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user rating: 8,2 of 10. actor: James Caan. Creator: Isao Takahata. Kaguyahime no monogatari is a movie starring Chloë Grace Moretz, James Caan, and Mary Steenburgen. Found inside a shining stalk of bamboo by an old bamboo cutter and his wife, a tiny girl grows rapidly into an exquisite young lady. . Country: Japan.

Free download kaguyahime no monogatari pc. Free download kaguyahime no monogatari 9. "Tale of the Princess Kaguya", "かぐや姫の物語", and "Kaguya-hime no Monogatari" redirect here. For the Studio Ghibli film, see The Tale of the Princess Kaguya. "Taketori Monogatari" and "竹取物語" redirect here. For the 1987 film, see Princess from the Moon. Discovery of Princess Kaguya (depiction from the Edo period, late 17th century) The Tale of the Bamboo Cutter ( 竹取物語, Taketori Monogatari) is a 10th-century Japanese monogatari (fictional prose narrative) containing Japanese folklore. It is considered the oldest extant Japanese prose narrative [1] [2] although the oldest manuscript dates to 1592. [3] The tale is also known as The Tale of Princess Kaguya ( かぐや姫の物語, Kaguya-hime no Monogatari), after its protagonist. [4] It primarily details the life of a mysterious girl called Kaguya, who was discovered as a baby inside the stalk of a glowing bamboo plant. Narrative [ edit] Taketori no Okina takes Kaguya-hime to his home, Drawn by Tosa Hiromichi, c. 1600 One day, while walking in the bamboo forest, an old, childless bamboo cutter called Taketori no Okina ( 竹取翁, "the Old Man who Harvests Bamboo") came across a mysterious, shining stalk of bamboo. After cutting it open, he found inside it an infant the size of his thumb. He rejoiced to find such a beautiful girl and took her home. He and his wife raised her as their own child and named her Kaguya-hime (かぐや姫 accurately, Nayotake no Kaguya-hime, "Shining princess of the supple bamboo"). Thereafter, Taketori no Okina found that whenever he cut down a stalk of bamboo, inside would be a small nugget of gold. Soon he became rich. Kaguya-hime grew from a small baby into a woman of ordinary size and extraordinary beauty. At first, Taketori no Okina tried to keep her away from outsiders, but over time the news of her beauty spread. Eventually, five princes came to Taketori no Okina's residence to ask for the beautiful Kaguya-hime's hand in marriage. The princes eventually persuaded Taketori no Okina to tell a reluctant Kaguya-hime to choose from among them. Kaguya-hime concocted impossible tasks for the princes, agreeing to marry the one who managed to bring her his specified item. That night, Taketori no Okina told the five princes what each must bring. The first was told to bring her the stone begging bowl of the Buddha Shakyamuni from India, the second a jeweled branch from the mythical island of Hōrai, [5] the third the legendary robe of the fire-rat of China, the fourth a colored jewel from a dragon 's neck, and the final prince a cowry shell born of swallows. Realizing that it was an impossible task, the first prince returned with an expensive stone bowl, hoping that Kaguya-hime would believe it to be real, but after noticing that the bowl did not glow with holy light, Kaguya-hime saw through his deception. Likewise, two other princes attempted to deceive her with fakes, but also failed. The fourth gave up after encountering a storm, while the final prince lost his life (severely injured in some versions) in his attempt. After this, the Emperor of Japan, Mikado, came to see the strangely beautiful Kaguya-hime and, upon falling in love, asked her to marry him. Although he was not subjected to the impossible trials that had thwarted the princes, Kaguya-hime rejected his request for marriage as well, telling him that she was not of his country and thus could not go to the palace with him. She stayed in contact with the Emperor, but continued to rebuff his requests and marriage proposals. That summer, whenever Kaguya-hime saw the full moon, her eyes filled with tears. Though her adoptive parents worried greatly and questioned her, she was unable to tell them what was wrong. Her behaviour became increasingly erratic until she revealed that she was not of this world and must return to her people on the Moon. In some versions of this tale, it is said that she was sent to the Earth, where she would inevitably form material attachment, as a temporary punishment for some crime, while in others, she was sent to Earth for her own safety during a celestial war. The gold that Taketori no Okina had been finding had in fact been a stipend from the people of the Moon, sent down to pay for Kaguya-hime's