İdil Sanat ve Dil Dergisi
Cilt 4, Sayı 18  Güz 2015  (ISSN: 2146-9903, E-ISSN: 2147-3056)

NO Makale Adı

Many different ideas have been put forward under the headings of ideas, theories, technology, technique and etc. in the environment where cinema as a concept is discussed. The discipline which is closely and explicitly connected to the artistic activities is no doubt cinema. Therefore, cinema has always maintained its position on the agenda.

Methods being dependent on Auther Theory and produced as a reaction and alternative to the present cinema concept within the process have created their own languages by coping with certain bureaucratic requirements and managed to eliminate the understanding of producer's cinema.
This step which Studio Ghibli and also Miyazaki have taken against the prevailing animation sector and concept of the period on the way to find their own style by preserving their sel-identity and this attitude developed and introduced by them are equivalent owing to the likeness between them.

Miyazaki Cinema both decorating all elements used in its films with extremely fine details and being extremely specialized in detail possesses a value which can be judged by holistic approach even though it stands in a different position in terms of the relevant period. It is quite remarkable to be able to create such quality works both by aiming to appeal to general audience and without diverting from fictitious perspective. Particularly, the issue of being didactic, which is the reason for fear for many others, is of no concern for Miyazaki and he has transferred his discourse in his films to another dimension, that is, subject of future by delivering important milestones to the young people whom he has given value and advice without having any concern in being didactic.

Key Words: miyazaki, cinema of miyazaki, auteur theory, sinema theories, film history, far eastern cinema, criticism, manga, anime, ghibli studio