Анимэ кино - Гэрэлт цохын ой руу
Нэг тийм дэндүү гунигийн , дэндүү харамсмаар тийм нэг сэтгэл шимшрүүлэм хайрын тухай ....
Гинийг алга болоход үнэхээр уйлмаар санагддаг. Зүрх минь өвддөг. Энэ бол Хотарүгийн зуны дурсамж. Дууссаны дараа дэлгэцээс харцаа салгаж чадалгүй сүүлийн дууг үг болгоныг нь мэдэрэхийг оролдоно. Дэндүү харамсалтай төгссдөг нь нэг л тиймхэн ...
Үзэх болгонд сэтгэлийг минь шимширүүлэх юм. Үзээгүй бол сэтгэлгийн гэнэхэн утсаа хөндөөд үзсэн бол эмзэгхэн хайрын түүхийг дахин нэг мэдрээрэй. Трэйлэр
Hotarubi no Mori e (Japanese: 蛍火の杜へ, lit. "Into the Forest of Fireflies' Light")
It was published in the July 2002 issue of LaLa DX in Japan, and in July 2003 it was reprinted in a tankōbonshort story collection of the same name, which included four romantic one-shot stories written by Midorikawa. A 44-minute anime film with the same title was produced in 2011 at the anime studio Brain's Base and directed by Takahiro Omori.Монгол хэлээр
Киноны эх сурвалж: www.aishiteru.tv
Anime
| Cast[6] | ||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
|
According to the animation director, Yumi Satou, the anime project originated with his personal wish to animate original manga, which he enjoyed.[13] The project was given approval in early 2011,[14] and according to the film's producer, Shuko Yokoyama, the anime was originally planned as an original video animation, which would not have been released in theaters. However, the popularity of Natsume's Book of Friends, which was also written by Midorikawa and developed by the same production staff, gave them the support they needed to create an anime film.[15] The film was produced by the studio Brain's Base and directed by Takahiro Omori, starring Japanese voice actors Ayane Sakuraas Hotaru and Kōki Uchiyama as Gin.[14] Satou had frequently worked together with Yokoyama on previous projects.[16]Other staff included Akira Takata (character design), Yukihiro Shibuya (art), Hiromi Miyawaki (color design), Hitoshi Tamura (photography), and Kazuhiko Seki (editor).[17] The anime film had a very small staff because it was a very short film and was produced domestically, unlike the TV series, Natsume's Book of Friends, which was primarily outsourced to other countries—a common trend in anime production.[15]
In March 2011, midway through production, the 2011 Tōhoku earthquake and tsunami struck Japan. Despite the national tragedy, the production crew continued its work, and according to Omori, the team hoped that their work would help soothe the nation after it had time to recover. Omori speculated that this was part of the reason for the strong positive reception and the awards the anime later received.[13]
The setting in the manga was based on a shrine in the Kumamoto Prefecture of Japan, known as Kamishikimi Kumanoimasu Shrine, which is dedicated to Izanagi-no-Mikoto and Izanami-no-Mikoto from Japanese mythology. The animation crew spent two hours searching the location for settings on which they could base their art. Because the story was set in the forest of a mountain god, Omori intended the art to represent a "different world" where the background scenery was obscure and the blue sky was slightly brighter than normal. Omori and his crew devoted extra attention to lighting and coloring, making the forest dim with light coming through the canopy and landing on the characters with the appropriate intensity. The contrast between light and dark was also used during the festival scene to emphasize its bizarre nature, reminding the audience that Hotaru should not be there. Because of the significance of the summer season to the story, Omori deliberately loaded the film with summer scenes, such as rustling leaves and chirring of cicadas.[18]
According to the Omori, the idea for the opening scene was suggested by Yokoyama; following traditional cinematography, the images of scenes indirectly related to the main story were played while the opening credits appeared. Originally intended to show Gin's life before meeting Hotaru, Omori allowed the viewer to decide its relationship in time with the main story. Omori also opted to start Hotaru's narration from a time after the story's main events; showing Hotaru as an 18-year-old who had just graduated high school and heading back to visit her relatives near the forest. By having Hotaru tell the story in retrospect, Omori thought it provided a more human feel and gave more meaning to the final scene, where Hotaru expresses her hopes for the future by saying, "Come on, let's go."[19]
One of the difficulties in adapting the manga to anime, according to Omori, was that the developing relationship between Hotaru and Gin had to be shown visually, rather than through monologue. One way in which this was done used Hotaru's yearly change in height—by subtly showing the convergence of the length of their strides when walking, the audience is led to perceive a change in their relationship. Omori also wanted to portray more depth to Hotaru's character by expanding on her school life. Although the manga depicted a brief flash of her life in middle school, the anime depicted scenes from both aspects of her life.[18]
Omori shared a draft of the film with composer Makoto Yoshimori so that he could write music to match the tempo. However, there was some disagreement over the ending theme, which Omori and Yoshimori discussed at length over email. Although neither would compromise on key points, the issue was eventually settled and the ending theme was finalized.[18]
Hotaru's voice actor in the anime film, Ayane Sakura, was a fan of Midorikawa and owned the original manga. In an interview, she mentioned that she was thrilled to get an audition and ultimately the role, and also admitted that she shed tears while recording. Kōki Uchiyama, who played Gin, read the manga for the audition, and confessed that he was concerned at first about how to portray his character, though his work made him feel good. The film was initially pre-scored, where the voice acting was recorded prior to the creation of the animation, but later re-recorded for the final version.[20] According to Omori, this allowed the animation to emphasize natural pauses in the dialogue and let the cast set the rhythm and tempo.[12]
Comments
Post a Comment