upkeep. Kaguya-hime goes back to the Moon As the day of her return approached, the Emperor sent many guards around her house to protect her from the Moon people, but when an embassy of "Heavenly Beings" arrived at the door of Taketori no Okina's house, the guards were blinded by a strange light. Kaguya-hime announced that, though she loved her many friends on Earth, she must return with the Moon people to her true home. She wrote sad notes of apology to her parents and to the Emperor, then gave her parents her own robe as a memento. She then took a little of the elixir of life, attached it to her letter to the Emperor, and gave it to a guard officer. As she handed it to him, her feather robe was placed on her shoulders, and all of her sadness and compassion for the people of the Earth were apparently forgotten. The heavenly entourage took Kaguya-hime back to Tsuki no Miyako (月の都; lit. "the Capital of the Moon"), leaving her earthly foster parents in tears. The parents became very sad and were soon put to bed sick. The officer returned to the Emperor with the items Kaguya-hime had given him as her last mortal act, and reported what had happened. The Emperor read her letter and was overcome with sadness. He asked his servants, "Which mountain is the closest place to Heaven? ", to which one replied the Great Mountain of Suruga Province. The Emperor ordered his men to take the letter to the summit of the mountain and burn it, in the hope that his message would reach the distant princess. The men were also commanded to burn the elixir of immortality since the Emperor did not wish to live forever without being able to see her. The legend has it that the word immortality, 不死 ( fushi), became the name of the mountain, Mount Fuji. It is also said that the kanji for the mountain, 富士山 (literally "Mountain Abounding with Warriors"), are derived from the Emperor's army ascending the slopes of the mountain to carry out his order. It is said that the smoke from the burning still rises to this day. (In the past, Mount Fuji was much more volcanically active and therefore produced more smoke. ) Literary connections [ edit] Elements of the tale were drawn from earlier stories. The protagonist Taketori no Okina, given by name, appears in the earlier poetry collection Man'yōshū (c. 759; poem# 3791). In it, he meets a group of women to whom he recites a poem. This indicates that there previously existed an image or tale revolving around a bamboo cutter and celestial or mystical women. [6] [7] A similar retelling of the tale appears in the c. 12th century Konjaku Monogatarishū (volume 31, chapter 33), although their relation is under debate. [8] Banzhu Guniang [ edit] In 1957, Jinyu Fenghuang (金玉鳳凰), a Chinese book of Tibetan tales, was published. [9] In early 1970s, Japanese literary researchers became aware that "Banzhu Guniang" (班竹姑娘), one of the tales in the book, had certain similarities with The Tale of the Bamboo Cutter. [10] [11] Initially, many researchers thought that "Banzhu Guniang" must be related to Tale of Bamboo Cutter, although some were skeptical. In 1980s, studies showed that the relationship is not as simple as initially thought. Okutsu provides extensive review of the research, and notes that the book Jinyu Fenghuang was intended to be for children, and as such, the editor took some liberties in adapting the tales. No other compilation of Tibetan tales contains the story. [12] A Tibet-born person wrote that he did not know the story. [13] A researcher went to Sichuan and found that, apart from those who had already read "Jinyu Fenghuang", local researchers in Chengdu did not know the story. [14] Tibetan informants in Ngawa Tibetan and Qiang Autonomous Prefecture did not know the story either. [14] Legacy [ edit] The Tale of the Bamboo Cutter has been identified as proto- science fiction. Some of its science fiction plot elements include Kaguya-hime being a princess from the Moon who is sent to Earth for safety during a celestial war, an extraterrestrial being raised by a human on Earth, and her being taken back to the Moon by her real extraterrestrial family. A manuscript illustration also depicts a round flying machine that resembles a flying saucer. [15] See also [ edit] Big Bird in Japan The Tale of the Princess Kaguya Notes [ edit] ^ "Japan: Literature", Windows on Asia, MSU, ^ "17. A Picture Contest". The Tale of Genji. the ancestor of all romances) ^ Katagiri et al. 1994: 95. ^ Katagiri et al. 1994: 81. ^ McCullough, Helen Craig (1990). Classical Japanese Prose. Stanford University Press. pp. 30, 570. ISBN 978-0-8047-1960-5. ^ Horiuchi (1997:345-346) ^ Satake (2003:14-18) ^ Yamada (1963:301-303) ^ 田海燕, ed. (1957). 