Real masterpieces are hard to find, but when it happens to find one, a mixed feeling of satisfaction and pleasure make realize that it could be watched a hundred times still with the same amazement and joy. Studio Ghibli films are some of these rare, pure gems, total works of art that leave a trace in the sea of sh*t and triviality.
很难找到真正的杰作，但是当碰巧找到一个杰作时，一种满足感和愉悦感的混合使人意识到，即使是同样的惊奇和喜悦，它也可以被观看一百次。 吉卜力工作室电影是其中的一些稀有，纯净的宝石，总的艺术品可在残酷无聊的海洋中留下痕迹。
Total works of art are total for a reason: they could be analyzed on multiple levels, finding several interpretations and attention to details at each of these levels.
总的艺术作品之所以合计是有原因的：它们可以在多个层次上进行分析，在每个层次上都有几种解释和对细节的关注。
There are hundreds of details and finesses to spot, and dozen new come out at each rewatch. Each of those details belongs to a specific narrative or informative level. Watching Studio Ghibli (and Miyazaki’s films in particular), it is amazing to find out how a narration that feels smooth and natural, actually passes through design objects to define its fundamental ideas. One of the key techniques that put Ghibli films one notch above the average animation movies, is the quantity (and quality) of information it leaves in a short time. The films are dense and leave a lot of room of interpretation, to continue to appreciate the pictures and its meaning even after the film itself. To achieve that density, the films object of the study say a lot with fast symbolic, metaphoric, and immediate images, rather than slow-pacing dialogs. In the long run, the iteration of this technique produces meaningful, and at the same time enjoyable (relatively short) plays, which can fit nearly any taste and attention.
有数百个细节和技巧，每次重新观看时都会出现十多个新细节。 这些细节均属于特定的叙述或信息级别。 观看吉卜力工作室(尤其是宫崎骏的电影)，发现一个感觉如何流畅自然的叙事实际上是如何通过设计对象定义其基本思想的 ，这真是令人惊讶。 使吉卜力语的电影比普通动画电影高出一个等级的关键技术之一是它在短时间内留下的信息量(和质量)。 电影很密集，留下了很大的解释空间，即使在电影本身之后，也可以继续欣赏图片及其含义。 为了达到这种密度，研究的电影对象使用了快速的象征，隐喻和即时图像 ，而不是慢节奏的对话。 从长远来看，这种技术的迭代会产生有意义的，同时令人愉悦的(相对较短的)演奏，几乎可以满足任何口味和注意力。
Analyzing Studio Ghibli’s brilliant ability to narrate through design enables designers to get crucial insights to design artifacts that not only look and feel good but also conveys a particular message, idea, or philosophy, that is what makes a good piece of design a masterpiece. To do so, the designer has to narrate through a common base of understandable images and symbols, parts of a wide, global, collective imagination.
通过分析吉卜力工作室(Studio Ghibli)出色的设计叙事能力，设计师可以从关键的见解中获得对设计艺术品的深刻见解，这些艺术品不仅外观和感觉都不错，而且传达了特定的信息，想法或理念，这就是使一件好的设计成为杰作的原因。 为此，设计师必须通过可理解的图像和符号的通用基础进行叙述，这是广泛的，全球性的集体想象力的一部分。
波尔索·罗索(1992) (Porco Rosso (1992))
Porco Rosso is a beautifully detailed film in which design is central, and, as it usually happens when the theme of flight is dominant, the best design effort of the Studio is conveyed in airships. In particular, differently than Nausicaä, Laputa, and Kiki, the design medium is used to refine a position that emerges (or risks to emerge) from these previous films. Indeed, in the mentioned films the element of (bad) design is so massively and repeatedly used, to risk to give the idea of an unmediated complaint towards progress and industrialization. Porco Rosso is not meant to reverse that conception, instead, through a deep description of the design process, the authors aim to provide a model of the good (ideal) one, which is not finalized to profit at all, but to a responsible creative effort to generate the best object possible, given its requirements. Furthermore, Miyazaki (director) deepens its vision of the modern object, suggesting and narrating an example of how the machine, in its full beauty and elegance, can achieve the greatest men’s dreams, including the flight (one among of the most ancient and popular).
