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==Plot==
==Plot==
{{plot|date=November 2012}}
The film opens with a description that Japan was once populated with forests, where a group of [[God]]s live.
The film opens with a description that Japan was once populated with forests, where a group of [[God]]s live.


Revision as of 00:25, 11 November 2012

Princess Mononoke
File:Princess Mononoke Japanese Poster (Movie).jpg
Japanese theatrical release poster
Directed byHayao Miyazaki
Screenplay byHayao Miyazaki
Story byHayao Miyazaki
Produced byToshio Suzuki
Starring
CinematographyAtsushi Okui
Edited byTakeshi Seyama
Music byJoe Hisaishi
Production
company
Distributed by
Release date
  • July 12, 1997 (1997-07-12)
Running time
133 minutes
CountryJapan
LanguageJapanese
Budget
  • ¥2,135,666,804.93
  • ($23.5 million)
Box office
  • ¥14,487,325,138.75
  • ($159,375,308)[1]

Princess Mononoke (Japanese: もののけ姫, Hepburn: Mononoke-hime) is a 1997 epic Japanese animated historical fantasy feature film written and directed by Hayao Miyazaki of Studio Ghibli. The film stars the voices of Yōji Matsuda, Yuriko Ishida, Yūko Tanaka, Kaoru Kobayashi, Sumi Shimamoto and Akihiro Miwa. "Mononoke" (物の怪) is not a name, but a general term in the Japanese language for a spirit or monster. The film was first released in Japan on July 12, 1997, and in the United States on October 29, 1999.

Princess Mononoke is a period drama set specifically in the late Muromachi period of Japan but with numerous fantastical elements. The story concentrates on involvement of the outsider Ashitaka in the struggle between the supernatural guardians of a forest and the humans of the Iron Town who consume its resources. There can be no clear victory, and the hope is that relationship between humans and nature can be cyclical.[2]

Plot

The film opens with a description that Japan was once populated with forests, where a group of Gods live.

Nago, a giant wild boar turned into a Demon God (祟り神, Tatari-gami, called "Demon" in the english dub) attacks a village belonging to the Emishi. The last Emishi prince, Ashitaka, a young man riding on the elk Yakul, is forced to fight and mortally wound him. During the fight, the prince is inflicted with a curse on his arm, granting him superhuman strength, which will gradually kill him.[3] He discovers from the village's oracle that Nago was aggravated by an iron ball in his body and that he came from the western lands. Following the oracle's advice, Ashitaka sets off to the west in search of a cure.[4] On his journey, he sees the war in the west and meets Jiko-Bou, a wandering monk who tells Ashitaka that he might find help from the Deer God (シシ神, Shishi-gami, called the "Forest Spirit" in the English dub), a creature living in the forest.

Tataraba (たたら場, called "Iron Town" in the English dub), a town located in that range and led by Lady Eboshi, cool-headed woman, continually clears the nearby forests to get to deposits of ore and to make charcoal to smelt ironsand and produces advanced firearms called Ishibiya (石火矢, lit. "stone fire arrows"). That leads to battles with the giant forest beasts and animals. Among these animals are a group of giant wolves led by their Goddess Moro and accompanied by San, a young woman who was adopted by Moro.

A group of people from Tataraba are attacked by these wolves. Using the Ishibiya, the wolves are driven off by Eboshi's people. Near a river Ashitaka discovers two villagers injured and takes them to Tataraba, passing through the forest, where he sees Kodamas and catches a glimpse of the Deer God, a kirin-like creature by day and a towering Daidarabotchi by night.

In Tataraba, Ashitaka discovers that Lady Eboshi was one who is responsible for turning Nago into the Demon. Though angered, Ashitaka also finds out that Tataraba is a refuge for ancient Japan's social outcasts, including prostitutes and lepers, and thus finds himself unable to condemn Eboshi. Meanwhile, San infiltrates Tataraba to kill Eboshi, but Ashitaka intervenes and ends their fight. While leaving the town with San, Ashitaka gets shot through the chest from the citizen woman, badly wounding him. However, Ashitaka manages to leave town with San. Some later, awoken San takes Ashitaka, who is unconscious and on the verge of death, to the forest. The Deer God, in the form of a gigantic Daidarabotchi, arrives and transforms to its Deer-like form, who heals Ashitaka's bullet wound, but does not remove the curse.

Ashitaka and San starts to develop romantic feelings for each other. Meanwhile, a group of wild boars led by their God Okkotonushi, arrive to attack and destroy Tataraba to save the forest, and Moro clan with San joins them. Eboshi prepares for the battle and sets out to destroy the Deer God. Jiko-Bou, now revealed to be a mercenary, intends to give the head to the Emperor of Japan, who in turn promises to give Jiko-Bou a fortune and grant the town's legal protection from local daimyos.

