bodyguard; he was voiced by John DiMaggio in the English version.
- Akihiro Miwa voices Moro (モロの君 Moro no Kimi ), a giant wolf goddess and San's adopted mother; Gillian Anderson provides her voice in the English version.
- Mitsuko Mori provides the voice of Hii-sama (ヒイ様), the wise woman of Ashitaka's village. In the English version, Hii-sama is voiced by Debi Derryberry.
- Hisaya Morishige provides the voice of Okkoto-nushi (乙事主, called "Okkoto" in the English version), a boar god. In the English version, Okkoto-nushi was voiced by Keith David, who also voiced the narrator in the film's opening sequence.
The cast also includes: Akira Nagoya as the cattleman leader (牛飼いの長 Ushigai no Naga ); Kimihiro Reizei as a Jibashiri (ジバシリ); Tetsu Watanabe as a mountain wolf (山犬 Yamainu ); Makoto Sato as Nago (ナゴの守 Nago no Mori ), a wild boar turned into a demon who curses Ashitaka when he attacks the Emishi village; and Sumi Shimamoto as Toki (トキ), Kohroku's wife, a former prostitute, and the leader of Eboshi's women, voiced by Jada Pinkett Smith in the English version.
In the late 1970s, Miyazaki drew sketches of a film about a princess living in the woods with a beast. Miyazaki began writing the film's plotline and drew the initial storyboards for the film in August 1994. In April 1995, supervising animator Masashi Ando devised the character designs from Miyazaki's storyboard. In May 1995, Miyazaki drew the initial storyboards. That same month, Miyazaki and Ando went to the ancient forests of Yakushima, of Kyushu, and the mountains of Shirakami-Sanchi in northern Honshu for location scouting along with a group of art directors, background artists and digital animators for three days. Animation production commenced in July 1995. Miyazaki personally oversaw each of the 144,000 cels in the film, and is estimated to have redrawn parts of 80,000 of them.
Princess Mononoke is mostly hand-drawn, but incorporates some use of computer animation during five minutes of footage throughout the film. The computer animated parts are designed to blend in and support the traditional cel animation, and are mainly used in images consisting of a mixture of computer generated graphics and traditional drawing. A further 10 minutes uses digital paint, a technique used in all subsequent Studio Ghibli films. Most of the film is colored with traditional paint. However, producers agreed on the installation of computers to successfully complete the film prior to the Japanese premiere date.
Inspired by John Ford, an Irish-American director best known for his Westerns, Miyazaki created Iron Town as a "tight-knit frontier town" and populated it with "characters from outcast groups and oppressed minorities who rarely, if ever, appear in Japanese films." He made the characters "yearning, ambitious and tough." Miyazaki did not want to create an accurate history of Medieval Japan, and wanted to "portray the very beginnings of the seemingly insoluble conflict between the natural world and modern industrial civilization."
The landscapes appearing in the film were inspired by Yakushima. Despite being set during the Muromachi period, the actual time period of Princess Mononoke depicts a "symbolic neverwhen clash of three proto-Japanese races (the Jomon, Yamato and Emishi)."
A central theme of Princess Mononoke is the environment. The film centers on the adventure of Ashitaka as he journeys to the west to undo a mortal curse inflicted upon him by Nago, a boar turned into a demon by Eboshi. Michelle J. Smith and Elizabeth Parsons said that the film "makes heroes of outsiders in all identity politics categories and blurs the stereotypes that usually define such characters". In the case of the Deer God's destruction of the forest and Tataraba, Smith and Parsons said that the "supernatural forces of destruction are unleashed by humans greedily consuming natural resources". They also characterized Eboshi as a business-woman who has a desire to make money at the expense of the forest, and also cite Eboshi's intention to destroy the forest to mine the mountain "embodies environmentalist evil".
Two other themes found in the plot of Princess Mononoke are sexuality and disability. Michelle Jarman, Assistant Professor of Disability Studies at the University of Wyoming, and Eunjung Kim, Assistant Professor of Gender and Women's Studies at the University of Wisconsin-Madison, said the disabled and gendered sexual bodies were partially used as a transition from the feudal era to a hegemony that "embraces modern social systems, such as industralization, gendered division of labor, institutionalization of people with diseases, and militarization of men and women." They likened Lady Eboshi to a monarch. Kim and Jarman suggested that Eboshi's disregard of ancient laws and curses towards prostitutes and lepers was an enlightenment reasoning and her exploit of using disability furthered her modernist viewpoints.
