[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"article:anime-studio-ghibli":3},{"meta":4,"markdown":78},{"type":5,"articleId":6,"slug":7,"title":8,"titleEn":9,"category":10,"summary":11,"publishedAt":12,"image":13,"vocabulary":14},"article","culture-anime-studio-ghibli","anime-studio-ghibli","スタジオジブリ作品史 — 宮崎駿・高畑勲・鈴木敏夫が築いた40年","Studio Ghibli: A 40-Year History of Miyazaki, Takahata, and Suzuki","culture","A 40-year history of Studio Ghibli — its 1985 founding under Tokuma Shoten, the three pillars of Miyazaki Hayao, Takahata Isao, and producer Suzuki Toshio, the chronological landmarks from \"Laputa\" to \"The Boy and the Heron,\" the studio's commitment to hand-drawn animation, the Ghibli Museum in Mitaka and Ghibli Park in Aichi, the recent Netflix and HBO Max overseas streaming deals, and the studio's role in raising the quality bar for the entire Japanese animation industry.\n","2026-04-28T00:00:00Z","https:\u002F\u002Fimages.yamiyomi.com\u002Fculture-anime-studio-ghibli.png",[15,20,24,29,33,37,41,45,49,53,57,62,66,70,74],{"word":16,"reading":17,"meaning":18,"level":19},"設立","せつりつ","founding","N1",{"word":21,"reading":22,"meaning":23,"level":19},"出資","しゅっし","investment",{"word":25,"reading":26,"meaning":27,"level":28},"監督","かんとく","director","N2",{"word":30,"reading":31,"meaning":32,"level":19},"興行","こうぎょう","box office",{"word":34,"reading":35,"meaning":36,"level":19},"邦画","ほうが","domestic Japanese film",{"word":38,"reading":39,"meaning":40,"level":19},"同時上映","どうじじょうえい","double feature",{"word":42,"reading":43,"meaning":44,"level":19},"受賞","じゅしょう","winning an award",{"word":46,"reading":47,"meaning":48,"level":19},"引退","いんたい","retirement",{"word":50,"reading":51,"meaning":52,"level":19},"手描き","てがき","hand-drawn",{"word":54,"reading":55,"meaning":56,"level":19},"配信権","はいしんけん","streaming rights",{"word":58,"reading":59,"meaning":60,"level":61},"美術館","びじゅつかん","art museum","N3",{"word":63,"reading":64,"meaning":65,"level":19},"開園","かいえん","park opening",{"word":67,"reading":68,"meaning":69,"level":28},"品質","ひんしつ","quality",{"word":71,"reading":72,"meaning":73,"level":19},"基準","きじゅん","standard",{"word":75,"reading":76,"meaning":77,"level":28},"影響","えいきょう","influence","\n::para\n[スタジオジブリ]{スタジオジブリ:Studio Ghibli}は、1985[年]{ねん:year:N5}に[徳間書店]{とくましょてん:Tokuma Shoten:N1}の[出資]{しゅっし:investment:N3}によって[設立]{せつりつ:founded:N2}された[日本]{にほん:Japan:N5}を[代表]{だいひょう:represent:N3}する[長編]{ちょうへん:feature-length:N2}[アニメーション]{アニメーション:animation}[制作]{せいさく:production:N3}スタジオです。[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}[監督]{かんとく:director:N1}の『[風の谷のナウシカ]{かぜのたにのナウシカ:Nausicaä of the Valley of the Wind:N2}』(1984)の[興行]{こうぎょう:box office:N1}[成功]{せいこう:success:N1}を[受け]{うけ:receiving:N3}、[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}・[高畑]{たかはた:Takahata:N1}[勲]{いさお:Isao:N1}・[鈴木]{すずき:Suzuki:N1}[敏夫]{としお:Toshio:N1}の[三人]{さんにん:three people:N5}を[中心]{ちゅうしん:center:N4}に[設立]{せつりつ:founded:N2}され、[以後]{いご:thereafter:N4}40[年]{ねん:years:N5}にわたって[世界]{せかい:world:N4}[中]{じゅう:throughout:N5}の[観客]{かんきゃく:audience:N3}を[魅了]{みりょう:captivate:N1}してきました。