هایائو میازاکی (Persian Wikipedia)

Analysis of information sources in references of the Wikipedia article "هایائو میازاکی" in Persian language version.

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animationmagazine.net

Ball 2008. Ball, Ryan (25 August 2008). "Miyazaki's Ponyo Hits B.O. Milestone". Animation Magazine. Archived from the original on 22 May 2018. Retrieved 30 March 2017.

animations-cc.net

Animations 2008. "毎日映画コンクール" [Everyday Movie Competition] (به ژاپنی). Animations. 2008. Archived from the original on 4 March 2016. Retrieved 4 June 2017.

animationstudies.org

journal.animationstudies.org

(Akimoto 2014) می‌نویسد: «پورکو به یک خوک تبدیل شد زیرا از سه عامل زیر متنفر بود: انسان (خودخواهی)، دولت (ملی‌گرایی) و جنگ (نظامی گری).» ^[۸۵] Akimoto, Daisuke (1 October 2014). Ratelle, Amy (ed.). "A Pig, the State, and War: Porco Rosso (Kurenai no Buta)". Animation Studies. Society for Animation Studies. 9. Archived from the original on 25 January 2018. Retrieved 18 March 2017.
Akimoto 2014. Akimoto, Daisuke (1 October 2014). Ratelle, Amy (ed.). "A Pig, the State, and War: Porco Rosso (Kurenai no Buta)". Animation Studies. Society for Animation Studies. 9. Archived from the original on 25 January 2018. Retrieved 18 March 2017.

animekon.com

Animekon 2009. "Miyazaki Starts New Manga, Kaze Tachinu". Animekon. 12 February 2009. Archived from the original on 14 May 2017. Retrieved 31 March 2017.

animenewsnetwork.com

Anime News Network 2001. "Animage Top-100 Anime Listing". Anime News Network. 16 January 2001. Archived from the original on 22 January 2017. Retrieved 16 March 2017.
Macdonald 2014. Macdonald, Christopher (30 July 2014). "Today in History: Kiki's Delivery Service". Anime News Network. Archived from the original on 5 February 2017. Retrieved 18 March 2017.
Anime News Network 2005. "Studio Ghibli to Split from Tokuma". Anime News Network. 11 February 2005. Archived from the original on 24 December 2016. Retrieved 24 March 2017.
Anime News Network 2009. "Ponyo, DMC Won Japan Academy Awards on Friday". Anime News Network. 23 February 2009. Archived from the original on 26 January 2017. Retrieved 31 March 2017.
Anime News Network 2014b. "Producer: Miyazaki Wanted to Make 'Ponyo 2' Instead of The Wind Rises". Anime News Network. 2 March 2014. Archived from the original on 31 January 2017. Retrieved 31 March 2017.
Anime News Network 2014a. "Miyazaki's The Wind Rises Nominated for Animated Film Oscar (Updated)". Anime News Network. 17 January 2014. Archived from the original on 23 June 2017. Retrieved 31 March 2017.
Anime News Network 2013a. "Hayao Miyazaki Retires From Making Feature Films". Anime News Network. 1 September 2013. Archived from the original on 27 February 2017. Retrieved 31 March 2017.
Anime News Network 2017. "Ghibli's Hayao Miyazaki Reveals His 'Final' Film's Title, Release Window". Anime News Network. 28 October 2017. Archived from the original on 1 November 2017. Retrieved 2 November 2017.
Anime News Network 2013b. "Hayao Miyazaki's Post-Retirement Samurai Manga Previewed on TV". Anime News Network. 19 November 2013. Archived from the original on 12 March 2017. Retrieved 31 March 2017.
Anime News Network 2021. "Ghibli Producer: Hayao Miyazaki's 'How Do You Live?' Film's Animation Is Half Finished". Anime News Network. 8 March 2021. Archived from the original on 10 March 2021. Retrieved 14 March 2021.
Anime News Network 2011. "Interview: Makoto Shinkai". Anime News Network. 6 August 2011. Retrieved 15 April 2020.
Loo 2011. Loo, Egan (18 October 2011). "Toy Story 3 Art Director Married to Hayao Miyazaki's Niece". Anime News Network. Archived from the original on 18 October 2011. Retrieved 12 July 2020.

