他的作品被称为日本的迪士尼电影。宫崎骏著名的手绘动画创造了一个个虚构的世界，只有《指环王》、《纳尼亚传奇》故事中的世界才能与之相媲美。
Thought by many to be one of the world’s greatest living animators (动画师), Miyazaki, 76, announced his retirement in September 2014. But last month, Studio Ghibli, of which Miyazaki is a co-founder, confirmed that he will return to turn his short film Boro the Caterpillar into a feature. It’s expected to be released in 2019, just before Tokyo hosts the 2020 Olympic games.
在许多人眼中，现年76岁的宫崎骏是当今在世最伟大的动画师之一，于2014年9月宣布退休。但上个月，宫崎骏参与创立的吉卜力工作室确认了他将复出，并将其短片动画《毛毛虫菠萝》制成长篇故事片的消息。该动画电影预计将于2019年上映，这恰好是东京举办2020年奥运会的前夕。
“Miyazaki is a person who will keep making films until he dies”, Toshio Suzuki, an experienced producer at Studio Ghibli, told Variety magazine.
“宫崎骏是个终其一生都在制作电影的人，”吉卜力工作室资深制作人铃木敏夫在接受《综艺》杂志采访时表示。
In many ways, Miyazaki’s works are different from popular Disney cartoons, where “there are clear distinctions between what male and female characters can achieve and how they should look”, wrote The Atlantic.
宫崎骏的作品在许多方面都与热门的迪士尼动画不同，在迪士尼动画中，“男女角色能够做到的事情以及他们的外貌都有明显的区别，”《大西洋月刊》写道。
But Miyazaki softens these distinctions. Many of his characters, including Princess Nausicaa of Nausicaa of the Valley of the Wind (1984) and the delivery girl Kiki in Kiki’s Delivery Service (1989), are role models who defy cultural stereotypes of femininity and show women they can be anything they wish to be. Miyazaki has explained that he sees the 21st century as a complex time and we need to look again at what was once considered normal. Simple stereotypes cannot be accepted, he said, even in children’s films.
但宫崎骏却弱化了这些区别。他的许多角色，如《风之谷》（1984）中的娜乌西卡公主以及《魔女宅急便》中的快递女孩琪琪，都是挑战女性文化定势的典范，并告诉女性她们可以成为她们期望的样子。宫崎骏也解释道，他认为21世纪是个复杂的时代，我们需要重新审视那些一度习以为常的事。他表示，纯粹的成见无法被接受，甚至在儿童电影中也是如此。
Miyazaki’s characters seem real, too, because “they are shown even in their least triumphant, most ordinary moments”, according to The Atlantic. In all of his films, Miyazaki includes the mundane daily acts that many other movies – animated ones in particular – try to avoid.
据《大西洋月刊》报道，宫崎骏的角色看起来也十分真实，因为“他们甚至展现了他们最落魄、最普通的时刻。”在宫崎骏的所有电影中，都包含了平淡的日常情景，这是许多其他电影 —— 尤其是动画电影 —— 都尝试回避的一点。
For example, there are characters who gaze into streams or brush their hair, not to advance the film’s plot, but to add a sense of realism. All these things are there to make fictional people seem more like human beings.
比如，电影中有角色凝视着溪流或者梳头发的场景，这些场景并非为了推动电影情节而设，而是为了有现实的代入感。所有这些令虚构的人物看起来更贴近活生生的人。
And although there are mythical kingdoms and magical creatures in his movies, Miyazaki often shows his concerns on social issues. Earth’s fragility is one thing that he often features. He criticizes development and pollution. For example, Princess Mononoke (1997) shows environmentally-unfriendly villagers cutting down forests to provide fuel for themselves. The movie ends with a big battle between mankind and nature that hurts the planet.
尽管宫崎骏的电影中有不少虚构的王国以及魔法生物，但他也时常表现出对社会问题的关注。地球的脆弱是他经常大力描绘的一点。他批判了发展及污染。例如，《幽灵公主》（1997）就呈现了为获取燃料，不爱护生态环境的村民们砍伐森林的情节。在这部电影的尾声，人类和自然之间爆发了一场大战，给地球造成了伤害。
What issues will he cover in his next – and probably final – work? We’ll have to wait until 2019 to find out.
在他的下一部 —— 或许是最后一部 —— 作品中，他将会关注什么样的问题呢？我们也只能等到2019年才能知道了。
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