\n\n#en\nStudio Ghibli, founded in 1985 with capital from Tokuma Shoten, is the feature-length animation production studio that represents Japan. Receiving the box office success of director Miyazaki Hayao's \"Nausicaä of the Valley of the Wind\" (1984), it was founded around the three figures of Miyazaki Hayao, Takahata Isao, and Suzuki Toshio, and has captivated audiences worldwide for the 40 years since.\n::\n\n::heading\n[三本柱]{さんぼんばしら:three pillars:N2}としての[創業]{そうぎょう:founding:N1}メンバー\n\n#en\nThe Founding Members as Three Pillars\n::\n\n::para\nスタジオジブリを[支えて]{ささえて:support:N3}きたのは「[三本柱]{さんぼんばしら:three pillars:N2}」と[呼ばれる]{よばれる:called:N3}[三人]{さんにん:three people:N5}の[巨匠]{きょしょう:master:N1}です。[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}は[家族]{かぞく:family:N4}[向け]{むけ:targeted at:N3}の[冒険]{ぼうけん:adventure:N1}と[少女]{しょうじょ:girl:N4}の[成長]{せいちょう:growth:N3}を[描く]{えがく:depict:N1}[作風]{さくふう:style:N4}で[知られ]{しられ:known:N4}、[高畑]{たかはた:Takahata:N1}[勲]{いさお:Isao:N1}は[戦争]{せんそう:war:N3}や[日常]{にちじょう:everyday life:N3}の[厳しさ]{きびしさ:harshness:N1}を[正面]{しょうめん:head-on:N3}から[描く]{えがく:depict:N1}[硬派]{こうは:hard-line:N1}な[作家]{さっか:auteur:N4}として[評価]{ひょうか:evaluated:N1}されました。[鈴木]{すずき:Suzuki:N1}[敏夫]{としお:Toshio:N1}は[元]{もと:former:N4}『アニメージュ』[編集者]{へんしゅうしゃ:editor:N2}で、[作品]{さくひん:work:N4}の[企画]{きかく:planning:N1}・[宣伝]{せんでん:promotion:N1}・[資金]{しきん:funding:N3}[調達]{ちょうたつ:procurement:N3}を[一手]{いって:single-handedly:N4}に[引き受ける]{ひきうける:take on:N3}[名]{めい:famous:N5}プロデューサーとして[知られて]{しられて:known:N4}います。\n\n#en\nWhat has supported Studio Ghibli is three masters called the \"three pillars.\" Miyazaki Hayao is known for a style depicting family-oriented adventure and the growth of young girls; Takahata Isao was evaluated as a hard-line auteur depicting the harshness of war and everyday life head-on. Suzuki Toshio, a former editor of \"Animage\" magazine, is known as a famous producer who single-handedly takes on planning, promotion, and funding procurement for the works.\n::\n\n::callout\n[宮崎]{みやざき:Miyazaki:N1}が[作品]{さくひん:work:N4}の[創造]{そうぞう:creation:N1}を、[高畑]{たかはた:Takahata:N1}が[アニメーション]{アニメーション:animation}[表現]{ひょうげん:expression:N3}の[実験]{じっけん:experimentation:N3}を、[鈴木]{すずき:Suzuki:N1}が[経営]{けいえい:management:N2}と[市場]{しじょう:market:N3}との[橋渡し]{はしわたし:bridge-building:N2}を[担う]{になう:bear:N2}という[役割]{やくわり:role:N3}[分担]{ぶんたん:division:N2}が、ジブリの[長期的]{ちょうきてき:long-term:N3}な[安定]{あんてい:stability:N3}の[基盤]{きばん:foundation:N1}となりました。\n\n#en\nThe role division — Miyazaki bearing the creation of works, Takahata bearing experimentation in animation expression, and Suzuki bearing the bridge between management and market — became the foundation of Ghibli's long-term stability.