annieawards.org

International Animated Film Association 1998. "26th Annual Annie". Annie Award. International Animated Film Association. 1998. Archived from the original on 23 April 2017. Retrieved 4 June 2017.

archive.org

(McCarthy 1999) اظهار داشت: «در آن زمان مد بود که موفقیت به عنوان نویسنده مانگا احمقانه است و میازاکی این را می‌دانست، اما تصمیم گرفت احساسات واقعی خود را در کار خود دنبال کند حتی اگر این احمقانه به نظر برسد.»^[۱۸] McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
(Cavallaro ۲۰۰۶) اظهار می‌دارد: «نائوشیکا یک موفقیت بی‌سابقه در دنیای انیمیشن ژاپنی است و هر یک از علاقه‌مندان معاصر میازاکی باید قدردان آن باشد.» ^[۶۴] Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
(Napier 1998) اظهار می‌دارد: «نائوشیکا... دارای عناصر فداکارانه ای است، که آنان را با یک شخصیت فعال و مصمم ترکیب می‌کند تا قهرمان کاملاً قدرتمند و در عین حال کاملاً زنانه ارائه دهد.»^[۶۷] Napier, Susan J. (1998). "Vampires, Psychic Girls, Flying Women and Sailor Scouts: Four faces of the young female in Japanese popular culture". In Martinez, Dolores P. (ed.). The Worlds of Japanese Popular Culture: Gender, Shifting Boundaries and Global Cultures. Cambridge: Cambridge University Press. pp. 91–109. ISBN 978-0-521-63128-0.
به نقل از میازاکی، (McCarthy 1999) نوشت: «من به قصد ارائه پیامی به بشریت فیلم نمی‌سازم. هدف اصلی من در یک فیلم این است که تماشاگران از این فیلم خوشحال شوند.»^[۶۸] McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
(Cavallaro ۲۰۰۶) می‌نویسد: «ارتباط کوندو با میازاکی و تاکاهاتا به دوران مشترک آنها در استودیو A-Pro برمی گردد… همچنین او جانشین احتمالی میازاکی بود ولی در سال ۱۹۹۸ در سن ۴۷ سالگی، قربانی آنوریسم شد و به طرز فجیعی درگذشت.»^[۸۹] Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
(McCarthy ۱۹۹۹) می‌نویسد: «آرمان‌گرایی نائوشیکا از دره باد، باعث گسرتش چشم‌انداز میازاکی شد تا پرنسس بالغ و مهربانی را [در فیلم شاهزاده مونونوکه] خلق کند.» ^[۹۹] McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Lenburg 2012, pp. 11, 60. Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2.
McCarthy 1999, p. 26. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Lenburg 2012, p. 12. Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2.
Lenburg 2012, pp. 11–12. Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2.
Lenburg 2012, p. 40. Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2.
Lenburg 2012, pp. 12–13. Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2.
McCarthy 1999, p. 27. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 28. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Lenburg 2012, p. 15. Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2.
McCarthy 1999, p. 29. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Lenburg 2012, p. 16. Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2.
McCarthy 1999, p. 30. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 217. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
LaMarre 2009, pp. 56ff. LaMarre, Thomas (30 October 2009). The Anime Machine: A Media Theory of Animation. Minneapolis: University of Minnesota Press. ISBN 978-0-8166-5155-9.
McCarthy 1999, p. 38. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 219. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Lenburg 2012, p. 22. Lenburg, Jeff (2012). Hayao Miyazaki: Japan's Premier Anime Storyteller. New York City: Infobase Publishing. ISBN 978-1-60413-841-2.
McCarthy 1999, p. 27, 219. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 220. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 39. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 221. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 40. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 223. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 50. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 225. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 163. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 73–74. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Cavallaro 2006, p. 47. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
McCarthy 1999, p. 75. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, pp. 77. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Cavallaro 2006, p. 48. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Nakamura & Matsuo 2002, p. 73. Nakamura, Karen; Matsuo, Hisako (17 November 2002). "Female masculinity and fantasy spaces". In Roberson, James E.; Suzuki, Nobue (eds.). Men and Masculinities in Contemporary Japan: Dislocating the Salaryman Doxa. Abingdon-on-Thames: Routledge. pp. 58–76. ISBN 978-0-415-27147-9.
Napier 1998, p. 101. Napier, Susan J. (1998). "Vampires, Psychic Girls, Flying Women and Sailor Scouts: Four faces of the young female in Japanese popular culture". In Martinez, Dolores P. (ed.). The Worlds of Japanese Popular Culture: Gender, Shifting Boundaries and Global Cultures. Cambridge: Cambridge University Press. pp. 91–109. ISBN 978-0-521-63128-0.
McCarthy 1999, p. 89. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 45. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Cavallaro 2006, p. 58. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 68. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 70. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 194. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 96. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 104. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 105. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 114. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
McCarthy 1999, p. 185. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 182. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, pp. 211. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Cavallaro 2006, p. 113. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 112. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
McCarthy 1999, pp. 214. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Cavallaro 2006, p. 127. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
McCarthy 1999, p. 186. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
McCarthy 1999, p. 203. McCarthy, Helen (1999). Hayao Miyazaki: Master of Japanese Animation (2002 ed.). Berkeley: Stone Bridge Press. ISBN 978-1-880656-41-9.
Cavallaro 2006, p. 126. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 120. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 32. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 121. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 135. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 157. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Talbot 2005. Talbot, Margaret (17 January 2005). "The Auteur of Anime". The New Yorker. New York City: Condé Nast. 80 (43): 64–75.
Cavallaro 2006, p. 167. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 168. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 165. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Reinders 2016, p. 181. Reinders, Eric (14 October 2016). The Moral Narratives of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-1-4766-6452-1.
Miyazaki 2002, p. 15. Miyazaki, Hayao (25 August 2002). Lu, Alvin (ed.). The Art of Spirited Away. San Francisco: Viz Media. ISBN 978-1-56931-777-8.
Kelts 2007. Kelts, Roland (2007). Japanamerica: How Japanese Pop Culture Has Invaded the U.S. Palgrave Macmillan. p. 49. ISBN 978-1-4039-8476-0.
Cavallaro 2006, p. 183. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 184. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.
Cavallaro 2006, p. 185. Cavallaro, Dani (24 January 2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2369-9.

