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As a director, he is said to be the Akira Kurosawa of animation. As an animator, he is Japan’s Walt Disney.
作為一位導演，他被稱為動畫界的黑澤明。作為一位動畫大師，他被稱為日本的沃爾特·迪斯尼。
Hayao Miyazaki, the Japanese master of fantasy animation, announced his retirement on Sept 6, after the recent release of his new film The Wind Rises.
9月6日，日本奇幻動畫大師宮崎駿發布新作《起風了》，之后便宣布退休。
Having come to prominence in the 1970s with his animation work for TV, the 72-year-old is now one of the most respected animation directors in the world.
上世紀70年代，宮崎駿憑借一系列電視動畫片而聲名大噪，現年72歲的他是當今全球最受尊敬的動畫導演之一。
Miyazaki’s vision has remained unique throughout his many films over the years. The worlds he creates —the teeming post-apocalyptic jungle world of Nausicaa of the Valley of the Wind, the strange 19th-century science fiction of Laputa: Castle in the Sky —are as peculiar as they are captivating.
多年來，宮崎駿一直在諸多電影作品中發揮著他那別具一格的想象力。從《風之谷》中廣袤的后末日叢林到《天空之城》中的19世紀科幻怪談，他所創造出的世界光怪陸離，令人著迷。
Here, by explaining the styles, themes and influences of Miyazaki’s films, we hope to take you —especially if you’re unfamiliar with his work —into his magical world and say goodbye to this living legend.
我們希望能夠通過剖析宮崎駿電影的風格、主題和影響力，將讀者（尤其是不熟悉他作品的讀者）帶進他的魔幻世界，從而向這位健在的傳奇人物道別。
Themes of virtue
美德主題
Though his films have quite a wide range in their settings, tones and target audience, a number of recurring themes run through Miyazaki’s films.
盡管他的影片背景與基調各異，目標群體也是十分廣泛，但這些作品中總是反復出現一些主題。
Good and evil
善與惡
Miyazaki rarely traffics in simple good and evil. The worlds he creates tend to be complex and ambiguous. For example, even the ominous witch-like figures in Spirited Away and Howl’s Moving Castle don’t seem so bad once you get to know them.
宮崎駿很少描寫簡單的善與惡。他所創造的世界錯綜復雜，模棱兩可。例如，即便是《千與千尋》和《哈爾的移動城堡》中那些“來者不善”的巫師角色，一旦你了解他們，就會發現他們似乎并不壞。
Miyazaki has explained that the lack of clearly defined good and evil is because he sees the 21st century as a complex time, in which old norms are no longer true and need to be re-examined. Simple stereotypes cannot be used, even in children’s films.
宮崎駿曾解釋道：故事之所以缺少善惡分明，是因為他眼中的21世紀是個復雜的時代，過去陳舊的準則將不再奏效，需要重新被審視。即便是在兒童電影中，簡單老套的模式也不再可取。
Environmentalism
環保主義
Miyazaki’s films often emphasize the Earth’s fragility, especially in the context of critiquing development and pollution. In My Neighbor Totoro, a great tree tops a hillside on which magical creatures reside, and the family worships the tree. This ecological consciousness is echoed in Princess Mononoke with a giant primordial forest, trees, flowers and wolves.
宮崎駿的電影經常會強調地球的脆弱，在批判發展與污染問題時尤其如此。在《龍貓》中，山頂的大樹上居住著許多奇幻生物，片中的家庭成員對這棵大樹崇敬有加。在《幽靈公主》一片中，廣袤無垠的原始森林、樹木、花朵以及狼群無不呼應著這一生態意識。
Pacifism
和平主義
Though his work can be violent, Miyazaki’s pacifism and opposition to violence go more than surface deep. Conflict and violence are usually seen as misguided and destructive, and Miyazaki’s heroes are often peacemakers. For example, in Howl’s Moving Castle, Howl’s negative view of the war is clear and he refuses to join the fight in any official capacity.
盡管他的作品有時充滿暴力，但是宮崎駿的和平主義與反暴力情結卻蘊涵于故事表面之下。沖突與暴力通常被人們看作是錯誤和破壞性的象征，宮崎駿作品里的英雄經常是和平的締造者。例如，在《哈爾的移動城堡》中，哈爾的厭戰情緒顯而易見，他拒絕加入任何一方的斗爭之中。
Moral formation
德行修養
A significant theme of moral formation runs through Miyazaki’s work. Respect for elders, responsibility, courtesy, generosity, maturity, courage, understanding and hard work are all common virtues exhibited by or acquired in the moral formation of Miyazaki’s young protagonists.
德行修養這個重要主題貫穿了宮崎駿作品始終。敬老、責任、禮貌、慷慨、成熟、勇氣、理解以及努力，這些都是宮崎駿作品中年輕的主角們身上的共同美德。
Recurring features
反復出現的特征
Besides their progressive themes, in Miyazaki’s films, viewers frequently encounter the following elements:
宮崎駿作品當中除了一些進步主義題材之外，觀眾經常會看到以下一些元素：
Children
兒童
Miyazaki’s protagonists are usually children or teens, more often young girls. For example, My Neighbor Totoro features two young girls who, unlike adults, can see the spirit world, and in Ponyo on the Cliff by the Sea a boy befriends a magic creature from the sea. Both Kiki’s Delivery Service and Spirited Away deal with growing up.
宮崎駿作品中的主角通常是兒童或青少年，大多數情況下是是小女孩。例如，《龍貓》中，兩個小女孩擁有異于成人的能力——她們可以看到精靈世界。又如，在《懸崖上的金魚公主》當中，一個男孩與海中精靈成了朋友。《魔女宅急便》和《千與千尋》講述的都是成長的故事。
Sky and water
天空與水
Two of Miyazaki’s great loves are sky and water, and he uses them in related ways. Flight is a ubiquitous theme —Miyazaki has never done a film that doesn’t involve flying of some kind, whether with gliders, magic brooms, World War I biplanes or with no visible means at all. His imagination seems to constantly soar and leave the pull of gravity behind.
宮崎駿大愛的兩個元素是天空與水，并將這兩者結合在一起。飛行這個主題無處不在——宮崎駿的作品從不缺乏飛行這個主題，不論是滑翔機、魔法掃帚、一戰時期的雙翼機，或是一些隱形的飛行元素。他的想象力似乎總是天馬行空，把地心引力拋諸腦后。
Water is another way for Miyazaki to defy gravity. In his films he likes to unexpectedly flood spaces with crystal-clear water, and objects floating on the surface or drifting through the depths seem to be suspended by magic.
水是宮崎駿用來擺脫地心引力的又一方式。他在作品中總是喜歡出人意料地讓畫面充滿晶瑩剔透的水元素，漂浮在水面或水下的物體似乎被施了魔法一般，懸浮不動。