Dan Jolin of Empire said that a potential theme could be that of lost innocence. Miyazaki attributes this to his experience of making his previous film, Porco Rosso, and the war in the former Yugoslavia, which he cites as an example of mankind never learning, making it difficult for him to go back to making a film such as Kiki's Delivery Service, where he has been quoted as saying "It felt like children were being born to this world without being blessed. How could we pretend to them that we're happy?"
The film was extremely successful in Japan and with both anime fans and arthouse moviegoers in English-speaking countries. In those countries, critics interpreted the film to be about the environment told in the form of Japanese mythology.
Miramax Films, a subsidiary of The Walt Disney Company, purchased the film's distribution rights for North America. Miyazaki met with Harvey Weinstein, Miramax's chairman; Weinstein demanded that edits should be made to Princess Mononoke. In response, Toshio Suzuki sent Weinstein a katana with a message stating "No cuts." The English dub of Princess Mononoke is a translation with some adaptation by fantasy author Neil Gaiman, author of The Sandman. The main changes from the Japanese version are to provide a cultural context for phrases and actions which those outside of Asia may not be familiar with. Such alterations include references to mythology and specific names for groups, such as Jibashiri and Shishigami, that appear in the Japanese version, which are changed to more general terms, such as Mercenary and Forest Spirit, in the English version. The rationale for such changes is that the majority of non-Japanese viewers would not understand the mythological references and that the English language simply has no words for the Jibashiri, Shishigami and other terms. Miramax also chose to put a large sum of money into creating the English dub of Princess Mononoke with famous actors and actresses, yet when they released it in theatres there was little or no advertising and it was given a very limited run, showing in only a few theatres and for a very short time. Disney later complained about the fact that the movie did not do well at the box office. In September 2000, the film was announced for release on DVD in North America exclusively with the English dub. In response to fans' requests to add the Japanese track as well as threats of poor sales, Miramax hired translators for the Japanese version. This plan delayed the DVD release back by almost three months, but it sold well when it was finally released.
Princess Mononoke was the highest-grossing Japanese film of 1997, earning ¥11.3 billion in distribution receipts. It became the highest grossing film in Japan until it was surpassed by Titanic several months later. The film earned a domestic total of ¥14,518,798,588.39 ($148,000,000.)
It was the top-selling anime in the United States in January 2001, but despite this the film did not fare as well financially in the country when released in December 1997. It grossed $2,298,191 for the first eight weeks. Although it showed more strength worldwide where it earned a total of $11 million with a total of ¥14,487,325,138 ($159,375,308).
In Japan, the film was released on VHS videotape on July 26, 1998. A Laserdisc edition was also released by Tokuma Japan Communications on the same day. The film was released on DVD on November 21, 2001 with bonus extras added, including the international versions of the film as well as the storyboards.
In July 2000, Buena Vista Home Entertainment announced plans to release the film on VHS and DVD in North America on August 29. Initially, the DVD version of Princess Mononoke did not include the Japanese-language track at the request of Buena Vista's Japan division, citing concerns that "a foreign-released DVD containing the Japanese language track will allow for the importation of such a DVD to Japan, which could seriously hurt the local sales of a future release of the [film]". The fansite Nausicaa.net organized an email campaign for fans to include the Japanese language track, while DVD Talk began an online petition to retain the Japanese language track. The DVD release of Princess Mononoke was delayed as a result. Buena Vista Home Entertainment released the DVD on July 2000 with bonus extras added, including a trailer and a documentary with interviews from the film's English voice actors. The film was released on Blu-ray disc in Japan on December 4, 2013.
