Aesthetic Modernity Of Hayao Miyazaki's Animations

Since its naissance in 1906, animation film develops and continues to this day. As one category of film, animation, especially animated feature, became increasingly mature and turned into mainstream from marginal film as one indispensable part in people's consumption since 1990s. In the world of animated feature films, American animation's perennial dominant status was fluctuated gradually by Japanese animation that grew up rapidly. Among those Japanese animations, Hayao Miyazaki's animations soon became fashionable through out the world and got lots of rewards, and naturally aroused many film fans' and researchers' attention. Just following this tide, basing on the summarization of predecessors' research experience, using the research view of aesthetic modernity in culturology for reference, this article tries to go deep into the themes and forms of Hayao Miyazaki's animations in order to grasp the whole style of Hayao Miyazaki's animations and find out some experience that deserved learning from for Chinese animated feature films.Aesthetic modernity, one term of culturology, is one of the two putative levels of modernity. Social modernity and aesthetic modernity together make up of the self-thinking, self-doubting, incompatible and complicated structure of modernity. By responding to social modernity as aesthetic activity and taking subjectivity and personality as kernel, aesthetic modernity ob-thinks and animadverts on the realism and the conception of industry capitalism and its class society. Actually, the sense of aesthetic modernity is to raise man's aesthetic sensibility by ob-thinking man's subjective value, which could form contradictory and rectification to social modernity and avoid the "one-dimension person" destination of "dissimilation" for man. This is just the unique signification of aesthetic modernity, and this is also the unique value of "aesthetic modernity" in western background. Since Japan is the only capitalistic country that realized modernization in orient, it's feasible to analyze Japanese culture using the theory of aesthetic modernity. By analyzing the style of Hayao Miyazaki himself, the representation of his animation text and the watching experience of audience, we could see that the kernel of Hayao Miyazaki's animations is in pursuing of aesthetic modernity. There's strong realistic correlation in the world of Hayao Miyazaki's animations, which concentratedly metaphor the modern society of gray keynote by the prediction of "rotten sea" and those dissimilated animation characters; at the same time, this world also contains the romantic feeling of Hayao Miyazaki himself: the yearn towards harmonious relationship between human being and nature and towards nice humanity; within the tensility field that formed by these two forces, Hayao Miyazaki accomplishes his ultimate pursuit of aesthetic modernity: the ob-thinking to modern human being and animadverting on national individuality.The pursuing aesthetic modernity of Hayao Miyazaki's animations can't be independent of the support of their animation languages in secret. Through his clinging to traditional manners of drawing animation manually, his persist in traditional animation skills and traditional movie techniques of figuring characters, Hayao Miyazaki supports his intention in pursuing aesthetic modernity: seeking outlet in regression.Under the pursuit of aesthetic modernity, what Hayao Miyazaki's animations could indicate and what they indicate unify together with harmoniousness. Certainly, it's hard to avoid flaw even for jade, and Hayao Miyazaki's animations that gained recognitions all over the world also have their localization. But no matter success or localization, Hayao Miyazaki's animations bring inspiration to the future development of Chinese animated feature film. It's reasonable for us to believe that, basing on its advantage of posterior development, the future of Chinese animation is full of hope.