asahi.com

ajw.asahi.com

Akagawa 2013. Akagawa, Roy (6 September 2013). "Excerpts of Hayao Miyazakis news conference announcing his retirement". Asahi Shimbun. Archived from the original on 7 September 2013. Retrieved 31 March 2017.

blastr.com

Castro 2012. Castro, Adam-Troy (14 December 2012). "Legendary animator Miyazaki reveals Ponyo's inspirations". Sci Fi Wire. Syfy. Archived from the original on 11 June 2017. Retrieved 27 March 2017.

cbsnews.com

CBS News 2014, p. 15. "Oscars honors animator Hayao Miyazaki". CBS News. سی‌بی‌اس. 8 November 2014. Archived from the original on 2 January 2017. Retrieved 19 March 2017.
CBS News 2014, p. 24. "Oscars honors animator Hayao Miyazaki". CBS News. سی‌بی‌اس. 8 November 2014. Archived from the original on 2 January 2017. Retrieved 19 March 2017.

cnn.com

edition.cnn.com

Mahmood 2018. Mahmood, Zahid (6 April 2018). "Anime film director Isao Takahata dies at 82". CNN. Turner Broadcasting System. Archived from the original on 6 April 2018. Retrieved 28 April 2018.

collider.com

Chitwood 2013. Chitwood, Adam (12 July 2013). "Guillermo del Toro Talks His Favorite Kaiju Movies, Hayao Miyazaki, Why He's Not Likely to Direct a Film in an Established Franchise, and More". Collider. Complex. Archived from the original on 7 May 2017. Retrieved 22 May 2017.