波尔斯科·罗索(Porco Rosso)是一部精美绝伦的影片，其中的设计是核心，并且通常在飞行主题为主导的情况下发生，工作室的最佳设计成果是在飞艇上传达的。 特别是，与Nausicaä，Laputa和Kiki不同的是，设计媒体用于完善从这些先前电影中出现的位置(或出现风险的位置)。 确实，在提到的电影中，(不良)设计的要素被如此大量和反复地使用，冒着给人们以无中介的方式抱怨进步和工业化的念头的风险。 Porco Rosso并不意味着颠覆这一观念，而是通过对设计过程的深入描述，作者旨在提供一种良好(理想)模型的模型，该模型最终无法最终获利，而只是负责任的创意根据其要求， 努力产生最好的物体。 此外，宫崎骏(导演)加深了对现代物件的视野，提出并叙述了一个例子，说明该机器如何以其美丽而优雅的方式实现最伟大的男人梦想，包括飞行(最古老和最受欢迎的飞机之一) )。
Two characters embody the complex relationship between design and its process: Fio Piccolo and his grandfather, Mr. Piccolo. Fio, a young seaplanes designer, is disinterested in money, jumping to the project details even before stipulating an economical agreement with Marco (“Porco”). She is presented as the ideal designer, who does not want anything but building the perfect aircraft. Mr. Piccolo, on the other hand, is inflexible on money, embodying all the misconceptions and bad behaviors of wrong, poisoned design culture, without even missing sexual discriminations and preconceptions.
设计和Craft.io之间的复杂关系体现在两个角色上： 菲奥·皮科洛 ( Fio Piccolo)和他的祖父皮科洛 ( Mr. Piccolo) 。 年轻的水上飞机设计师Fio对金钱不感兴趣，甚至在与Marco(“ Porco”)达成经济协议之前就跳入了项目的细节。 她是理想的设计师，除了建造完美的飞机外，他什么都不想要。 另一方面，Piccolo先生在金钱上不灵活，体现了错误的，被毒害的设计文化的所有误解和不良行为，甚至没有遗漏性别歧视和成见。
The result of the cooperation between Fio and Marco is the best that progress and technology can offer: a perfect seaplane, which acts as an extension of Marco’s body, demonstrating how good a product could be when it follows universal design principles before profits.
Fio和Marco之间的合作成果是进步和技术所能提供的最好成果：一架完美的水上飞机，是Marco身体的延伸，证明了在遵循通用设计原则而不获利的情况下，产品会是多么出色。
The ideal design process described, which aims to quality instead of quantity, is somehow followed by the Studio itself, as the precise reconstruction of the 1920s Italian context and its seaplanes demonstrates. Miyazaki is deeply passionated for airplanes, and so he wisely chooses to introduce and perfectly render a Macchi M33 (Porco’s seaplane) and a Curtiss R3C, which mention is obvious, as its driver’s name is Donald Curtis.
正如1920年代意大利背景及其水上飞机的精确再现所展示的那样，工作室本身遵循了以质量而非数量为目标的理想设计过程。 宫崎骏对飞机充满热情，因此他明智地选择引进并完美渲染Macchi M33 (Porco的水上飞机)和Curtiss R3C ，这很明显，因为其驾驶员的名字叫Donald Curtis 。
窃窃私语(1995) (Whisper of the Heart (1995))
The whole film contains a subtle criticism of consumerism and its deviated society, which can be sensed, in addition to the setting (a Tokyo from the ’90s), by the seriality of some objects and gestures, rather than other films’ metaphors. The studio targets the concept of “socially correct” and its relative pressures, which often overshadow people’s individuality, obliging them to make choices not of their own.
整部电影都对消费主义及其偏离的社会进行了微妙的批评，除了场景(90年代的东京)之外，还可以通过一些物体和手势的序列感来感知，而不是通过其他电影的隐喻来感知。 该工作室的目标是“ 社会正确 ”的概念及其相对压力，这些压力常常使人们的个性蒙上阴影，使他们不得不做出自己的选择。
Kondō (direction) and Miyazaki (screenplay) condensate the explained concept of the search of the personal vocation into the importance given to antiques. Those are not seen as pompous quirks, instead, they are the only objects having a system of memories and meanings outside their functional value. Thereupon, these objects reflect Shizuku’s both interior individuality and the relative contrast with the homologated mass. Moving this point further ahead, in the novel she writes, artisans play a crucial role in the resolution of the narrative development, confirming the hypothesis elaborated. This responsibility could be transposed, according to Studio Ghibli’s typical rhetoric, to the problem of seriality and depersonalization of the Objects (of non-design) between XX and XXI centuries.