During the assault, the citizens of Tataraba and the Imperial hunters manage to kill the boars, and Okkotonushi is corrupted by a gunshot wound. By using the boars skins, the hunters trick Okkotonushi into leading them to the Deer God. San is unable to convince Okkotonushi of the truth, and despite her attempts to stop Okkotonushi from becoming a Demon like Nago, she is swept up in the corruption pouring out from his body. Nevertheless, Ashitaka and Moro rescues San. The Deer God appears and takes both Okkotonushi and Moro's lives away. Eboshi uses her Ishibiya to behead the Deer God during its transformation into the Daidarabotchi. Jiko-Bou collects the Deer God's head, while the Deer God begins destroying everything in its path in search of his head. Ashitaka and San chase down and take back the head from Jiko-Bou, returning it to the Deer God when the sun rises. The Deer God falls into the lake, healing the land as well as the lepers and accursed, including Ashitaka and San. Though Ashitaka means much to San, she still hates and despises humans for their actions and decides to continue living in the forest. Ashitaka decides to stay and help to rebuild the town, but tells San that he will visit her in the forest. Lady Eboshi, filled with gratitude to Ashitaka and amazed by his efforts to save her and the people of Tataraba, vows to rebuild a better town. Meanwhile, Jiko-Bou admits that it is impossible to win against fools.

The film ends with a Kodama appearing in the rejuvenated forest.

Cast

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]"[5] 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."[6] San (サン), a human girl raised by the wolves, is voiced by Yuriko Ishida. 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 acknowledged 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.[5] Miyazaki also said that Eboshi resembles a shirabyōshi.[7] Eboshi's English voice actress Minnie Driver stated that she was interested "the challenge of playing [a] woman who supports industry and represents the interests of man, in terms of achievement and greed."[8] Driver viewed Eboshi as "a warrior, an innovator and a protector.[9]

Akihiro Miwa portrays Moro (モロの君, Moro no Kimi), a giant wolf goddess and San's adopted mother. Hisaya Morishige provides the voice of Okkotonushi (乙事主, called "Okkoto" in the English version), a boar god. Gillian Anderson and Keith David respectively provided the voices of Moro and Okkotonushi in the English dub.

Kaoru Kobayashi provides the voice of Jiko-Bou (ジコ坊, Jiko-bō, 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 Jigo 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.[5] In the English version, Jiko-Bou is voiced by Billy Bob Thornton.

Sumi Shimamoto voices Toki (トキ), a former prostitute and the leader of Eboshi's women; Jada Pinkett Smith provides her voice in the English dub. Tsunehiko Kamijō was cast as the voice of Gonza (ゴンザ), Eboshi's bodyguard; he was voiced by John DiMaggio in the English dub. Kohroku (甲六, Kōroku), Toki's wife, is voiced by Masahiko Nishimura; John DeMita voiced Kohroku 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.

Production

In the late 1970s, Miyazaki drew sketches of a film about a princess living in the woods with a beast.[10] Miyazaki began writing the film's plotline and drew the initial storyboards for the film in August 1994.[11][12] 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 Kyūshū, and the mountains of Shirakami-Sanchi in northern Honshū for location scouting along with a group of art directors, background artists and digital animators for three days.[11] Animation production commenced in July 1995.[12] Miyazaki personally oversaw each of the 144,000 cels in the film,[13] and is estimated to have redrawn parts of 80,000 of them.[14][15]

The final storyboards of the film's ending were finished only months before the Japanese premiere date.[16]

3D rendering was used to create the demon worms and composite them onto a hand-drawn Ashitaka.

Princess Mononoke is mostly hand-drawn, but incorporates some use of computer animation during five minutes of footage throughout the film.[17] 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.[16]

Princess Mononoke was produced with an estimated budget of ¥2.35 billion (approximately US$23.5 million).[15][18][19]

Inspirations

Miyazaki was a fan of John Ford, an Irish-American film director best known for his Western films. He 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."[20] 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."[21]

The landscapes appearing in the film were inspired by Yakushima.[22] 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)."[23]

Themes

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 by Nago, a boar turned into a demon by Eboshi.[24] 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".[25] 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".[24]

Another literary trope found in the plot of Princess Mononoke is sexuality and disability. Michelle Jarman, Assistant Professor of Disability Students 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." Kim and Jarman likened Lady Eboshi to a monarch. [26] Kim and Jarman cite Eboshi's disregard of ancient laws and curses towards prostitutes and lepers as an enlightenment reasoning and her exploit of using disability to further her modernist viewpoints. They also referenced Eboshi's use of a English accent in the English dub as an allusion to the European colonization of the Americas.[27]

Release

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. Harvey Weinstein, Miramax's chairman, wanted to edit Princess Mononoke to make it more marketable. In response, Miyazaki had one of Studio Ghibli's producers send Weinstein a katana with a message stating "No cuts."[28] The English dub of Princess Mononoke is a translation with some adaptation by science fiction 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 lot 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.