Princess Mononoke received extremely positive reviews from film critics. The Daily Yomiuri's Aaron Gerow called the film a "powerful compilation of [Hayao] Miyazaki's world, a cumulative statement of his moral and filmic concerns." Leonard Klady of Variety said that Princess Mononoke "is not only more sharply drawn, it has an extremely complex and adult script" and the film "has the soul of a romantic epic, and its lush tones, elegant score by Joe Hisaishi and full-blooded characterizations give it the sweep of cinema's most grand canvases." Roger Ebert of the Chicago Sun-Times stated "Princess Mononoke is a great achievement and a wonderful experience, and one of the best films of the year." Ty Burr of Entertainment Weekly called the film "a windswept pinnacle of its art" and that it "has the effect of making the average Disney film look like just another toy story." However, Stephen Hunter of The Washington Post stated that the film "is as spectacular as it is dense and as dense as it is colorful and as colorful as it is meaningless and as meaningless as it is long. And it's very long." Kenneth Turan of the Los Angeles Times said that the film "brings a very different sensibility to animation, a medium [Miyazaki] views as completely suitable for straight dramatic narrative and serious themes." As of September 2012, the film review aggregator website Rotten Tomatoes reported a 94% approval rating based on 84 reviews, with an average rating of 7.7/10. It offers the consensus: "With its epic story and breathtaking visuals, Princess Mononoke is a landmark in the world of animation." On Metacritic, the film achieved an average score of 76 out of 100 based on 29 reviews, signifying "generally favorable reviews."
Roger Ebert placed Princess Mononoke sixth on his top ten movies of 1999. It ranked 488th on Empire's list of the 500 greatest films. Terry Gilliam ranked the film 26th on Time Out's 50 greatest animated films. It is also number 26 on Total Film's 50 animated movie ranking.
Princess Mononoke is the first animated feature film to win Best Picture in the Japan Academy Prize. For the 70th Academy Awards ceremony, Princess Mononoke was the Japanese submission to be nominated for the Academy Award for Best Foreign Language Film, but was not successfully nominated. It was also nominated for several Annie Awards
- Best Picture; The 21st Japan Academy Prize
- Best Japanese Movie, Best Animation, and Japanese Movie Fans' Choice; The 52nd Mainichi Film Award
- Best Japanese Movie and Readers' Choice; Asahi Best Ten Film Festival
- Excellent Movie Award; The Agency for Cultural Affairs
- Grand Prize in Animation Division; 1st Japan Media Arts Festival (by the Agency for Cultural Affairs of the Ministry of Education)
- Best Director; Takasaki Film Festival
- Best Japanese Movie; The Association of Movie Viewing Groups
- Movie Award; The 39th Mainichi Art Award
- Best Director; Tokyo Sports Movie Award
- Nihon Keizai Shinbun Award for Excellency; Nikkei Awards for Excellent Products/Service (details)
- Theater Division Award; Asahi Digital Entertainment Award
- MMCA Special Award; Multimedia Grand Prix 1997
- Best Director and Yujiro Ishihara Award; Nikkan Sports Film Award
- Special Achievement Award; The Movie's Day
- Special Award; Hochi Film Award
- Special Award; Blue Ribbon Awards
- Special Award; Osaka Film Festival
- Special Award; Elandore Award
- Cultural Award; Fumiko Yamaji Award
- Grand Prize and Special Achievement Award; Golden Gross Award
- First Place, best films of the year; The 26th "Pia Ten"
- First Place; Japan Movie Pen Club, 1997 Best 5 Japanese Movies
- First Place; 1997 Kinema Junpo Japanese Movies Best 10 (Readers' Choice)
- Second Place; 1997 Kinema Junpo Japanese Movies Best 10 (Critics' Choice)
- Best Director; 1997 Kinema Junpo Japanese Movies (Readers' Choice)
- First Place; Best Comicker's Award
- First Place; CineFront Readers' Choice
- Nagaharu Yodogawa Award; RoadShow
- Best Composer and Best Album Production; 39th Japan Record Award
- Excellent Award; Yomiuri Award for Film/Theater Advertisement
|This section may need to be rewritten entirely to comply with Wikipedia's quality standards. (March 2013)|
|Princess Mononoke: Music from the Motion Picture|
|Soundtrack album by Joe Hisaishi|
|Released||July 2, 1997 (Japan)
October 12, 1999 (North America)
|Label||Milan (North America)
Tokuma Japan Communications (Japan)
The film score of Princess Mononoke was composed and performed by Joe Hisaishi, the soundtrack composer for nearly all Miyazaki's productions, and Miyazaki wrote the lyrics of the two vocal tracks, "The Tatara Women Work Song" and its title song. The music was performed by Tokyo City Philharmonic Orchestra and conducted by Hiroshi Kumagai. The soundtrack was released in Japan by Tokuma Japan Communications on July 2, 1997, and the North American version was released by Milan Records on October 12, 1999.