\n::\n\n::heading\n[初期]{しょき:early:N3}[作品]{さくひん:works:N4}と[黄金期]{おうごんき:golden era:N2}への[助走]{じょそう:run-up:N3}\n\n#en\nEarly Works and the Run-Up to the Golden Era\n::\n\n::para\n[設立]{せつりつ:founding:N2}[翌年]{よくねん:following year:N2}の1986[年]{ねん:year:N5}に[公開]{こうかい:released:N4}された『[天空の城ラピュタ]{てんくうのしろラピュタ:Castle in the Sky:N2}』は、[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}[監督]{かんとく:director:N1}による[本格的]{ほんかくてき:full-fledged:N3}な[長編]{ちょうへん:feature-length:N2}[冒険]{ぼうけん:adventure:N1}[活劇]{かつげき:action film:N2}として、ジブリの[原点]{げんてん:starting point:N3}と[位置]{いち:positioned:N3}づけられています。1988[年]{ねん:year:N5}には[宮崎]{みやざき:Miyazaki:N1}[監督]{かんとく:director:N1}『[となりのトトロ]{となりのトトロ:My Neighbor Totoro}』と[高畑]{たかはた:Takahata:N1}[監督]{かんとく:director:N1}『[火垂るの墓]{ほたるのはか:Grave of the Fireflies:N1}』が[同時上映]{どうじじょうえい:double feature:N4}という[異例]{いれい:unusual:N1}の[形]{かたち:format:N3}で[公開]{こうかい:released:N4}され、ジブリの[作風]{さくふう:style:N4}の[幅広さ]{はばひろさ:breadth:N2}を[世]{よ:world:N4}に[示しました]{しめしました:demonstrated:N3}。\n\n#en\nReleased the year after founding in 1986, \"Castle in the Sky\" — a full-fledged feature-length adventure action film by director Miyazaki Hayao — is positioned as Ghibli's starting point. In 1988, director Miyazaki's \"My Neighbor Totoro\" and director Takahata's \"Grave of the Fireflies\" were released in the unusual format of a double feature, demonstrating to the world the breadth of Ghibli's style.\n::\n\n::para\n1989[年]{ねん:year:N5}の『[魔女の宅急便]{まじょのたっきゅうびん:Kiki's Delivery Service:N1}』は[当時]{とうじ:at the time:N3}の[年間]{ねんかん:annual:N5}[邦画]{ほうが:domestic film:N1}[興行]{こうぎょう:box office:N1}1[位]{い:place:N3}を[獲得]{かくとく:gained:N1}し、ジブリ[作品]{さくひん:work:N4}が[商業的]{しょうぎょうてき:commercially:N3}にも[安定]{あんてい:stably:N3}に[成功]{せいこう:succeed:N1}できることを[証明]{しょうめい:proved:N1}しました。1992[年]{ねん:year:N5}の『[紅の豚]{くれないのぶた:Porco Rosso:N1}』は[宮崎]{みやざき:Miyazaki:N1}の[個人的]{こじんてき:personal:N2}[趣味]{しゅみ:taste:N1}を[色濃く]{いろこく:strongly:N2}[反映]{はんえい:reflect:N3}した[大人]{おとな:adult:N5}[向け]{むけ:oriented:N3}[作品]{さくひん:work:N4}として[一定]{いってい:certain:N3}の[評価]{ひょうか:evaluation:N1}を[得ました]{えました:gained:N3}。\n\n#en\n\"Kiki's Delivery Service\" (1989) gained the number-one annual domestic box office of its time, proving that Ghibli works could succeed commercially with stability. \"Porco Rosso\" (1992) gained a certain evaluation as an adult-oriented work strongly reflecting Miyazaki's personal taste.\n::\n\n::heading\n[黄金期]{おうごんき:golden era:N2} — 『[もののけ姫]{もののけひめ:Princess Mononoke:N1}』と『[千と千尋]{せんとちひろ:Spirited Away:N1}』\n\n#en\nThe Golden Era — \"Princess Mononoke\" and \"Spirited Away\"\n::\n\n::para\n1997[年]{ねん:year:N5}に[公開]{こうかい:released:N4}された『[もののけ姫]{もののけひめ:Princess Mononoke:N1}』は、[製作]{せいさく:production:N1}[費]{ひ:cost:N3}20[億円]{おくえん:hundred million yen:N2}という[当時]{とうじ:at the time:N3}としては[破格]{はかく:exceptional:N3}の[規模]{きぼ:scale:N1}で[制作]{せいさく:produced:N3}され、[国内]{こくない:domestic:N3}[興行]{こうぎょう:box office:N1}[収入]{しゅうにゅう:revenue:N3}193[億円]{おくえん:hundred million yen:N2}を[記録]{きろく:recorded:N2}し、[当時]{とうじ:at the time:N3}の[邦画]{ほうが:domestic film:N1}[興行]{こうぎょう:box office:N1}[歴代]{れきだい:all-time:N2}1[位]{い:place:N3}を[更新]{こうしん:updated:N3}しました。