Box office

Princess Mononoke was the highest-grossing Japanese film of 1997, earning ¥11.3 billion in distribution receipts.[29]

In January 2001, it was the top-selling film in the United States, but despite this the film did not fare well financially in the United States. It grossed $2,298,191 the first eight weeks.[30]

Home media

In Japan, the film was released on VHS videotape on July 26, 1998.[31] 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.[31]

In July 2000, Buena Vista Home Entertainment announced plans to release the film on VHS and DVD in North America on August 29.[32] 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]".[33] The fansite Nausicaa.net organized an email campaign for fans to include the Japanese language track,[33] while DVD Talk began an online petition to retain the Japanese language track.[34] The DVD release of Princess Mononoke was delayed as a result.[35] Buena Vista Home Entertainment released the DVD on December 15, 1999, with bonus extras added, including a trailer and a documentary with interviews from the film's English voice actors.[36]

Reception

Princess Mononoke received 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."[37] 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."[38] 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."[39] 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."[40] 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."[41] 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."[42] 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."[43] On Metacritic, the film achieved an average score of 76 out of 100 based on 29 reviews, signifying "generally favorable reviews."[44]

Roger Ebert placed the film sixth on his top ten movies of 1999.[45] Princess Mononoke became the highest grossing film in Japan until it was surpassed by Titanic several months later.[46]

Princess Mononoke ranked 488th on Empire's list of the 500 greatest films.[47] Terry Gilliam ranked the film 26th on Time Out's 50 greatest animated films.[48] It is also number 26 on Total Film's 50 animated movie ranking.[49]

In January 2001, it was the top-selling anime in the United States, but despite this the film did not fare well financially in the United States. It grossed $2,298,191 for the first eight weeks.[50]

