（雅思課外精讀）宮崎駿的動畫為何讓人著迷

【雅思課外精讀】宮崎駿的動畫為何讓人著迷？，很多同學對于這個問題有疑問和不解，那么下面就跟著中國教育在線的小編詳細了解一下吧。

*注：本文摘自6月6日《經(jīng)濟學人》

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家庭娛樂

For Hayao Miyazaki, flight is a metaphor for freedom

對宮崎駿來說，飛行是自由的象征

Discover the consoling imagination of a star Japanese animator

探索日本動畫明星安慰人心的想象

1. HAYAO MIYAZAKI has spent his career conjuring up fantastical worlds full ofoutlandish creatures. Spirited Away (2001), which won an Oscar for best animated film, is set in a magical realm ruled by a bejewelled witch and populated by talking frogs, gremlins made of soot and a vaporous creature who emits gold nuggets from his fingertips. Amid todays pandemic, one feature of Mr Miyazakis escapist movies is particularly intoxicating: his obsession with flying.

在他的職業(yè)生涯中，宮崎駿一直在創(chuàng)造一個充滿奇異生物的奇幻世界。他的《千與千尋》獲得了奧斯卡最佳動畫電影獎，這部電影講述的故事發(fā)生在一個由一位珠光寶氣的女巫統(tǒng)治的魔法王國里，居住著會說話的青蛙、由煤灰做成的精靈和一個能從指間噴出盡快的蒸汽怪物。在當今疫情大流行的背景下，宮崎駿那些帶領人們逃避現(xiàn)實的電影有一個令人沉醉的特點，那就是他對飛行的癡迷。

2. Flight is in Mr Miyazakis blood. He was born in 1941 in Tokyo, where his father ran a firm that manufactured parts for Japanese fighter planes during the second world war. He whiled awayboyhood hours inventing his own aircraft; at night he dreamed of gliding above the city. Most imaginations become more earthbound with age, but as an adult Mr Miyazaki thought up a squadron of wondrous flying machines with designs that embody their pilots personalities. Castle in the Sky (1986) features a rag-tag family of pirates who buzz aroundin flaptors,contraptions with transparent, flapping wings that resemble giant mosquitoes.

飛行是宮崎駿天性就愛的。他1941年生于東京，他父親在二戰(zhàn)期間經(jīng)營一家為日本戰(zhàn)斗機制造零部件的公司。他把童年的大部分時間都花在發(fā)明飛機上。晚上，他夢見自己在城市上空滑翔。隨著年齡增長，大多數(shù)人的想象變得更加貼近現(xiàn)實，而成年后的宮崎駿卻現(xiàn)象出了很多奇妙的飛行器，而這些機器的設計體現(xiàn)了其飛行員的個性?！短炜罩恰分杏幸蝗汉１I，他們用撲翼器滿天飛，這種撲翼器有著透明翅膀裝置，看起來像巨大的蚊子。

3. He is a connoisseur of the sensory thrill of flight. His characters swoop over mountainous landscapes and arc through cerulean skies full of billowing white cumulus, leaving vapour trails twisting like ribbons in the air. When they dive into the clouds for cover, they make a splash as though sinking into clots of heavy cream.

在飛行的感官刺激方面，宮崎駿是行家。他筆下的人物在山景中俯沖，在滿是翻騰的白色積云的天藍色天空中盤旋，在空中留下像絲帶一樣纏繞的蒸汽痕跡。當他們俯沖到云層中尋找掩護時，會帶起一陣云華，就像是掉入了一團濃濃的奶油中。

4. In these animations, flying is about more than ingenious designs and sumptuous images. It also provides Mr Miyazakis deepest metaphors, standing for confidence, independence, the power of the imagination itself. Most of his protagonists are children undergoing rites of passagethe dislocation of moving house or trouble in the family. Take Mei and Satsuki, the young sisters in My Neighbour Totoro (1988) who have just relocated with their father to rural Japan. Exploring their new home, they discover a tubby woodland spirit in the roots of acamphortree. A benevolent presence, Totoro soars above the countryside on a spinning top and takes the girls along for the ride. Gradually, as it emerges that their mother is gravely ill, these adventures seem more than mere flights of fancy. They are a form of solace.

在宮崎駿的動畫中，飛行并不只是巧妙的設計和華麗的畫面。飛行還有深刻的隱喻，象征著自信、獨立和想象力。他的很多主人公都是經(jīng)歷了成人禮，要么是搬家的混亂，要么是家里有麻煩。以《龍貓》中的梅和五月為例，她們剛隨著父親搬到農(nóng)村。在她們逛新家的時候，在一棵樟樹下發(fā)現(xiàn)了一個矮胖的森林精靈。龍貓很友愛，它騎在旋轉(zhuǎn)的陀螺上，帶著女孩子們一起在鄉(xiāng)村上空飛翔、兜風。隨著電影展開，當看到她們的母親病重的時候，龍貓和這對姐妹的冒險似乎就不再只是幻想了。這是一種安慰。

5. That is what Mr Miyazakis enchanting stories offer as the world waits for borders to reopen and planes to take off again. His most resonant film is Kikis Delivery Service (1989), which follows a charmingly wilful 13-year-old witch who rides around on a broom. Determined to find her way in the world, she sets up a courier company to profit from her ability to fly. But when business slows and she suffers her first boutof boy trouble, she loses heart and her powers oflevitation, too. We fly with our spirit, she says as she tries to restore her confidence, take to the skies and get her life going again. Sound familiar?

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