Kondō(导演)和Miyazaki(剧本)将对个人职业搜索的解释概念浓缩为对古董的重视。 那些并没有被视为浮夸的怪癖，相反，它们是唯一具有超出其功能价值的记忆和意义系统的对象。 随即，这些物体既反映了interior宿的内部个性，又反映了其与同质物质的相对对比。 在她所写的小说中，这一观点进一步向前发展， 工匠在叙事发展的解决中起着至关重要的作用，从而证实了所阐述的假设。 根据吉卜力工作室的典型言论，这项责任可以转移到二十世纪和二十一世纪之间的(非设计)物体的连贯性和人格化问题 。
幽灵公主(1998) (Princess Mononoke (1998))
According to most the brightest masterpiece ever produced by Studio Ghibli, Princess Mononoke, raised its production level even higher, sanctioning the world-wide fame Miyazaki and the Studio hold today.
根据吉卜力工作室有史以来最明亮的杰作， Mononoke公主将其制作水平提高到了更高水平，这受到了全世界享誉全球的宫崎骏和Studio的认可。
The director insists, once more, on the environmentalist thematic, and, this far, it might look like there is nothing new nor different than the previous decade’s production. Well, nothing is further from the truth. Indeed, across the long list of Ghibli’s merits, there is an ability to deeply renovate and innovate, even when the starting point is a known theme. Each work stresses an aspect of the identified problem in a specific, different, and poetic way. This makes the films of the studio revolve around a common range of themes, but, at the same time, each film is a world on his own. Princess Mononoke is among the most brilliant pieces showing this peculiarity.
导演再次坚持以环保为主题 ，到目前为止，看起来似乎与前十年的作品没有什么不同。 好吧，事实离真相还远。 的确，在吉卜力一长串的功绩中，即使起点是已知的主题，也有能力进行深度革新和创新 。 每件作品都以特定，不同和诗意的方式强调已识别问题的一个方面。 这样一来，制片厂的电影就围绕着一系列共同的主题展开，但与此同时，每部电影都是一个独立的世界。 幽灵公主是表现出这种独特性的最辉煌的作品之一。
The central objects of the narration are the arquebuses, which are declined in two variations. The arquebuses of “first kind”, resembling an ancient Chinese weapon, the “firelance”, common amongst film’s soldiers, are quite inelegant in their shape and function. They consist of a wooden staff upon which is placed a metal body designed to contain ammunition and gunpowder. Regardless of their simplicity, they present an important detail for the scope of this analysis: a high relief of a dragon. It might seem a sensed choice in the western perspective of dragons spitting up the fire (like arquebuses do), but it is actually quite the opposite considering the eastern dragon symbology.
叙述的主要对象是arquebus ，它以两种形式下降。 电影士兵中常见的类似于中国古代武器的“第一类” 火枪 ，在形状和功能上都很不雅观 。 它们由木棍组成，上面放着一个设计成装有弹药和火药的金属主体。 不管它们的简单性如何，它们为分析的范围提供了一个重要的细节： 龙的浮雕。 从西方的角度看，龙似乎是一种明智的选择，就像龙卷风一样，但考虑到东部龙的象征意义，这实际上是相反的。
The Eastern Chinese Dragon has two main symbolic domains: weather/water and masculine power. If the system of meanings related to power and masculinity perfectly fits with the idea of the arquebus as a means of domination of everyone who does not have the access to that military technology, the water dragon does not seem to match perfectly with a weapon that literally spits fire. To justify the choice, the “second kind” of arquebus has to be introduced. These are owned by Lady Eboshi and only a few other women, and consist of a more advanced, rifle-like version of the firelances, very close to the one imported by Portugueses in Japan in 1543.
东方龙有两个主要的象征性领域： 天气/水和男性力量 。 如果与权力和阳刚之气有关的意义体系完全符合arquebus的思想，因为它是控制无法获得该军事技术的每个人的一种手段，那么水龙似乎并不能与从字面上看的武器完美匹配吐火。 为了证明选择的正确性，必须引入“ 第二种 ” arquebus。 这些武器由江户贵妇人和其他几名妇女拥有，并且由更先进的步枪式火枪组成，非常接近葡萄牙人于1543年在日本进口的那支。
This version is completely un-styled and, differently than its opposing “first kind” mentioned earlier, it is attributable to the “Design of Engineers” from the 1800s, which main aim is to purely champion progress’ achievements. So then, Eboshi’s arquebus seems to forget the heritage of tradition and its and relative symbols, totally converting herself to the blind faith of progress. Therefore, characters’ weapons stay in their places they are for a reason: they reflect the cultural and philosophical statute of the characters they belong to. Lady Eboshi, in her desperate, blind quest for a total domain (over both mortals and gods), deliberately denies the ancient relationship between humans and nature which once founded the ancient eastern traditions, as her weapon visually testifies. However, on the other hand, common soldiers holding “first kind” arquebuses just blindly follow their charming leader, without understanding completely her theoretical roots and consequences. That is why, while Eboshi completed the transition from traditional to industrialized (Japan) society, her soldiers are still somewhere in between traditional affections and futuristic advantages. They still keep a little humanity in their innocence, concretized in the high relief of a dragon symbol of water, visualized as opposing to Eboshi’s fire. A decoration that is useless for the functioning of their arquebuses, but dense of meaning on a narrative level. Hence their weapons contribute to visualizing this theoretical, philosophical distinction.