crunchyroll.com

Green 2014. Green, Scott (11 March 2014). ""The Wind Rises" Takes Animation Prize at Japan Academy Awards". Crunchyroll. Ellation. Archived from the original on 21 January 2017. Retrieved 31 March 2017.
Komatsu 2018. Komatsu, Mikikazu (20 April 2018). "Steven Spielberg Talks About His Meeting with Hayao Miyazaki at "Ready Player One" Talk Event in Tokyo". Crunchyroll. Otter Media. Archived from the original on 20 April 2018. Retrieved 14 June 2019.
Komatsu 2012. Komatsu, Mikikazu (30 October 2012). "Hayao Miyazaki Named Person of Cultural Merit by Japanese Government". Crunchyroll. Otter Media. Archived from the original on 22 May 2018. Retrieved 9 June 2017.
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(Gold 2016) می‌نویسد: «تبدیل شدن پدر و مادر چی‌چیرو به خوک، نمادی از چگونگی حریص شدن بعضی از انسان‌ها است … افرادی بودند که در حباب اقتصادی دهه ۱۹۸۰ ژاپن «به خوک تبدیل شدند» و هنوز این افراد متوجه نشده‌اند که به خوک تبدیل شده‌اند.»^[۱۱۰] Gold, Corey (14 July 2016). "Studio Ghibli letter sheds new light on Spirited Away mysteries". RocketNews24. Socio Corporation. Archived from the original on 7 March 2017. Retrieved 24 March 2017.
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(Schellhase 2014) می‌نویسد: «اکثر شرورهای واقعی در فیلم‌های میازاکی استثمارگر هستند: [شخصیت] تولمکیان در فیلم نائوشیکا از دره باد می‌خواهند یک جنگجوی غول پیکر فوق‌العاده مخرب را زنده کنند. شاهزاده سایه دار مسکو در فیلم لاپوتا قلعه‌ای در آسمان، که امیدوار است بتواند از قدرت یک شهر پرنده برای سلطه بر جهان استفاده کند. یا مادام سلیمن در فیلم قلعه متحرک هاول، جادوگری که تلاش می‌کند تمام شعبده‌بازهای سرزمین را تحت کنترل خود درآورد و آنها را به هیولاهای جنگی خود تبدیل کند.»^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
(Schellhase 2014) می‌نویسد: «شخصیت‌های زن میازاکی عینیت ندارند و بیش از حد دارای جاذبه جنسی نیستند. آنها به اندازه شخصیت‌های مردانه یا حتی بیشتر پیچیده و مستقل هستند. شخصیت‌های زن و مرد به‌طور یکسان، افرادی منحصر به فرد، با کنجکاوی‌های خاص و حتی ناسازگاری مانند افراد واقعی هستند. همچنین آنها قابل تشخیص از مردانه یا زنانه هستند، اما مجبور نیستند در نقش‌های جنسیتی کاملاً مشخص شده، تعریف شوند. جاذبه جنسی به اندازه شخصیت و روابط مهم نیست. اگر این فمینیسم باشد، هالیوود به خیلی بیشتر از آن احتیاج دارد.» ^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
(Schellhase 2014) می‌نویسد: «شاهدخت نائوشیکا، به عنوان یک رهبر، برای نجات مردم خود و ملکه شدن، با موفقیت از بحران شدید سیاسی و اکولوژیکی عبور می‌کند. روایت فیلم کی‌کی که در آن «جادوگر جوان برای تمرین» خود را در یک شهر غریب مستقر می‌کند و شادی‌ها و تجربه‌های وابستگی متقابل انسان‌ها را تجربه می‌کند. در فیلم شهر ارواح، چهیرو باید سخت کار کند و بر مشکلات غلبه کند تا پدر و مادر خود را از حیوان نجات دهد. قهرمان فیلم هاول سوفی یک «روح پیر» است، اما نفرین جادوگر حسود او را به سفری غیرمنتظره می‌فرستد که در آن او و هاول هر دو یادمی‌گیرند که بار عشق و مسئولیت را به دوش بکشند. اوم، قهرمان فیلم بر فراز تپه شقایق، در ابتدای فیلم بسیار پخته و مسئولیت پذیر است، اما در طول داستان، درک او رشد می‌کند و قادر به مقابله با غم از دست دادن پدرش است.» ^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
(Schellhase 2014) می‌نویسد: «میازاکی به ویژه نگران از دست دادن حس کنجکاوی جوانان ژاپنی از زندگی در جهانی کاملاً ناامید و مادی است.»^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
(Schellhase 2014) می‌نویسد: «بسیاری از قهرمانان جوان [میازاکی] فاقد یک یا هر دو والدین هستند. بعضی از والدین الگوهای بدی هستند مثل پدر و مادر پر خور چهیرو [در فیلم شهر ارواح]، یا مادر کم عمق سوفی [در فیلم قلعه متحرک هاول]. برخی از خانواده‌ها فقط کارایی ندارند، مانند دزدان دریایی آسمان در فیلم لاپوتا، [یا در فیلم لاپوتا] پسران در حالی که پدرشان تمام وقت خود را به صورت خلوت در موتورخانه می‌گذراند، بر روی بندهای پیش بند مادرانه دولا آویزان شده‌اند. اما خانواده‌هایی واقع بین، پایدار و دارای پدرانی کوشا و متعهد و مادرانی دلسوز و فداکار در فیلم‌های همسایه من توتورو، پونیو و بر فراز تپه شقایق وجود دارند.» ^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
Schellhase 2014. Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.