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

Soundtrack

Main article: Princess Mononoke: Music from the Motion Picture

References

  1. ^ "Princess Mononoke". Box Office Mojo. Internet Movie Database. Retrieved September 14, 2012.
  2. ^ Critics' Picks: 'Princess Mononoke' - NYTimes.com/Video, A. O. Scott reviews 'Princess Mononoke,' Hayao Miyazaki's anime masterpiece.
  3. ^ Clements & McCarthy 2006, pp. 505–506.
  4. ^ Clements & McCarthy 2006, p. 506.
  5. ^ a b c "Miyazaki on Mononoke-hime". Nausicaa.net. Retrieved June 14, 2010.
  6. ^ "Princess Mononoke - The Characters". Miramax Films. p. 3. Archived from the original on June 16, 2008. Retrieved September 23, 2012.
  7. ^ Leavey, John (2010). "Possessed by and of: Up against Seeing: Princess Mononoke". ImageTexT. 5 (2). University of Florida. Retrieved September 11, 2012.{{cite journal}}: CS1 maint: date and year (link)
  8. ^ "Princess Mononoke - The Characters". Miramax Films. p. 5. Archived from the original on June 16, 2008. Retrieved September 23, 2012.
  9. ^ "Princess Mononoke - The Characters". Miramax Films. p. 7. Archived from the original on June 16, 2008. Retrieved September 23, 2012.
  10. ^ McCarthy 2005, p. 182.
  11. ^ a b "制作日誌　1994年8月～95年5月". Studio Ghibli. Retrieved September 14, 2012.
  12. ^ a b McCarthy 1999, p. 185.
  13. ^ "Hayao Miyazake Chat Transcript - Movie: Princess Mononoke". Miramax Films. November 4, 1999. Archived from the original on June 29, 2007. Retrieved September 14, 2012.
  14. ^ "Mononoke DVD Website". Disney. Retrieved September 15, 2012.
  15. ^ a b "Wettbewerb/In Competition". Moving Pictures, Berlinale Extra. Berlin: 32. 11–22 February 1998. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help)
  16. ^ a b Toshio Uratani (2004). Princess Mononoke: Making of a Masterpiece (Documentary). Japan: Buena Vista Home Entertainment.
  17. ^ "The Animation Process". Miramax Films. November 4, 1999. Archived from the original on November 20, 2006. Retrieved September 14, 2012.
  18. ^ Movie-Vault.com
  19. ^ Articles about Mononoke Hime
  20. ^ "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.
  21. ^ "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. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; October 25, 2007 suggested (help)
  22. ^ "もののけ姫 ロケ地情報" (in Japanese). Retrieved September 1, 2012.
  23. ^ Clements & McCarthy 2005, p. 505.
  24. ^ a b Smith & Parsons 2012, p. 28.
  25. ^ Smith & Parsons 2012, pp. 26–27.
  26. ^ Kim & Jarman 2008, p. 54.
  27. ^ Kim & Jarman 2008, pp. 56–57.
  28. ^ Brooks, Xan (September 14, 2005). "A god among animators". London: The Guardian. Retrieved May 22, 2010.
  29. ^ "Kako haikyū shūnyū jōi sakuhin 1997-nen" (in Japanese). Motion Picture Producers Association of Japan. Retrieved 16 February 2011.
  30. ^ "Princess Mononoke". Box Office Mojo. Internet Movie Database.
  31. ^ a b "もののけ姫" (in Japanese). Walt Disney Japan. Retrieved September 15, 2012.
  32. ^ "Buena Vista Mononoke DVD Release". Nausicaa.net. Retrieved September 15, 2012.
  33. ^ a b "Subtitle Mononoke Poll". Nausicaa.net. Retrieved September 15, 2012.
  34. ^ "New Petition for Mononoke". Anime News Network. July 3, 2000. Retrieved September 15, 2012.
  35. ^ "Disney Blinks". Anime News Network. August 1, 2000. Retrieved September 15, 2012.
  36. ^ "Princess Mononoke DVD Confirmed". Anime News Network. October 11, 2000. Retrieved September 15, 2012.
  37. ^ Gerow, Aaron (July 10, 1997). "A Spirited Battle for Nature". Daily Yomiuri. p. 9.
  38. ^ Klady, Leonard (January 29, 1998). "Princess Mononoke". Variety. Reed Business Information. Retrieved September 14, 2012.
  39. ^ "Princess Mononoke". Chicago Sun-Times. October 29, 1999. Retrieved September 14, 2012.
  40. ^ Burr, Ty (October 29, 1999). "Princess Mononoke Review". Entertainment Weekly. Retrieved September 14, 2012.
  41. ^ Hunter, Stephen (November 5, 1999). "The Bland Violence of 'Mononoke'". Washington Post. Retrieved September 15, 2012.
  42. ^ Turan, Kenneth (October 29, 1999). "'Mononoke' a Haunting, Magical World of Fantasy". Los Angeles Times. p. 1. Retrieved September 14, 2012.
  43. ^ "Princess Mononoke (Mononoke-hime)". Rotten Tomatoes. Flixster. Retrieved September 21, 2012.
  44. ^ "Princess Mononoke". Metacritic. CBS Interactive. Retrieved September 11, 2012.
  45. ^ Roger Ebert. "Roger Ebert's Top Ten Lists 1967-2006". Retrieved 2007-12-22.
  46. ^ Ebert, Roger (1999-10-24). "Director Miyazaki draws American attention". Chicago Sun-Times. Retrieved 2009-08-27.
  47. ^ "The 500 Greatest Movies of All Time". Empire. Bauer Consumer Media. Retrieved June 14, 2010.
  48. ^ "Time Out's 50 greatest animated films: Part 3". Time Out. Retrieved September 15, 2012.
  49. ^ http://www.totalfilm.com/features/50-greatest-animated-movies
  50. ^ "Anime Radar: News". Animerica. 9 (2). San Francisco, California: Viz Media: 32. 2001. ISSN 1067-0831. OCLC 27130932. {{cite journal}}: Unknown parameter |month= ignored (help)

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  • 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. {{cite book}}: Cite has empty unknown parameters: |1= and |origmonth= (help); Invalid |ref=harv (help)
  • Napier, Susan J. (2005) [2001]. "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. {{cite book}}: Cite has empty unknown parameter: |origmonth= (help); Invalid |ref=harv (help)
  • Pedroletti, Brice (June 9, 2000). "L'animation d'auteur veut s'imposer au pays de Pikachu". Le Film Francais (in French) (2382). Mondadori France: 15–17. ISSN 0397-8702. {{cite journal}}: Invalid |ref=harv (help)
  • Schilling, Mark (July 18, 1997). "Marketing Focus: By royal appointment". Screen International (1117). EMAP: 11. ISSN 0307-4617. {{cite journal}}: Invalid |ref=harv (help)
  • Schilling, Mark (February 25, 2005). "The modest monster". Screen International (1490). EMAP. ISSN 0307-4617. {{cite journal}}: Invalid |ref=harv (help)
  • Schilling, Mark (February 20, 1998). "Marketing News: Royal Ascent". Screen International (1146). EMAP: 18. ISSN 0307-4617. {{cite journal}}: Invalid |ref=harv (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • 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. {{cite book}}: Invalid |ref=harv (help)
  • 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. 26 (1). Routledge: 25–37. {{cite journal}}: Cite has empty unknown parameter: |1= (help); Invalid |ref=harv (help)
  • Vitaris, Paula (1999). "Princess Mononoke". Cinefantastique. 31 (4): 7. ISSN 0145-6032. {{cite journal}}: Invalid |ref=harv (help)

External links

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