As usual with Studio Ghibli movies, additional albums featuring soundtrack themes in alternative versions have been released. The image album features early versions of the themes, recorded at the beginning of the film production process, and used as source of inspiration for the various artists involved. The symphonic suite features longer compositions, each encompassing several of the movie themes, performed by the Czech Philharmonic Orchestra conducted by Mario Klemens.
All music composed by Joe Hisaishi, except as noted.
|1.||"The Legend of Ashitaka"||1:39|
|2.||"The Demon God"||3:51|
|3.||"Departure - To the West"||2:33|
|5.||"The Land of the Impure"||2:59|
|8.||"The Forest of the God"||0:41|
|9.||"Evening at the Ironworks"||0:39|
|10.||"The Demon God II - The Lost Mountains"||0:57|
|12.||"The Tatara Women Work Song"||1:30|
|14.||"The Young Man from the East"||1:25|
|16.||"Will to Live"||0:32|
|17.||"San and Ashitaka in the Forest of the Deer God"||1:39|
|18.||"Princess Mononoke Theme Song (Instrumental Version)"||2:08|
|20.||"Princess Mononoke Theme Song (not in the English release)"||3:32|
|22.||"The Battle in Front of the Ironworks"||1:26|
|23.||"Demon Power II"||2:30|
|26.||"The Demon God III"||1:14|
|27.||"Adagio of Life and Death"||2:09|
|28.||"The World of the Dead"||1:27|
|29.||"The World of the Dead II"||1:33|
|30.||"Adagio of Life and Death II"||1:07|
|31.||"Ashitaka and San"||3:12|
|32.||"Princess Mononoke Theme Song"||1:23|
|33.||"The Legend of Ashitaka Theme (End Credit)"||5:03|
In 2012, it was announced that Studio Ghibli and British theatre company Whole Hog Theatre would be bringing Princess Mononoke to the stage. It is the first stage adaptation of a Studio Ghibli work. The contact between Whole Hog Theatre and Studio Ghibli was facilitated by Nick Park of Aardman Animations after he sent footage of Whole Hog performances to Studio Ghibli's Toshio Suzuki. The play features large puppets made out of recycled and reclaimed materials.
The first performances were scheduled for London's New Diorama Theatre and sold out in 72 hours, a year in advance. In March 2013, it was announced that the show would transfer to Japan after its first run of shows in London. A second series of performances will begin in London after the return from Tokyo. The second run of London performances sold out in four and half hours. The play received positive reviews and was one of Lyn Gardner's theatre picks in The Guardian. On 27 April 2013, the play was presented at Nico Nico Douga's Cho Party and was streamed online in Japan.
|Worldwide performance schedule|
|April 2, 2013||London||England||New Diorama Theatre|
|April 3, 2013|
|April 4, 2013|
|April 5, 2013|
|April 6, 2013|
|April 29, 2013||Tokyo||Japan||AiiA Theater|
|April 30, 2013|
|May 1, 2013|
|May 2, 2013|
|May 3, 2013|
|May 4, 2013|
|May 5, 2013|
|May 6, 2013|
|June 18, 2013||London||England||New Diorama Theatre|
|June 19, 2013|
|June 20, 2013|
|June 21, 2013|
|June 22, 2013|
|June 25, 2013|
|June 26, 2013|
|June 27, 2013|
|June 28, 2013|
|June 29, 2013|
- "Princess Mononoke". Box Office Mojo. Internet Movie Database. Retrieved September 14, 2012.
- Princess Mononoke [もののけ姫]. 1997.
- Princess Mononoke [もののけ姫]. 1997. "Kohroku: That's Lady Eboshi's Irontown. We make iron here from the ore in the sand."
