Studio Ghibali | Arts and machines

Representative Picture | Photo Credit: AFP

Studio Ghibli’s 2013 film the wind risesSet in Japan during World War II, a crowd scene lasts for a few seconds. There people are jostling, carrying goods, a mother is carrying two children, everyone hurries to go away in one tearing. Under the direction of Hayo Miyajaki, who co-established the studio Ghibli with Isao Taqahata and others in 1985, it took the animators for more than a year to cover the frame by hand. Miazaki ensured that no computer graphics were used, because there is no faceless for the crowd, it is what is made up of society, and it was important to catch each person’s expression.

Last week, Chatgpt showed its latest image generating capabilities, allowing users to create images such as studio Ghibali in a flash. Social media was filled with AI-Janit Mems and Art, which was put behind each film by the famous animation studio of Japan. This frenzy has started a debate on whether AI, who can repeat the art, will be able to capture its nuances anytime.

Studio Ghibali is making animation films with images made from thousands of hand paintings. It has 24 animated characteristics in its name; First, NavalAbout a warrior and a peace-maker who struggled to stop the war, was issued just before the official founder of the studio. Initial classics include My neighbor Totaro (1988), the story of two girls and their efforts with forest spirits, and Princess mononok (1997), a girl picked up by wolves and her fight with society.

The 84 -year -old Miazaki’s rich atmospheric, emotionally immersed in local Milia, has also given international praise to the work. Miazaki has found two Oscar nodes, Boy and heron Last year – he came out of retirement to make a film – and for magical spirited Away In 2003, 10-year-old Chihiro meets a masked spirit and expects to protect his parents from a curse.

In his book, Miyajivarald: A Life in ArtSusan Napier writes that Miyazaki, born in war -torn Japan, is sensitive to technical and environmental destruction, but that her world combines with apocalypse, female heroes, and elegiaq and utopian vision. “His interaction of all these elements in an emotionally resonant tapestry makes him an extraordinary world builder – such as other fantasy Lewis Carol, Jules Verne, JRR Tollkin and JK Rowling,” he says.

‘Trauma is universal’

In the interview, Miazaki has stated that the trauma (war, ruins and tuberculosis of his mother affected her world vision) is universal, “It’s like everyone – whether you take it carefully or try to leave it in other forms”. But rather than living on trauma, Miyajaki pushes for the values ​​of perseverance, flexibility, endurance and acceptance in her films.

Napier calls Miazaki an unknown talent. The workplace is intense and she quotes Miyamaki describing the scandal of the bathhouse. spirited Away As modeling on the studio Ghibli, with Cantanciers Witch Yubba, the bathhouse head, himself and the manufacturer Toshio serving as Suzuki’s hybrid.

Although Miazaki has not commented on the AI ​​dispute, in the past, he achieved efforts to produce art through machines. Looking at the AI ​​model of a figure going on the floor, he said that he never wanted to include this technique because it did not understand human behavior. In the coming days, AI Overch, copyright issues, exploitation of artists and creative heritage will be warmly debated.

The machines can never be allowed to control society, Jeffrey Hinton, who led AI, warned. A few days before the chat attack, Miazaki’s son, Goro Miyanaki, Managing Director, Studio Ghibali, told the media that it was likely to change the animators one day, but “Does the audience want to see AI-borne animation completely”. Even if old schools and new technology collide, the audience will hopes that Miazaki and other artists will never have to keep their pencils down.