该版本完全没有样式，与前面提到的相反的“ 第一类 ”不同，它可归因于1800年代的“ 工程师设计 ”，其主要目的是纯粹捍卫进步的成就。 因此，Eboshi的遗物似乎忘记了传统的传承及其相关符号，完全将自己转化为对进步的盲目信仰。 因此，角色的武器之所以停留在原地是有原因的：它们反映了其所属角色的文化和哲学法规 。 埃博希夫人在绝望的，盲目的追求(对凡人和神灵都有)整体领域的过程中，故意否认人与自然之间的古老关系，而这种关系曾经建立了古老的东方传统，正如她的武器在视觉上作证的那样。 但是，另一方面，持“ 第一类 ”火把的普通士兵只是盲目跟随其迷人的领袖，而没有完全了解她的理论根源和后果。 这就是为什么埃伯希(Eboshi)完成了从传统社会向工业化(日本)社会的转变时，她的士兵们仍然处在传统情感和未来派优势之间的某个位置。 他们仍然保留着一点点的人性在自己的清白 ，在水龙符号的高浮雕具体化，形象化为反对以乌帽子的火灾。 一种装饰，对于其arquebus的功能没有用，但在叙事级别上含义丰富。 因此，他们的武器有助于形象化这种理论上， 哲学上的区别 。
Hayao Miyazaki could have simply provided everyone the same weapon; nobody would have ever noticed it, nobody would have complained; however, the richness and brilliance mentioned earlier, lay in these little, significative, and memorable details.
宫崎骏本可以简单地为所有人提供相同的武器。 没有人会注意到，没有人会抱怨； 然而，前面提到的丰富和辉煌之处在于这些微小，有意义和令人难忘的细节。
The complicated relationship between a leader and its fellowship could be also interpreted from a multitude of perspectives. For example, the musketeers could also be a metaphor of the consumeristic society, which is often unaware of the consequences and natural damage brought by their instruments and methods.
领导人与其团契之间的复杂关系也可以从多种角度来解释。 例如，火枪手也可能是消费主义社会的隐喻，后者往往不了解其乐器和方法所带来的后果和自然破坏。
千与千寻(2001) (Spirited Away (2001))
If a few films strike like Ghibli’s ones, a few Ghibli’s films strike like Spirited Away (dir. Hayao Miyazaki). The film is super-rich, dense and does not spare on any aspect. The creativity is let flow in every single detail; the viewer can look at any hidden angle of the screen: he/she will always find the smoothest animation and the sharpest drawing. There are plenty of what Roger Ebert defines “gifts from Miyazaki”; components of the system of details that elevates an artwork from good to a masterpiece.
如果有几部电影像吉卜力的电影一样震撼人心，那么几部吉卜力的电影也像《千与千寻》一样震撼人心(宫崎骏)。 该膜是超级富集，致密的，在任何方面都没有保留。 创造力在每个细节中流动； 观看者可以看到屏幕的任何隐藏角度：他/她将始终找到最流畅的动画和最清晰的绘图。 罗杰·埃伯特(Roger Ebert)定义了很多“ 宫崎骏的礼物 ”； 细节系统的组成部分，将艺术品从优秀提升为杰作。
In Spirited Away, Miyazaki’s approach to design is different and new if compared to previous productions. More uniquely that rarely, the director introduces a recognizable object fo design: a 1996 Audi A4 Quattro (as Chihiro’s father’s car). The choice is sensed, considering the context of the film, characterized by a very strong presence (and reinterpretation) of folkloristic Japanese elements, against which the Audi deliberately clashes. The introduction is justly tuned and conveys the compliant and theme around which the sense of the whole narration revolves: Japan’s globalization (symbolized by a Germany-imported car), particularly intensified during the second post-war, risking to blow away the millennial history and traditions of the county and its society.