[森]{もり:forest:N2}と[人間]{にんげん:human:N5}の[共存]{きょうぞん:coexistence:N3}という[重い]{おもい:heavy:N4}テーマを[扱い]{あつかい:handle:N1}ながら、[幅広い]{はばひろい:wide:N2}[年代]{ねんだい:age group:N4}に[支持]{しじ:support:N3}された[歴史的]{れきしてき:historic:N2}な[作品]{さくひん:work:N4}です。\n\n#en\n\"Princess Mononoke,\" released in 1997, was produced at the exceptional scale of ¥2 billion in production costs for its time, recorded ¥19.3 billion in domestic box office revenue, and updated the all-time number-one record for domestic film box office of its time. It is a historic work that gained wide support across age groups while handling the heavy theme of coexistence between forest and humanity.\n::\n\n::para\n2001[年]{ねん:year:N5}の『[千と千尋の神隠し]{せんとちひろのかみかくし:Spirited Away:N1}』はさらに[記録]{きろく:record:N2}を[塗り替え]{ぬりかえ:rewrote:N2}、[国内]{こくない:domestic:N3}[興行]{こうぎょう:box office:N1}[収入]{しゅうにゅう:revenue:N3}308[億円]{おくえん:hundred million yen:N2}という[歴代]{れきだい:all-time:N2}[最高]{さいこう:highest:N3}を[記録]{きろく:recorded:N2}しました(2020[年]{ねん:year:N5}に『[鬼滅の刃]{きめつのやいば:Demon Slayer:N1}』に[抜かれる]{ぬかれる:overtaken:N3}まで[20年間]{にじゅうねんかん:for 20 years:N5}1[位]{い:place:N3})。[海外]{かいがい:overseas:N4}でも[ベルリン]{ベルリン:Berlin}[国際]{こくさい:international:N3}[映画祭]{えいがさい:film festival:N2}[金]{きん:gold:N5}[熊]{くま:bear:N1}[賞]{しょう:prize:N2}と[米国]{べいこく:US:N3}[アカデミー賞]{アカデミーしょう:Academy Award:N2}[長編]{ちょうへん:feature:N2}[アニメーション]{アニメーション:animation}[賞]{しょう:prize:N2}を[受賞]{じゅしょう:won:N2}し、ジブリと[日本]{にほん:Japan:N5}[アニメーション]{アニメーション:animation}を[世界]{せかい:world:N4}に[認知]{にんち:recognized:N3}させた[転換点]{てんかんてん:turning point:N2}となりました。\n\n#en\n\"Spirited Away\" (2001) further rewrote records, recording the all-time high of ¥30.8 billion in domestic box office revenue (number one for 20 years until overtaken by \"Demon Slayer\" in 2020). Overseas it also won the Berlin International Film Festival Golden Bear and the US Academy Award for Best Animated Feature, becoming the turning point that made Ghibli and Japanese animation recognized worldwide.\n::\n\n::heading\n[2000年代]{にせんねんだい:2000s:N4}の[展開]{てんかい:development:N1}と[宮崎]{みやざき:Miyazaki:N1}の[引退]{いんたい:retirement:N3}[表明]{ひょうめい:announcement:N3}\n\n#en\n2000s Developments and Miyazaki's Retirement Announcement\n::\n\n::para\n2004[年]{ねん:year:N5}『[ハウルの動く城]{ハウルのうごくしろ:Howl's Moving Castle:N2}』、2008[年]{ねん:year:N5}『[崖の上のポニョ]{がけのうえのポニョ:Ponyo:N1}』と[宮崎]{みやざき:Miyazaki:N1}[作品]{さくひん:works:N4}が[相次いで]{あいついで:one after another:N3}[公開]{こうかい:released:N4}され、[国内]{こくない:domestic:N3}[興行]{こうぎょう:box office:N1}[収入]{しゅうにゅう:revenue:N3}は[いずれ]{いずれ:both}も100[億円]{おくえん:hundred million yen:N2}を[超える]{こえる:exceed:N2}[大]{だい:big:N5}ヒットとなりました。2013[年]{ねん:year:N5}の『[風立ちぬ]{かぜたちぬ:The Wind Rises:N4}』[公開]{こうかい:release:N4}[時]{じ:at the time:N5}に、[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}は[長編]{ちょうへん:feature:N2}[制作]{せいさく:production:N3}からの[引退]{いんたい:retirement:N3}を[正式]{せいしき:formally:N3}に[表明]{ひょうめい:announced:N3}しました(その[後]{ご:later:N5}[撤回]{てっかい:retracted:N1})。