- Princess Mononoke [もののけ姫]. 1997. "Villager: See, the iron in the sand under this town had all been dug out. / Villager: So then we tried to get at the iron under the mountain, but Nago wasn't gonna stand for that. / Villager: The problem was, before we could dig for the iron, we had to clear away the forest. And that's what made the boar angry."
- Princess Mononoke [もののけ姫]. 1997. "Lady Eboshi: This is the latest rifle that I've asked these people to design. The one's we brought here have turned out to be too heavy. These will kill forest monsters and pierce the thickest samurai armor."
- Princess Mononoke [もののけ姫]. 1997. "Lady Eboshi: Yes, I'm the one who shot the boar, and I'm sorry that you suffer. I truly am. That brainless pig. I'm the one he should've put a curse on, not you."
- Princess Mononoke [もののけ姫]. 1997.
- Princess Mononoke [もののけ姫]. 1997.
- "Miyazaki on Mononoke-hime". Nausicaa.net. Retrieved June 14, 2010.
- "Princess Mononoke - The Characters". Miramax Films. p. 3. Archived from the original on June 16, 2008. Retrieved September 23, 2012.
- Leavey, John (2010). "Possessed by and of: Up against Seeing: Princess Mononoke". ImageTexT (University of Florida) 5 (2). Retrieved September 11, 2012.
- "Princess Mononoke - The Characters". Miramax Films. p. 5. Archived from the original on June 16, 2008. Retrieved September 23, 2012.
- "Princess Mononoke - The Characters". Miramax Films. p. 7. Archived from the original on June 16, 2008. Retrieved September 23, 2012.
- McCarthy 2005, p. 182.
- "制作日誌 1994年8月～95年5月". Studio Ghibli. Retrieved September 14, 2012.
- McCarthy 1999, p. 185.
- "Hayao Miyazake Chat Transcript - Movie: Princess Mononoke". Miramax Films. November 4, 1999. Archived from the original on June 29, 2007. Retrieved September 14, 2012.
- "Mononoke DVD Website". Disney. Retrieved September 15, 2012.
- "Wettbewerb/In Competition". Moving Pictures, Berlinale Extra (Berlin): 32. 11–22 February 1998.
- Toshio Uratani (2004). Princess Mononoke: Making of a Masterpiece (Documentary). Japan: Buena Vista Home Entertainment.
- "The Animation Process". Miramax Films. November 4, 1999. Archived from the original on November 20, 2006. Retrieved September 14, 2012.
- "Movie-Vault.com". Movie-Vault.com. 2005-03-28. Retrieved 2013-11-01.
- "Articles about Mononoke Hime". Webcitation.org. Retrieved 2013-11-01.
- "The Myth of Princess Mononoke and Miyazaki's vision". Miramax Films. p. 2. Archived from the original on May 25, 2008. Retrieved September 15, 2012.
- "The Myth of Princess Mononoke and Miyazaki's vision". Miramax Films. p. 5. Archived from the original on May 25, 2008. Retrieved September 15, 2012.
- "もののけ姫 ロケ地情報" (in Japanese). Retrieved September 1, 2012.
- Clements & McCarthy 2005, p. 505.
- Smith & Parsons 2012, p. 28.
- Smith & Parsons 2012, pp. 26-27.
- Kim & Jarman 2008, p. 54.
- Kim & Jarman 2008, pp. 56-57.
- Jolin, Dan (September 2009). "Miyazaki on Miyazaki". Empire 243: 120.
- Brooks, Xan (September 14, 2005). "A god among animators". London: The Guardian. Retrieved May 22, 2010.
- "Kako haikyū shūnyū jōi sakuhin 1997-nen" (in Japanese). Motion Picture Producers Association of Japan. Retrieved 16 February 2011.
- Ebert, Roger (1999-10-24). "Director Miyazaki draws American attention". Chicago Sun-Times. Retrieved 2009-08-27.
- "Anime Radar: News". Animerica (San Francisco, California: Viz Media) 9 (2): 32. March 2001. ISSN 1067-0831. OCLC 27130932.
- "Princess Mononoke". Box Office Mojo. Internet Movie Database.
- "もののけ姫" (in Japanese). Walt Disney Japan. Retrieved September 15, 2012.
- "Buena Vista Mononoke DVD Release". Nausicaa.net. Retrieved September 15, 2012.
