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Kiki's Delivery Service   

2009-12-06 13:29:03|  分类: 个人日记 |  标签: |举报 |字号 订阅

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© 1989 by Tokuma Shoten

Transcribed without permission for personal entertainment purpose only.

作为角野荣子的原著,《魔女宅急便》是儿童文学里很温暖地描绘了存在于日本当代少女希望和精神中的独立感和依赖感之间的隔阂的优秀小说。

在过去,作为故事主角的年轻人在通过战胜困难之后,获得财政上的独立,自然也获得了精神上的独立感。而在今天的社会里,一个大家可以从一份临时工作跳到另外一份工作去赚钱时,那么财政上的独立和精神上的独立就不再有了联系。在这个时代,贫穷与其说是物质上的不如说是精神上的。

在这个时代,离开家庭独自生活不再是什么很特别的事情,而在陌生人中生活意味着你唯一所需要的就是去一家便利商店,这也许比去达到一种独立的真实感觉更为困难,因为你必须经历一种发现自己才能和表达自己的过程。

唯一一点不寻常的地方在于女主角,13岁的KIKI能做到飞翔。而且在这个世界上,女巫并不比通常的女孩子要更有才能。她有义务生活在一个陌生的城市然后锻炼她的才能并且要让人们承认她是一个合格的女巫。

这有点像那些想成为漫画家而只身来到东京的人们。据说现在有大约30万年轻的男女们为这个理想而来。成为一个漫画家并不是不寻常的。可以相对容易地看到希望并且作出自己的生活选择。但是一个现代生活的特征就是日常生活的需求被自我实现的要求所取代。KIKI使用的是妈妈的旧的但是养护很好的扫帚,她有一个爸爸作为礼物送的收音机,还有一只与其关系如此亲密以致就像她自身的一部分的黑猫,但是KIKI在孤独和对人群的渴望之间摇摆。在KIKI的生活中,我们看到了反映出今天许许多多年轻少女们的生活,她们被她们的父母所宠爱,在经济上所供给,但是她们都向往着城市的亮光,打算前往那么并且独立起来。而她意志的薄弱和理解力的低浅同样也反映在现实世界里的年轻人们。

在原著中,KIKI依靠她天生的热心肠解决问题。同时她的朋友圈也在不断扩大。在电影里我们必须得有一些改变。她锻炼自己才能的过程当然很愉快但是我们生活在都市的年轻女孩的精神世界并不这么简单。对许多年轻女孩子来说,最大的难题在于打破对自己独立的束缚,

很多人都感觉她们所接受的并不仅仅是一个简单的祝福。所以我们觉得,在电影里我们必须对这个独立的问题给予严肃的对待。因为电影总是创造出一种更加现实的感觉,所以KIKI将遭受比原著中更加强烈的挫折感和孤独感。

当我们第一次看见作为一个在都市上空飞翔的小女孩的KIKI时,许多目光都很惊奇,但是却没有一束目光是温暖的。当她飞翔在天空中时,她被孤立了。通常人们认为飞行的力量就在于让人摆脱地球的束缚,但是自由却伴随着焦虑和孤独。我们的英雄是一个决定用飞行来定位自己的女孩。在这之前,只有很少的TV动画制作过小女巫的故事。她们总是会轻松地变为偶像。《魔女宅急便》里的女巫并没有拥有类似这样的力量。

在电影里女巫拥有的才能真的和日常生活中的女孩所拥有的一样。

我们计划着一个快乐的结局。当KIKI飞过这个城镇时,她感受到在她和下面生活着的人们那强烈的融合感,于是为此而高兴。我们希望让电影有足够的说服力,让观众感觉到结局是快乐的,而不是仅仅希望如此。

我觉得电影将完全达到它的目的,即对我们年轻的观众来说,那些生活在当今世界的,既没有否定年轻的快乐,也没有沉迷于年轻的快乐的女孩子们,在自由和依赖中徘徊。(因为我们也曾年轻过,我们部门的年轻职员也有着这样的问题)。同时我觉得这部电影作为娱乐,最基本的潜力就在于这点,它将在观众中引起共鸣。

——宫崎骏
——————————————————————

Kikis Delivery Service  - yetom - 等待水乡

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英文原文:

The Hopes and Spirit of Contemporary Japanese Girls

By Hayao Miyazaki

The English foreword to the book The Art of Kiki’s Delivery Service

Disclaimer

© 1989 by Tokuma ShotenTranscribed without permission for personal entertainment purpose only.