\n\n#en\n\"Howl's Moving Castle\" (2004) and \"Ponyo\" (2008) — Miyazaki works released one after another — both became big hits exceeding ¥10 billion in domestic box office revenue. At the release of \"The Wind Rises\" (2013), Miyazaki Hayao formally announced his retirement from feature-length production (later retracted).\n::\n\n::para\n2014[年]{ねん:year:N5}の『[思い出のマーニー]{おもいでのマーニー:When Marnie Was There:N4}』は[米林]{よねばやし:Yonebayashi:N2}[宏昌]{ひろまさ:Hiromasa:N1}[監督]{かんとく:director:N1}の[作品]{さくひん:work:N4}で、[宮崎]{みやざき:Miyazaki:N1}・[高畑]{たかはた:Takahata:N1}[以外]{いがい:other than:N4}の[監督]{かんとく:director:N1}による[新]{しん:new:N4}[世代]{せだい:generation:N4}の[ジブリ]{ジブリ:Ghibli}[作品]{さくひん:work:N4}として[公開]{こうかい:released:N4}されました。[しかし]{しかし:however}この[作品]{さくひん:work:N4}を[最後]{さいご:last:N3}に、ジブリは[一時]{いちじ:temporarily:N5}[長編]{ちょうへん:feature:N2}[制作]{せいさく:production:N3}部門を[解散]{かいさん:dissolve:N3}し、[後継]{こうけい:successor:N1}[育成]{いくせい:nurturing:N3}という[長年]{ながねん:long years:N5}の[課題]{かだい:challenge:N2}が[改めて]{あらためて:once again:N2}[浮き彫り]{うきぼり:thrown into relief:N1}になりました。\n\n#en\n\"When Marnie Was There\" (2014) was a work by director Yonebayashi Hiromasa, released as a new-generation Ghibli work by a director other than Miyazaki or Takahata. However, with this work as the last, Ghibli temporarily dissolved its feature production department, and the long-standing challenge of nurturing successors was once again thrown into relief.\n::\n\n::heading\n[手描き]{てがき:hand-drawn:N1}[アニメーション]{アニメーション:animation}への[こだわり]{こだわり:commitment}\n\n#en\nThe Commitment to Hand-Drawn Animation\n::\n\n::para\nジブリの[最大]{さいだい:greatest:N3}の[特徴]{とくちょう:characteristic:N1}の[一つ]{ひとつ:one:N5}は、デジタル[時代]{じだい:era:N4}にあっても[手描き]{てがき:hand-drawn:N1}[作画]{さくが:art:N4}を[堅持]{けんじ:firmly maintain:N1}してきたことです。[原画]{げんが:key animation:N3}・[動画]{どうが:in-between animation:N4}・[背景]{はいけい:background art:N3}まで[手作業]{てさぎょう:by hand:N4}を[基本]{きほん:basis:N1}とし、デジタル[技術]{ぎじゅつ:technology:N2}は[彩色]{さいしき:coloring:N1}や[撮影]{さつえい:compositing:N1}[工程]{こうてい:process:N3}に[徐々に]{じょじょに:gradually:N1}[統合]{とうごう:integrated:N1}してきました。これは[制作]{せいさく:production:N3}[期間]{きかん:period:N3}が[長期化]{ちょうきか:lengthen:N3}し[コスト]{コスト:cost}が[嵩む]{かさむ:pile up:N1}[要因]{よういん:factor:N3}でもありますが、[独自]{どくじ:unique:N1}の[温かみ]{あたたかみ:warmth:N2}ある[映像]{えいぞう:visuals:N2}[表現]{ひょうげん:expression:N3}を[生み出して]{うみだして:produce:N5}います。\n\n#en\nOne of Ghibli's greatest characteristics is firmly maintaining hand-drawn art even in the digital era. Key animation, in-between animation, and background art are based on manual work, with digital technology gradually integrated into coloring and compositing processes. While this is also a factor lengthening production periods and piling up costs, it produces a unique, warmth-filled visual expression.