在《千与千寻》中，宫崎骏的设计方法与以前的作品相比是不同的且新颖的。 导演更独特地介绍了一种可识别的设计对象：一辆1996年的奥迪A4 Quattro (作为千寻父亲的车)。 考虑到影片的背景，做出选择是有意义的，其特征是非常强烈地存在(并重新诠释) 日本民俗元素 ，而奥迪则故意与之抗衡。 引言经过适当调整，传达了整个叙事感所围绕的顺从性和主题： 日本的全球化(由德国进口的汽车所吞并)，特别是在战后第二次全球化中加剧，有可能破坏千年历史以及该县及其社会的传统。
It is not hard to spot that another crucial theme of the film is greed, which takes his best representation when Chihiro’s parents are turned into pigs, after eating somebody else’s food. However, the creativity of the Studio is not exhausted in the mentioned scene, as it is also concretized in the Interior Design. The two witch sisters, Yubaba (the owner of the hot springs) and Zeniba, are two different characters who have the same appearance. Nonetheless, they differentiate through fine details, including the furnishing of their homes. Yubaba’s office has pompous, European, late-nineteenth-century interiors, while Zeniba chooses to furnish her home with extremely humble, strictly needed decorations.
不难发现，影片的另一个关键主题是贪婪 ，当千寻的父母在吃了别人的食物后变成了猪时， 贪婪便表现出了他的最佳表现。 然而，工作室的创造力在上述场景中并未被穷尽，因为在室内设计中也是如此 。 两个巫婆姐妹Yubaba(温泉的拥有者)和Zeniba是两个外观相同的不同角色。 尽管如此，他们还是通过精致的细节(包括房屋布置)与众不同。 Yubaba的办公室有浮夸 ，欧洲，晚19世纪的内饰，而Zeniba选择提供她家的非常谦虚 ，严格要求装饰品。
Despite the witches having the same powers, Miyazaki exemplifies the dialectic between interiority and exteriority through Interior Design, which becomes one of the differentiation parameters between the two witches. Furthermore, the historical parallelism is easy: as the novelty of the pompous European furnishings increasingly fascinated the whole Japan, it gradually replaced the minimal interiors of Japanese houses. A century later, it happened that European designers and architects had been deeply inspired by Nipponese interiors, considered closer to universal design principles.
尽管女巫具有相同的权力，宫崎骏还是通过室内设计体现了内部性和外部性之间的辩证法 ，这成为了两个女巫之间的差异化参数之一。 此外，历史上的相似之处很容易：随着华丽的欧洲家具的新颖性越来越吸引整个日本，它逐渐取代了日式房屋的简约内饰。 一个世纪后，碰巧，日本设计师和建筑师对欧洲设计师和建筑师产生了深远的启发，认为它们更接近通用设计原则。
Finally, Interior Design winds between two fundamental film’s contrasts: interiority/exteriority and progress/traditions.
最后，室内设计在两部基本电影的对比之间展开：室内性/外部性和进度/传统 。
Although the theme of flight is present, unlike other films it is not concretized in pieces of Transportation Design. Instead, the only object of this kind that figures in the film is a train, and it serves to the thematic of alienation. It underlines the commuters’ depersonalization in modern society, forced to live a repetitive life, taking the same train in the same place, at the same time, every single day. Such a mechanic action delates the idea of travel, reducing it to a purely utilitarian movement. Commuters, faceless, fading automatons who just follow a set of instructions, do not care anymore to the place where they take off, which in fact in the film, is empty.
尽管存在飞行主题，但与其他电影不同的是，它在运输设计中并未具体化。 取而代之的是，影片中唯一出现的这种物体是火车 ，它以疏离为主题。 它强调了现代社会中通勤者的去个性化，被迫过着重复的生活，每天在同一地点，同一时间乘坐同一列火车。 这样的机械动作消除了旅行的想法，将其简化为纯粹的功利主义运动。 通勤者们，只是遵循一套指示，不露面，褪色的自动机，不再在乎他们起飞的地方，事实上，在电影中，那里是空的 。
Such a beautiful image is again a Miyazaki’s gift, a result of a majestic ability to condensate complex ideas in a few, perfect, etherized frames.
如此美丽的形象再次成为宫崎骏的礼物，这是雄伟的能力将复杂的想法凝聚在几个完美的以太框架中的结果。
The Importance of Design in Studio Ghibli’s Filmography (Vol. 3, 2004–2013): Expected on July 22, 2020.
吉卜力工作室电影作品中的设计重要性(2004年至2013年，第3卷)：预计于2020年7月22日发布。
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