- "Subtitle Mononoke Poll". Nausicaa.net. Retrieved September 15, 2012.
- "New Petition for Mononoke". Anime News Network. July 3, 2000. Retrieved September 15, 2012.
- "Disney Blinks". Anime News Network. August 1, 2000. Retrieved September 15, 2012.
- "Princess Mononoke DVD Confirmed". Anime News Network. October 11, 2000. Retrieved September 15, 2012.
- "もののけ姫". Walt Disney Studios Japan. August 21, 2013. Retrieved December 07, 2013.
- Gerow, Aaron (July 10, 1997). "A Spirited Battle for Nature". Daily Yomiuri. p. 9.
- Klady, Leonard (January 29, 1998). "Princess Mononoke". Variety (Reed Business Information). Retrieved September 14, 2012.
- "Princess Mononoke". Chicago Sun-Times. October 29, 1999. Retrieved September 14, 2012.
- Burr, Ty (October 29, 1999). "Princess Mononoke Review". Entertainment Weekly. Retrieved September 14, 2012.
- Hunter, Stephen (November 5, 1999). "The Bland Violence of 'Mononoke'". Washington Post. Retrieved September 15, 2012.
- Turan, Kenneth (October 29, 1999). "'Mononoke' a Haunting, Magical World of Fantasy". Los Angeles Times. p. 1. Retrieved September 14, 2012.
- "Princess Mononoke (Mononoke-hime)". Rotten Tomatoes. Flixster. Retrieved September 21, 2012.
- "Princess Mononoke". Metacritic. CBS Interactive. Retrieved September 11, 2012.
- Roger Ebert. "Roger Ebert's Top Ten Lists 1967-2006". Retrieved 2007-12-22.
- "The 500 Greatest Movies of All Time". Empire. Bauer Consumer Media. Retrieved June 14, 2010.
- "Time Out's 50 greatest animated films: Part 3". Time Out. Retrieved September 15, 2012.
- Kinnear, Simon. "50 Greatest Animated Movies". TotalFilm.com. Retrieved 2012-12-18.
- "An Anime Hit Is Reborn on the Stage". Wall Street Journal. Retrieved 27 April 2013.
- "Studio Ghibli Explains How UK "Princess Mononoke" Stage Play Got OKed". CrunchyRoll. Retrieved 27 April 2013.
- "EXCLUSIVE: News on the Upcoming Stage Adaptation of Miyazaki Hayao's Anime Classic PRINCESS MONONOKE!". Twitch. Retrieved 11 March 2013.
- "Official Stage Adaptation of ‘Princess Mononoke’ Coming To London; Sold Out Almost A Year In Advance". Slash Film. Retrieved 11 March 2013.
- "Princess Mononoke Comes to London Stage". Escapist Magazine. Retrieved 11 March 2013.
- "Princess Mononoke Stage Play Heads to Japan". Anime News Network. Retrieved 11 March 2013.
- "Whole Hog Theatre Announces Further Performances of Princess Mononoke at the New Diorama Theatre, London". Anime News Network. Retrieved 11 March 2013.
- "UK stage adaptation of Princess Mononoke met with praise". Flixster. Retrieved 27 April 2013.
- "Princess Mononoke – New Diorama Theatre, London". The Public Reviews. Retrieved 27 April 2013.
- "Review of Princess Mononoke Play at the New Diorama Theatre by Wholehog Theatre". Anime UK News. Retrieved 27 April 2013.
- "PRINCESS MONONOKE". West End Wilma. Retrieved 27 April 2013.
- "What to see: Lyn Gardner's theatre tips". Retrieved 27 April 2013.
- "Cho Pary- First Night". Nico Nico Douga. Retrieved 27 April 2013.
- "Cho Pary- online". Nico Nico Douga. Retrieved 27 April 2013.
- Bigelow, Susan J. (March 2009). "Technologies of perception: Miyazaki in theory and practice". Animation (Sage Publications) 4 (1): 55–75. ISSN 1746-8477.
- Cavallaro, Dani (2006). The Animé Art of Hayao Miyazaki. Jefferson, North Carolina: McFarland and Company. ISBN 978-0-7864-2369-9.