\n::\n\n::heading\n[三鷹の森]{みたかのもり:Mitaka Forest:N1}[ジブリ]{ジブリ:Ghibli}[美術館]{びじゅつかん:Museum:N3}と[ジブリ]{ジブリ:Ghibli}[パーク]{パーク:Park}\n\n#en\nThe Ghibli Museum and Ghibli Park\n::\n\n::para\n2001[年]{ねん:year:N5}、[東京都]{とうきょうと:Tokyo:N3}[三鷹市]{みたかし:Mitaka City:N1}に「[三鷹の森]{みたかのもり:Mitaka Forest:N1}[ジブリ]{ジブリ:Ghibli}[美術館]{びじゅつかん:Museum:N3}」が[開館]{かいかん:opened:N4}しました。[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}[自身]{じしん:himself:N4}が[館主]{かんしゅ:director:N4}を[務め]{つとめ:served as:N3}、[完全]{かんぜん:fully:N3}[予約]{よやく:reservation:N3}[制]{せい:system:N3}で[一日]{いちにち:per day:N5}の[入場]{にゅうじょう:admission:N4}[人数]{にんずう:numbers:N3}を[制限]{せいげん:restrict:N3}し、[来場]{らいじょう:visit:N4}[体験]{たいけん:experience:N4}の[質]{しつ:quality:N4}を[守って]{まもって:protected:N3}います。[館内]{かんない:inside the museum:N3}[限定]{げんてい:exclusive:N3}の[短編]{たんぺん:short:N2}[アニメーション]{アニメーション:animation}も[制作]{せいさく:produced:N3}されており、ファンの[聖地]{せいち:holy ground:N1}となっています。\n\n#en\nIn 2001, the \"Ghibli Museum, Mitaka\" opened in Mitaka City, Tokyo. Miyazaki Hayao himself serves as director, and the fully reservation-based system restricts daily admission numbers, protecting the quality of the visiting experience. Museum-exclusive short animations are also produced, making it a holy ground for fans.\n::\n\n::para\n2022[年]{ねん:year:N5}11[月]{がつ:November:N5}には、[愛知県]{あいちけん:Aichi Prefecture:N2}[長久手市]{ながくてし:Nagakute City:N2}の[愛・地球博]{あいちきゅうはく:Expo 2005:N1}[記念]{きねん:memorial:N3}[公園]{こうえん:park:N3}[内]{ない:within:N3}に「[ジブリ]{ジブリ:Ghibli}[パーク]{パーク:Park}」が[開園]{かいえん:opened:N3}しました。『[となりのトトロ]{となりのトトロ:My Neighbor Totoro}』『[千と千尋]{せんとちひろ:Spirited Away:N1}』『[もののけ姫]{もののけひめ:Princess Mononoke:N1}』など[各]{かく:each:N2}[作品]{さくひん:work:N4}の[世界観]{せかいかん:world view:N3}を[再現]{さいげん:reproduce:N2}した[エリア]{エリア:area}が[段階的]{だんかいてき:in stages:N2}に[開園]{かいえん:opened:N3}され、[愛知県]{あいちけん:Aichi Prefecture:N2}の[新た]{あらた:new:N4}な[観光]{かんこう:tourism:N3}[拠点]{きょてん:hub:N1}として[国内外]{こくないがい:domestic and overseas:N3}から[多く]{おおく:many:N4}の[来場者]{らいじょうしゃ:visitors:N4}を[集めて]{あつめて:gathering:N4}います。\n\n#en\nIn November 2022, \"Ghibli Park\" opened within the Expo 2005 Memorial Park in Nagakute City, Aichi Prefecture. Areas reproducing the world views of works like \"My Neighbor Totoro,\" \"Spirited Away,\" and \"Princess Mononoke\" have opened in stages, gathering many visitors from domestic and overseas as a new tourism hub for Aichi Prefecture.\n::\n\n::heading\n[海外]{かいがい:overseas:N4}[配信権]{はいしんけん:streaming rights:N3}と[グローバル]{グローバル:global}[展開]{てんかい:expansion:N1}\n\n#en\nOverseas Streaming Rights and Global Expansion\n::\n\n::para\n[長年]{ながねん:long years:N5}、ジブリ[作品]{さくひん:works:N4}は[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}の[強い]{つよい:strong:N4}[意向]{いこう:intention:N3}により[ストリーミング]{ストリーミング:streaming}[配信]{はいしん:distribution:N3}が[行われて]{おこなわれて:conducted:N5}いませんでしたが、2020[年]{ねん:year:N5}にこの[方針]{ほうしん:policy:N2}が[転換]{てんかん:turned:N2}しました。[北米]{ほくべい:North America:N3}は[HBO Max]{HBO Max:HBO Max}、[日本]{にほん:Japan:N5}[以外]{いがい:other than:N4}の[世界]{せかい:world:N4}[各国]{かっこく:countries:N2}は[Netflix]{Netflix:Netflix}と[配信権]{はいしんけん:streaming rights:N3}[契約]{けいやく:contract:N1}を[結び]{むすび:concluded:N1}、[全]{ぜん:all:N3}21[作品]{さくひん:works:N4}が[配信]{はいしん:distributed:N3}されるようになりました。