Conclusion

My aim for this blog was to analyse Miyazaki as an Auteur and his creation of Studio Ghibli as a studio which creates work that contains its own set of generic codes and conventions.

Hiyao Miyazaki, and by relation, Studio Ghibli, conform to all the criteria laid out by Andrew Sarris in “Notes on the Auteur Theory in 1962” which distinguish Auteurs from regular directors.

The consistent quality of their films proves Miyazaki and the studio’s technical competency, which spans across their entire oeuvre of works. A distinguishable personality is definitely present as discussed earlier and so is a consistent Interior meaning, with recurring themes such as Family, maturity and changing identity which help us glimpse the world as seen through Miyazaki’s eyes.

If auteur theory is followed, then Miyazaki is undeniably in the ranks of the auteurs, having created what is in many respects a sub-genre of the anime film. He has done what very no others have by making consistently successful anime films with intelligent themes and interior meaning, which are also accessible to the western audience. Even with regards to Pauline Kael’s criticism in terms of film being a collaborative effort, and therefore not having a single author, Miyazaki has much more control over his studio’s films than many live action film directors do over their own, and should be considered the driving force and watchful eye behind all Ghibli animation.

Ghiblis conventions are clearly executed and intertwined with the studio’s underlying structure, never will there be an occasion where a studio convention, such as anthropomorphism, is included without valid reason. this is notable as the same cannot be said for other studio’s, including their international distributor Disney. Surface themes are almost always contextualized by the texts deeper meaning, such as Anthropomorphism being used to emphasize the human connection or lack of connection with nature for example in Princess Mononoke and Pom Poko. Or to simply distance a character from reality, which is in turn used often as a metaphor for a transitional period in a characters maturity, such as in Spirited Away or My Neighbour Totoro. There is always sufficient reasoning behind every decision, much of which can be put down to Hiyao Miyazaki’s creative vision, his vision being why Ghibli films will alway stand out as intelligent pieces of animated cinema.

The argument could go on as to whether Hayao Miyazaki is rightfully an auteur and how much of a genre his studio has carved out, but the arguments for both of these are, from the evidence gathered, I believe stronger than those against.