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(Foundas 2013) می‌نویسد: «باد برمی‌خیزد همچنان مضامین صلح طلبانه [پیشین میازاکی] در نائوشیکا و شاهزاده مونونوکه را ادامه می‌دهد و اشتهای انسان برای نابودی و سرعت استفاده از فناوری‌های جدید را روایت می‌کند.»^[۱۴۵] Foundas, Scott (29 August 2013). "'The Wind Rises' Review: Hayao Miyazaki's Haunting Epic". Variety. Penske Media Corporation. Archived from the original on 23 February 2017. Retrieved 31 March 2017.
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(Gold 2016) می‌نویسد: «تبدیل شدن پدر و مادر چی‌چیرو به خوک، نمادی از چگونگی حریص شدن بعضی از انسان‌ها است … افرادی بودند که در حباب اقتصادی دهه ۱۹۸۰ ژاپن «به خوک تبدیل شدند» و هنوز این افراد متوجه نشده‌اند که به خوک تبدیل شده‌اند.»^[۱۱۰] Gold, Corey (14 July 2016). "Studio Ghibli letter sheds new light on Spirited Away mysteries". RocketNews24. Socio Corporation. Archived from the original on 7 March 2017. Retrieved 24 March 2017.
(Foundas 2013) می‌نویسد: «باد برمی‌خیزد همچنان مضامین صلح طلبانه [پیشین میازاکی] در نائوشیکا و شاهزاده مونونوکه را ادامه می‌دهد و اشتهای انسان برای نابودی و سرعت استفاده از فناوری‌های جدید را روایت می‌کند.»^[۱۴۵] Foundas, Scott (29 August 2013). "'The Wind Rises' Review: Hayao Miyazaki's Haunting Epic". Variety. Penske Media Corporation. Archived from the original on 23 February 2017. Retrieved 31 March 2017.
در (Cappello 2005), تالبوت می‌نویسد: «یکبار میازاکی به‌طور نه کاملاً شوخی گفت که منتظر است توکیو توسط اقیانوس غوطه ور شود و برج NTV (نیپون تلویژن) به یک جزیره تبدیل شود، زمانی که جمعیت انسانی به شدت کاهش می‌یابد و دیگر هیچ برج بلندی وجود نداشته باشد.»^[۱۷۴] Cappello, Daniel (10 January 2005). "The Animated Life". The New Yorker. Condé Nast. Archived from the original on 24 May 2006. Retrieved 4 May 2017.
(Schellhase 2014) می‌نویسد: «اکثر شرورهای واقعی در فیلم‌های میازاکی استثمارگر هستند: [شخصیت] تولمکیان در فیلم نائوشیکا از دره باد می‌خواهند یک جنگجوی غول پیکر فوق‌العاده مخرب را زنده کنند. شاهزاده سایه دار مسکو در فیلم لاپوتا قلعه‌ای در آسمان، که امیدوار است بتواند از قدرت یک شهر پرنده برای سلطه بر جهان استفاده کند. یا مادام سلیمن در فیلم قلعه متحرک هاول، جادوگری که تلاش می‌کند تمام شعبده‌بازهای سرزمین را تحت کنترل خود درآورد و آنها را به هیولاهای جنگی خود تبدیل کند.»^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
(Akimoto 2014) می‌نویسد: «پورکو به یک خوک تبدیل شد زیرا از سه عامل زیر متنفر بود: انسان (خودخواهی)، دولت (ملی‌گرایی) و جنگ (نظامی گری).» ^[۸۵] Akimoto, Daisuke (1 October 2014). Ratelle, Amy (ed.). "A Pig, the State, and War: Porco Rosso (Kurenai no Buta)". Animation Studies. Society for Animation Studies. 9. Archived from the original on 25 January 2018. Retrieved 18 March 2017.
