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This feature film belongs to the complete collection of Ghiblit. The original work is a new gift from Miyazaki Hayao (Brochure of Miyazaki Hayao and Ghibli Art Museum), interviewed by Goro Miyazaki, director of Ghibli Art Museum, and personally explained by Gao Che, Miyazaki Hayao's gold medal partner animation producer.
Different from the focus of visiting the exhibition hall as an anime lover in Miyazaki Hayao, the film does not emphasize too much the echo of various furnishings and animation scenes in the art museum, nor does it compare real scenes with animation scenes, such as covered bridges, terraces and elevators that echo the "oil room" of Spirited Away bathhouse. The film mainly analyzes the Ghibli Art Museum from the perspective of architectural design through the dialogue between the two people, including architectural inspiration, materials, structure, elevators and so on.
For the first time, the film reveals the reference of Ghibli Art Museum to European architecture. By comparing the appearance of medieval mountain cities in Europe and Himeji City in Japan with the museum itself, it is not difficult for the audience to find that the museum has many similarities with these places in architectural aesthetics and structure. Just like a small mountain city, the limited space is fully utilized, and the Ghibli Art Museum also gives visitors the same feeling. Attic, walls, corridors and other elements are concentrated in a small art museum, and the tour route is as complicated as a maze of mountain roads, which makes tourists feast their eyes. With his talent in space design, Miyazaki Hayao uses these interesting and unfamiliar styles to capture people's curiosity and interest.
Next, the film revisits Miyazaki Hayao's old works Pippi under the Boots and The Witch's Home Help, dating back to 1976, when Gog was preparing to find his relatives in Wan Li, Miyazaki Hayao and Gog visited Genoa and even went into houses to collect folk songs. The experience of traveling in western Europe has a great influence on the reality of his later works, which is exactly the background setting we saw, such as City in the Sky and Flying Pig Man. Miyazaki Hayao applied this background setting in the film-labyrinthine mountain city and vertical complex architectural structure-to the design of the art museum, adding personal imagination and expansion, thus creating such a unique artistic building.
Miyazaki Hayao never simply creates illusory and unrealistic scenes. He believes that only by using familiar elements in reality reasonably can people feel interesting and produce * * * songs. Just like in animation, we should consider the details that cannot be ignored, such as orientation, angle, projection principle and so on. The art museum also has many details for you to discover, such as guardrails, sculptures, windows, skylights, road signs and furnishings. All of them have been carefully designed and arranged by artists. The well in the back garden is inspired by the drinking water source in the European town square, the elevator in the art museum and the old-fashioned hand-controlled double-door elevator in the last century. ...
In the middle of the film, the audience was dragged back to the art museum from the image of exotic scenery. But the film only allows the audience to browse the exhibition hall that should be introduced in depth, and the narration is a bit simple. The audience can only know the names and functions of these exhibition halls through subtitles:
Mini-cinema-"Earth Constellation" film showroom;
The permanent exhibition room [film studio] ranges from 1 room to 5 rooms, corresponding to a series of production processes such as the conception, scriptwriting, painting, coloring and shooting of animated films. Here, the audience can not only see the story-divided comic strips and various painting tools, but also see many interesting sketches, notes and random feelings during Miyazaki Hayao's work. Everything here is dizzy.
The permanent exhibition room "Animation Demonstration Room" shows the history of animation and the principle of motion imaging.
Then stop at the straw hat coffee shop and the film returns to the interview between them.
However, through the dialogue between Goro Miyazaki and Gog, the audience can still get some inspiration that tourists may not get, that is, the hidden meaning behind the architectural structure of the whole art museum: the protagonist of the story has gone through some struggles and tests, and finally reached the bright high place from the dark low place. The route of the art gallery has the same effect. Visitors first come to the ground floor from the entrance, and with curiosity and adventure, they keep going up and through the maze of stairs, rooms and corridors until they visit the whole art museum. This process is actually a well-meaning arrangement made by Miyazaki Hayao when he designed this building.
Finally, from a high perspective, the camera browses the exhibition hall again, staying at a different height and observing the exhibition hall from different angles. Through the introduction, the audience learned that this is Gao's favorite perspective. Finally, when we came to the garden on the roof, we saw the mechanical soldiers standing in the lush vegetation again. In fact, Gog is quite right. Only by personal experience can we appreciate the unique sensory enjoyment brought by the art museum, which can't be obtained by sitting in the cinema and watching animation, even after watching this DVD feature film.