千与千寻完全版中文版（千与千寻）
千与千寻完全版中文版（千与千寻）Miyazaki himself hasn't always sounded upbeat on environmental matters; in a 2005 interview in The New Yorker he exclaimed: " I talked to an expert on this recently and I said; 'Tell me the truth'. He said with mass consumption continuing as it is we will have less than 50 years… I'm hoping I'll live another 30 years. I want to see the sea rise over Tokyo and the NTV towe
The film that captures millennials' greatest fear
从《千与千寻》中解读千禧一代的担忧
Spirited Away was certainly not the first Japanese animation to reach a global mainstream. Generations of kids worldwide have grown up with multi-genre anime TV series from Science Ninja Team Gatchaman (aka Battle Of The Planets) to Pokemon; the film adaptation of Katsuhiro Otomo's explosive Akira (1988) renewed mass interest in anime.
《千与千寻》并不是第一部进入全球观众视野的日本动漫。 从《科学忍者队》（又名《星球大战》）到《口袋妖怪》，全球一代又一代青少年是看着多种体裁的动漫长大的。大友克洋（Katsuhiro Otomo）的《阿基拉（Akira）》（1988）电影版也重新点燃了人们对动漫的兴趣。
Yet two decades on from its original release Spirited Away retains its bewitching power: as an extraordinary gateway into anime as a unifying form and into themes of environmentalism supernaturalism and humanity that are deeply rooted throughout Miyazaki's works and feel more resonant than ever. Even the name of Miyazaki's Studio Ghibli is vividly elemental ("ghibli" is an Italian term itself derived from Arabic meaning "hot desert wind").
距离首次上映已经过去了20年，《千与千寻》仍然保留了其令人着迷的力量：它以统一的形式通往动漫的非凡大门，通往植根于宫崎骏作品中的环保主义，超自然主义和人文主题，引起观众的内心中前所未有的共鸣。 甚至宫崎骏的吉卜力工作室（Ghibli Studio）的名称都生动地体现了自然中的力量（“ ghibli”是意大利语术语，其本身源自阿拉伯语，意思是“沙漠的热风”）。
Throughout this tale nature is intrinsically magical; humans often seem comparatively graceless destructive and given to disastrous materialism. As Clements also points out the eco-focus of Spirited Away was natural territory for Miyazaki and his peers and has added to the film's universal appeal.
在整个故事中，自然本质上是神奇的。 人类显得是那么粗鄙、具有破坏性，并且倾向于灾难性的物质主义。正如克莱门茨（Clements）所指出的那样，《千与千寻》（Spirited Away）的聚焦环保是宫崎骏和同伴们轻车熟路的领域，这也是这部影片向世界发出的呼吁。
Miyazaki himself hasn't always sounded upbeat on environmental matters; in a 2005 interview in The New Yorker he exclaimed: " I talked to an expert on this recently and I said; 'Tell me the truth'. He said with mass consumption continuing as it is we will have less than 50 years… I'm hoping I'll live another 30 years. I want to see the sea rise over Tokyo and the NTV tower become an island. I'd like to see Manhattan underwater… Money and desire - all that is going to collapse and wild green grasses are going to take over."
对于环境问题，宫崎骏本人并不总是这样乐观。在2005年《纽约客》上的一次采访中，他惊呼：“我最近与一位专家进行了交谈，我说：'告诉我真相'。他说，随着大规模消费的持续，我们还剩下不到50年…… 我希望再活30年，我希望看到海浪淹没东京，日本电视塔成为一个小岛。我希望看到曼哈顿被淹没……金钱和欲望—一切都会崩塌，取而代之的是青青野草。”
And yet as we see in his films (and their intriguingly ambiguous "baddies") there remains a capacity for positive transformation. In Spirited Away Chihiro befriends a mysterious "Dragon Boy" and is forced to work in an opulent bathhouse owned by the grotesque witch Yubaba (who seizes Chihiro's identity and renames her "Sen"). In one pivotal scene Chihiro is enlisted to help wash a hulking "stink spirit" who has visited the bathhouse. Amid the messy chaos Chihiro treats the creature with gentle compassion and it transpires to be a sacred river spirit who had suffered from human pollution.
然而，当我们观看他的电影（及电影中有趣的，令人又爱又恨的“坏蛋”），会发现仍然保有一种积极转变的能力。 在《千与千寻》中，千寻与一个神秘的“白龙”结为朋友，并被迫在丑陋女巫尤巴巴的豪华澡堂里工作。（尤巴巴夺去了千寻的身份，并改名叫她为“森”）。 在电影的一个关键场景中，千寻被派遣去给来浴室洗澡的体型巨大的“臭气先生”助浴。在一片混乱之中，千寻仍然以体贴的同情心对待这个生物，后来他们发现臭气先生是被人类污染的河魂。
A child's eye view
孩子的视角
"The camera shoots here at a child's eye-level. The adults are towering above us and they are something solid to grab onto. The camera is shooting from hip-height which is something done surprisingly rarely in anime. Cartoons tend to put children in worlds where everything is on their level but Miyazaki has gone that extra mile; he has thought about what it's like to be 4ft tall and he has incorporated it into the way he shoots his world."
这部电影的镜头是在儿童的视线水平上拍摄的。成年人高高耸立在我们的上方，那样高大立体，需要伸手才能够到。相机是从腰部的位置拍摄，这在动漫中很少能做到。动画片总是把孩子们放在一个世界中，在这里所有的物体都和他们等高。但是宫崎骏又做出了更进一步的努力，他已经想到了作为一个4英尺高孩子的真实感觉，并且将其融入了在他拍摄的方式中。”
I was already a young adult when Spirited Away was first released; watching it again recently I was instantly caught up in its beautiful poignant spell but also struck by how unnerved it made me feel: small and stranded like Chihiro in a florid unruly universe.
当《千与千寻》放映时，我已经是一个青年人。最近又重新看了一遍，我立即被它美丽，凄美的咒语所吸引，但也惊骇于看完后我内心的不安，仿佛我自己也变成了小小的迷路的千寻被困在一个繁茂、不守规矩的宇宙。
"I think that Miyazaki's films not only caught the zeitgeist in the late 20th Century for audiences just starting to come to term with environmental issues but also in the 21st Century with millennials growing up with a sense that their world has already been despoiled " says Clements.
“我认为宫崎骏的电影不仅只抓住了二十世纪末的时代精神，因为对于观众来说，他们刚开始接触环境问题，同时这部电影而且还抓住了二十一世纪的时代思潮，在二十一世纪，千禧一代在成长中便已经知道，他们的世界已经被破坏了。”克莱门茨说。
#宫崎骏《千与千寻》有什么内涵或者深意吗#