これにより[新た]{あらた:new:N4}な[海外]{かいがい:overseas:N4}ファン[層]{そう:demographic:N2}を[獲得]{かくとく:gain:N1}し、[作品]{さくひん:work:N4}の[長期的]{ちょうきてき:long-term:N3}な[収益]{しゅうえき:revenue:N1}[基盤]{きばん:foundation:N1}が[強化]{きょうか:strengthened:N3}されました。\n\n#en\nFor long years, Ghibli works were not streaming-distributed by the strong intention of Miyazaki Hayao, but in 2020 this policy turned. North America concluded a streaming rights contract with HBO Max, and the world outside Japan with Netflix, with all 21 works coming to be distributed. This gained a new overseas fan demographic and strengthened the long-term revenue foundation of the works.\n::\n\n::heading\n『[君たちはどう生きるか]{きみたちはどういきるか:The Boy and the Heron:N3}』と[二度目]{にどめ:second time:N4}の[アカデミー賞]{アカデミーしょう:Academy Award:N2}\n\n#en\n\"The Boy and the Heron\" and the Second Academy Award\n::\n\n::para\n2023[年]{ねん:year:N5}7[月]{がつ:July:N5}、[事前]{じぜん:advance:N4}[宣伝]{せんでん:promotion:N1}を[ほぼ]{ほぼ:almost}[行わない]{おこなわない:not conduct:N5}という[異例]{いれい:unusual:N1}の[戦略]{せんりゃく:strategy:N2}で『[君たちはどう生きるか]{きみたちはどういきるか:The Boy and the Heron:N3}』が[公開]{こうかい:released:N4}されました。[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}が[10年]{じゅうねん:10 years:N5}ぶりに[手掛けた]{てがけた:handled:N3}[長編]{ちょうへん:feature:N2}[作品]{さくひん:work:N4}で、[制作]{せいさく:production:N3}[費]{ひ:cost:N3}は[歴代]{れきだい:all-time:N2}[最高]{さいこう:highest:N3}とされる[規模]{きぼ:scale:N1}に[達しました]{たっしました:reached:N3}。2024[年]{ねん:year:N5}3[月]{がつ:March:N5}には[米国]{べいこく:US:N3}[アカデミー賞]{アカデミーしょう:Academy Award:N2}[長編]{ちょうへん:feature:N2}[アニメーション]{アニメーション:animation}[賞]{しょう:prize:N2}を[受賞]{じゅしょう:won:N2}し、ジブリにとって『[千と千尋]{せんとちひろ:Spirited Away:N1}』[以来]{いらい:since:N4}[二度目]{にどめ:second time:N4}の[同]{どう:same:N4}[賞]{しょう:prize:N2}[受賞]{じゅしょう:winning:N2}となりました。\n\n#en\nIn July 2023, \"The Boy and the Heron\" was released with the unusual strategy of conducting almost no advance promotion. It is the feature work that Miyazaki Hayao handled for the first time in 10 years, and production costs reached a scale said to be the all-time highest. In March 2024, it won the US Academy Award for Best Animated Feature, becoming Ghibli's second time winning the same award since \"Spirited Away.\"\n::\n\n::heading\n[日本]{にほん:Japan:N5}[アニメーション]{アニメーション:animation}[産業]{さんぎょう:industry:N3}への[影響]{えいきょう:influence:N1}\n\n#en\nInfluence on the Japanese Animation Industry\n::\n\n::para\nスタジオジブリは[単に]{たんに:simply:N3}ヒット[作品]{さくひん:works:N4}を[生み出す]{うみだす:produce:N5}スタジオというだけでなく、[日本]{にほん:Japan:N5}[アニメーション]{アニメーション:animation}[産業]{さんぎょう:industry:N3}[全体]{ぜんたい:as a whole:N3}の[品質]{ひんしつ:quality:N4}[基準]{きじゅん:standard:N1}を[引き上げる]{ひきあげる:raise:N3}[役割]{やくわり:role:N3}を[果たして]{はたして:fulfill:N3}きました。[映像]{えいぞう:visual:N2}[表現]{ひょうげん:expression:N3}の[緻密]{ちみつ:meticulous:N1}さ、[脚本]{きゃくほん:screenplay:N1}の[文学性]{ぶんがくせい:literariness:N3}、[音楽]{おんがく:music:N4}([久石]{ひさいし:Hisaishi:N2}[譲]{じょう:Joe:N1}など)との[融合]{ゆうごう:fusion:N1}、[長編]{ちょうへん:feature-length:N2}[アニメーション]{アニメーション:animation}を[一つ]{ひとつ:one:N5}の[芸術]{げいじゅつ:art form:N2}として[確立]{かくりつ:established:N3}した[功績]{こうせき:achievement:N1}は[計り知れません]{はかりしれません:immeasurable:N4}。