Analysis Of Star Artists Inspired Him - 1704 Words

Hayao Miyazaki Path to Animation Star artists inspired him. Hayao Miyazaki was only one of many during postwar Japan who wanted to become a comic artist (master). Like many others, Miyazaki would look to star artists, such as Osamu Tezuka, Tetsuji Fukushima, and Zohei Shiratsuchi, for inspiration. Of the three, Tezuka, who was named â€Å"the manga god† by fans, had the ingrained effect on Miyazaki. Miyazaki has written in a Tezuka memorial collection: It’s true to say that I was very heavily influenced by Tezuka. When I was in both elementary and junior high school, I liked his manga best of all the ones I read†¦ when I passed the age of eighteen and felt that I just had to draw manga of my own, the question of how best to peel away the†¦show more content†¦In addition, many more art and literature figures had an influence on Miyazaki’s direction and philosophy. For example, a French animation, The Shepherdess and the Chimneysweeper, directed by Paul Grimault, showed Miyazaki how an animation feature film could be targeted at an adult audience. And, while he did not want to follow Disney’s way of neatly finishing movies with main characters living happily ever after, Miyazaki did admit that he enjoyed Disney shorts such as Silly Symphonies. All this exposure to Western culture, paired with the foundation that Tezuka laid out for the Japanese animation industry, put fuel on Miyazaki’s passi on for animation and his vision as to exactly what Japanese animation, or animà ¨, could deliver. Early Film Miyazaki joined Toei Animation Studios, upon graduating Gakushuin University. After three months of training, the young Miyazaki got to be a part of his first animation productions, Watchdog Woof-Woof and Wolf Boy Ken, as an in-betweener. An in-betweener is someone who draws, or fills, the animation between two positions. For example, main artist would draw characters in key positions—compose the shots—and an in-betweener would fill in the action planned, like a character standing up from a chair. However, the work of somewhere along the bottom of the animation workflow couldn’t match Miyazaki’s ambition. Tired of doing low-level work, Miyazaki seriously considered quitting, but he was drawn back after watching Lev Atamatov’s The