Eiko Kadono’s original story, Majo no Takkyubin “Kiki’s Delivery Service” (Published by Fukuinkan Shoten Publishers Inc.) is a fine work of children’s literature warmly depicting the gulf that exists between independence and reliance in the hopes and spirit of contemporary Japanese girls.

At one time the main characters of stories for young people gained financial independence, which was then equal to spiritual independence, after struggling through difficulties. In today’s society, however, where anyone can earn money going from one temporary job to another, there is no connection between financial independence and spiritual independence. In this era, poverty is not so much material as spiritual.

In an era when leaving the security of one’s home is no longer anything special, and living among strangers means nothing more than going to a convenience store for anything you need, it might be more difficult than ever to achieve a real sense of independence since you must go through the process of discovering your own talents and expressing yourself.

The only unusual thing that the heroine, 13-year old Kiki can do is fly through the sky. Moreover in this world witches are not much more talented than normal girls. She has the duty to live for a year in an unfamiliar town and exercise her talents to make people acknowledge her as a proper witch.

This is like someone who wants to be a cartoonist coming alone to Tokyo . Today there are said to be around 300,000 young men and women who are hoping to make it as cartoonists. Being a cartoonist is not that unusual a job. It is comparatively easy to get started and to make some sort of living. But a characteristic of modern life is that once the needs of daily life are taken care of the real problem of selfrealization begins. Kiki is protected by mother’s old but well-looked-after broom, she has the radio that was a gift from father, and the black cat she is so close to that it is almost like a part of herself, but Kiki’s heart wavers between isolation and longing for human company. In Kiki’s life we see reflected the lives of so many young Japanese girls today who are loved and supported economically by their parents, but who long for the bright lights of the city, and are about to go there and become independent. The weakness of her determination and the shallowness of her understanding are also reflected in the world of today’s young people.

In the original, Kiki solves difficult problems with her naturally good heart. At the same time her circle of allies increases. In filming this we have had to make a few changes. The process of her developing her talent is surely pleasant but the spirit of our young girls living in the capital today is not so simple. The biggest problem for many young girls is the fight to break through the barrier of independence, and there are too many people who feel they have received not a single blessing. We feel, therefore, in this movie that we must give serious treatment to the problem of independence. As movies always create a more realistic feeling, Kiki will suffer stronger setbacks and loneliness than in the original.

Our first image of Kiki when we meet her is of the form of a small girl flying through the night sky over the capital. Many lights shine, but there is not a single light to warmly beckon her. She is isolated as she flies in the sky. It is usually felt that the power of flight would liberate one from the earth, but freedom is accompanied by anxiety and loneliness. Our heroine is a girl who has decided to identify herself by her ability to fly. Quite a few TV cartoons about little witches have been made before this, but the witchcraft has always merely been the means to fulfill the dreams of young girls. They have always become idols with no difficulties. The witch of Majo no Takkyubin (Kiki’s Delivery Service) does not possess that convenient kind of power.

The talents of witch of this film are really little more than those possessed by any real-life girl.

We are planning a happy ending. As Kiki flies over the town she feels a strong bond between herself and the people who live below, and is happy being herself. We are hoping to make the film persuasive enough that viewers will conclude that the ending is happy, rather than merely wish it to be so.

I feel that this film will fulfill its goal of reaching out with a feeling of solidarity to our young viewers: the young girls living in today’s world who do not deny the joy of youth, nor are carried away by it, torn between freedom and dependence (because we were all young men and women once, and the young members of our staff have these very problems now). At the same time I feel that the basic potential of this film as entertainment lies in this point and that it will inspire sympathy in the viewers.

– Hayao Miyazaki

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