(Schellhase 2014) می‌نویسد: «شخصیت‌های زن میازاکی عینیت ندارند و بیش از حد دارای جاذبه جنسی نیستند. آنها به اندازه شخصیت‌های مردانه یا حتی بیشتر پیچیده و مستقل هستند. شخصیت‌های زن و مرد به‌طور یکسان، افرادی منحصر به فرد، با کنجکاوی‌های خاص و حتی ناسازگاری مانند افراد واقعی هستند. همچنین آنها قابل تشخیص از مردانه یا زنانه هستند، اما مجبور نیستند در نقش‌های جنسیتی کاملاً مشخص شده، تعریف شوند. جاذبه جنسی به اندازه شخصیت و روابط مهم نیست. اگر این فمینیسم باشد، هالیوود به خیلی بیشتر از آن احتیاج دارد.» ^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
(Schellhase 2014) می‌نویسد: «شاهدخت نائوشیکا، به عنوان یک رهبر، برای نجات مردم خود و ملکه شدن، با موفقیت از بحران شدید سیاسی و اکولوژیکی عبور می‌کند. روایت فیلم کی‌کی که در آن «جادوگر جوان برای تمرین» خود را در یک شهر غریب مستقر می‌کند و شادی‌ها و تجربه‌های وابستگی متقابل انسان‌ها را تجربه می‌کند. در فیلم شهر ارواح، چهیرو باید سخت کار کند و بر مشکلات غلبه کند تا پدر و مادر خود را از حیوان نجات دهد. قهرمان فیلم هاول سوفی یک «روح پیر» است، اما نفرین جادوگر حسود او را به سفری غیرمنتظره می‌فرستد که در آن او و هاول هر دو یادمی‌گیرند که بار عشق و مسئولیت را به دوش بکشند. اوم، قهرمان فیلم بر فراز تپه شقایق، در ابتدای فیلم بسیار پخته و مسئولیت پذیر است، اما در طول داستان، درک او رشد می‌کند و قادر به مقابله با غم از دست دادن پدرش است.» ^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
(Schellhase 2014) می‌نویسد: «میازاکی به ویژه نگران از دست دادن حس کنجکاوی جوانان ژاپنی از زندگی در جهانی کاملاً ناامید و مادی است.»^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
(Schellhase 2014) می‌نویسد: «بسیاری از قهرمانان جوان [میازاکی] فاقد یک یا هر دو والدین هستند. بعضی از والدین الگوهای بدی هستند مثل پدر و مادر پر خور چهیرو [در فیلم شهر ارواح]، یا مادر کم عمق سوفی [در فیلم قلعه متحرک هاول]. برخی از خانواده‌ها فقط کارایی ندارند، مانند دزدان دریایی آسمان در فیلم لاپوتا، [یا در فیلم لاپوتا] پسران در حالی که پدرشان تمام وقت خود را به صورت خلوت در موتورخانه می‌گذراند، بر روی بندهای پیش بند مادرانه دولا آویزان شده‌اند. اما خانواده‌هایی واقع بین، پایدار و دارای پدرانی کوشا و متعهد و مادرانی دلسوز و فداکار در فیلم‌های همسایه من توتورو، پونیو و بر فراز تپه شقایق وجود دارند.» ^[۱۶۸] Schellhase, Peter (7 November 2014). "The Conservative Vision of Hayao Miyazaki". The Imaginative Conservative. Archived from the original on 1 June 2017. Retrieved 13 April 2017.
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