\n\n#en\nStudio Ghibli has fulfilled the role of raising the quality standard of the Japanese animation industry as a whole, not simply being a studio that produces hit works. The meticulousness of visual expression, the literariness of screenplays, the fusion with music (such as Hisaishi Joe), and the achievement of establishing feature-length animation as one art form are immeasurable.\n::\n\n::callout\n[後発]{こうはつ:later-emerging:N4}スタジオの[多く]{おおく:many:N4}が「ジブリの[ような]{ような:like}[品質]{ひんしつ:quality:N4}」を[目標]{もくひょう:goal:N1}として[掲げ]{かかげ:hold up:N1}、[結果的]{けっかてき:as a result:N1}に[業界]{ぎょうかい:industry:N4}[全体]{ぜんたい:as a whole:N3}の[制作]{せいさく:production:N3}[水準]{すいじゅん:standard:N2}が[底上げ]{そこあげ:raised:N2}されました。ジブリが[なければ]{なければ:without}、[今日]{こんにち:today:N5}の[世界的]{せかいてき:worldwide:N4}な[日本]{にほん:Japan:N5}[アニメ]{アニメ:anime}[ブーム]{ブーム:boom}は[ありえなかった]{ありえなかった:would not have been possible}と[言われて]{いわれて:said:N4}います。\n\n#en\nMany later-emerging studios hold up \"Ghibli-like quality\" as a goal, and as a result the production standard of the industry as a whole has been raised. It is said that without Ghibli, today's worldwide Japanese anime boom would not have been possible.\n::\n\n::heading\n[次世代]{じせだい:next generation:N3}への[継承]{けいしょう:succession:N1}という[課題]{かだい:challenge:N2}\n\n#en\nThe Challenge of Succession to the Next Generation\n::\n\n::para\n[宮崎]{みやざき:Miyazaki:N1}[駿]{はやお:Hayao:N1}は2026[年]{ねん:year:N5}[現在]{げんざい:as of:N3}も[現役]{げんえき:active:N3}を[続けて]{つづけて:continuing:N3}いますが、[高畑]{たかはた:Takahata:N1}[勲]{いさお:Isao:N1}は2018[年]{ねん:year:N5}に[逝去]{せいきょ:passed away:N1}しました。[鈴木]{すずき:Suzuki:N1}[敏夫]{としお:Toshio:N1}も[高齢]{こうれい:advanced age:N2}となり、[創業]{そうぎょう:founding:N1}[世代]{せだい:generation:N4}の[退場]{たいじょう:departure:N3}が[現実]{げんじつ:reality:N3}の[問題]{もんだい:issue:N4}となっています。2023[年]{ねん:year:N5}には[日本]{にほん:Japan:N5}[テレビ]{テレビ:TV}[放送網]{ほうそうもう:broadcasting network:N1}がジブリの[株式]{かぶしき:shares:N1}[過半数]{かはんすう:majority:N3}を[取得]{しゅとく:acquired:N3}し、[資本]{しほん:capital:N3}[面]{めん:aspect:N3}での[安定]{あんてい:stability:N3}は[確保]{かくほ:secured:N1}されましたが、[宮崎]{みやざき:Miyazaki:N1}に[匹敵]{ひってき:equal:N1}する[創造的]{そうぞうてき:creative:N1}[後継者]{こうけいしゃ:successor:N1}を[育てられる]{そだてられる:able to nurture:N3}かどうかが[今後]{こんご:going forward:N5}40[年]{ねん:years:N5}の[ジブリ]{ジブリ:Ghibli}を[左右]{さゆう:determine:N5}するでしょう。\n\n#en\nMiyazaki Hayao continues to be active as of 2026, but Takahata Isao passed away in 2018. Suzuki Toshio has also reached advanced age, and the departure of the founding generation has become a real issue. In 2023, the Nippon Television Network acquired a majority of Ghibli's shares, and stability on the capital side was secured, but whether or not creative successors equal to Miyazaki can be nurtured will determine Ghibli for the next 40 years.\n::\n"]