- Clarke, James (May 2010). "Ecology and Animation: Animation Gone Wild: Bambi vs Princess Mononoke". Imagine (Bristol: Wildfire Communications) 31: 36–39. ISSN 1748-1244.
- Clements, Jonathan; McCarthy, Helen (2006). "Princess Mononoke". The Anime Encyclopedia: A Guide to Japanese Animation since 1917. California: Stone Bridge Press. pp. 505–506. ISBN 1-933330-10-4.
- Delorme, Gérard (January 2000). "Princesse Mononoké". Premiere (in French) (Hachette Filipacchi Associés) (275): 61–62. ISSN 0399-3698.
- Doyle, Wyatt (December 1998). "Disney Turning Japanese". Asian Cult Cinema (21): 25–28.
- Fitzpatrick, Michael (June 1997). "Front desk clips: manga mouse!". Empire (96): 30.
- Génin, Bernard (January 12, 2000). "Princess Mononoke". Télérama (in French) (2609): 30.
- Harrison, Genevieve (August 2000). "Mononoke hokey cokey". Empire (Bauer) (134): 20.
- Hazelton, John (November 12, 1999). "Animated English accent". Screen International (EMAP) (1234): 8. ISSN 0307-4617.
- Khoury, George (November 1999). "An interview with Neil Gaiman". Creative Screenwriting 6 (6): 63–65. ISSN 1084-8665.
- Kim, Eunjung; Jarman, Michelle (April 2008). "Modernity's Rescue Mission: Postcolonial Transactions of Disability and Sexuality". Canadian Journal of Film Studies 17 (1): 52–68. ISSN 0847-5911.
- Leyland, Matthew (June 2006). "Princess Mononoke". Sight and Sound (British Film Institute) 16 (6): 90–91. ISSN 0037-4806.
- McCarthy, Helen (1999). "Princess Mononoke: The Nature of Love". Hayao Miyazaki: Master of Japanese Animation. Berkeley, California: Stone Bridge Press. pp. 181–204. ISBN 978-1880656419.
- Napier, Susan J. (2005) . "Princess Mononoke: Fantasy, the Feminine and the Myth of Progress". Anime from Akira to Howl's Moving Castle: Experiencing Contemporary Japanese Animation (2nd ed.). New York: Palgrave Macmillan. pp. 231–248. ISBN 978-1403970510.
- Pedroletti, Brice (June 9, 2000). "L'animation d'auteur veut s'imposer au pays de Pikachu". Le Film Francais (in French) (Mondadori France) (2382): 15–17. ISSN 0397-8702.
- Schilling, Mark (July 18, 1997). "Marketing Focus: By royal appointment". Screen International (EMAP) (1117): 11. ISSN 0307-4617.
- Schilling, Mark (February 25, 2005). "The modest monster". Screen International (EMAP) (1490). ISSN 0307-4617.
- Schilling, Mark; Brown, Colin (February 20, 1998). "Marketing News: Royal Ascent". Screen International (EMAP) (1146): 18. ISSN 0307-4617.
- Schilling, Mark (1999). Princess Mononoke: The Art and Making of Japan's Most Popular Film of All Time. New York City: Miramax/Hyperion Media. ISBN 978-0786883851.
- Smith, Michelle J.; Parsons, Elizabeth (February 2012). "Animating child activism: Environmentalism and class politics in Ghibli's Princess Mononoke (1997) and Fox's Fern Gully (1992)". Continuum: Journal of Media & Cultural Studies (Routledge) 26 (1): 25–37.
- Vitaris, Paula (1999). "Princess Mononoke". Cinefantastique 31 (4): 7. ISSN 0145-6032.
|Wikiquote has a collection of quotations related to: Princess Mononoke|
|Wikimedia Commons has media related to Princess Mononoke.|
- Princess Mononoke Production Diary at Studio Ghibli (Japanese)
- Mononoke-hime at the Internet Movie Database
- Mononoke Hime at the Big Cartoon DataBase
- Princess Mononoke at allmovie
- Princess Mononoke at Box Office Mojo
- Princess Mononoke at Rotten Tomatoes
- Princess Mononoke (anime) at Anime News Network's Encyclopedia
- Neil Gaiman on writing the English-language script
- Animerica review