金玉鳳凰 (in Chinese). Shanghai: 少年兒童出版社. 百田弥栄子 (1971). 竹取物語の成立に関する一考察. アジア・アフリカ語学院紀要 (in Japanese). 3. 伊藤清司 (1973). かぐや姫の誕生―古代説話の起源 (in Japanese). 講談社. ^ 奥津春雄 (2000). 竹取物語の研究: 達成と変容竹取物語の研究 (in Japanese). 翰林書房. ISBN 978-4-87737-097-8. ^ テンジン・タシ, ed. (2001). 東チベットの民話 (in Japanese). Translated by 梶濱亮俊. SKK. ^ a b 繁原央 (2004). 日中説話の比較研究 (in Japanese). 汲古書院. ISBN 978-4-7629-3521-3. ^ Richardson, Matthew (2001). The Halstead Treasury of Ancient Science Fiction. Rushcutters Bay, New South Wales: Halstead Press. ISBN 978-1-875684-64-9. ( cf. "Once Upon a Time". Emerald City (85). September 2002. Retrieved 2008-09-17. ) References [ edit] Katagiri Yōichi, Fukui Teisuke, Takahashi Seiji and Shimizu Yoshiko. 1994. Taketori Monogatari, Yamato Monogatari, Ise Monogatari, Heichū Monogatari in Shinpen Nihon Koten Bungaku Zenshū series. Tokyo: Shogakukan. Donald Keene (translator), The Tale of the Bamboo Cutter, ISBN 4-7700-2329-4 Japan at a Glance Updated, ISBN 4-7700-2841-5, pages 164—165 (brief abstract) Fumiko Enchi, "Kaguya-hime", ISBN 4-265-03282-6 (in Japanese hiragana) Horiuchi, Hideaki; Akiyama Ken (1997). Shin Nihon Koten Bungaku Taikei 17: Taketori Monogatari, Ise Monogatari (in Japanese). Tōkyō: Iwanami Shoten. ISBN 978-4-00-240017-4. Satake, Akihiro; Yamada Hideo; Kudō Rikio; Ōtani Masao; Yamazaki Yoshiyuki (2003). Shin Nihon Koten Bungaku Taikei 4: Man'yōshū (in Japanese). ISBN 978-4-00-240004-4. Taketori monogatari, Japanese Text Initiative, Electronic Text Center, University of Virginia Library Yamada, Yoshio; Yamda Tadao; Yamda Hideo; Yamada Toshio (1963). Nihon Koten Bungaku Taikei 26: Konjaku Monogatari 5 (in Japanese). ISBN 978-4-00-060026-2. External links [ edit] Ryukoku University exhibition Tetsuo Kawamoto: The Moon Princess (translated by Clarence Calkins).

Free download kaguyahime no monogatari 5. YouTube. The Tale of the Princess Kaguya is based on the Japanese folk tale The Daughter of the Bamboo Cutter, a tale that has been transmitted since the 16th century. This is one of those films that you don't imagine being made by anybody who is not Ghibli related. The tale could have been turned into a simplistic story for dumb kids with showy 3G visuals and little substance. However, Ghibli and Takhata created an animated piece that is both beautiful to look at, but also a complex multi-layered story with archetypal mythical characters, both delightful to watch and true to the myth.
The childhood part is really wonderful, and we delight at seeing Kagugya discovering the world and growing up as a happy child, really cute, tender and fun; therefore, this part is basically experiential. The second part is, on the contrary, very reflective; it portrays old traditional ways of living and societal structure in Japan with easiness and fun, but it is also the tale of Kaguya's increasing sadness and unhappiness.
The Tale of Princess Kaguya is related to the Buddhist Bon Festival, which is celebrated on a full moon on the 15th August (this is a hint. Like any myth, the story is a compendium of human wisdom, an exploration of the human feelings, a depiction of human archetypes, and teaches many lessons. Some of the themes presented in the film are really philosophical and mythological and would require of page after page of analysis: from the creation myth, to the suitors tests, to the complex religious symbolism of the Buddhist ending. Just the analogy of the bamboo plant natural progression, and Kaguya being called Li'l Bamboo is an indication of what we can expect (another hint. Some of the lessons that this old tale is embedded with are very relevant to our modern fast-paced 21st century:
> Money and status don't equal happiness.
> You cannot, should not, must not impose your ideal of happiness onto your offspring; that it is emotional castration.
> We have an obligation with ourselves to let our voice be heard and our heart be seen, no matter the circumstances.
> We all have to follow our own path, despite any family or societal pressure. It is our life, after all.
> Life is a fleeting moment, and we should live it to the fullest. Seek joy, cultivate ways of living and emotional statuses that are soulful to you.
> Love is not about conquest, is not about trials and games, is not about an ideal of love, the perfect partner. It is about what you feel in your heart and how things flow with another person even if that person is not your ideal.
> Parental love is not just about discipline and rules, is also about letting our children find their own voice and way in the world.
> When we die, all vanishes, no memory is left, even if you are a Buddhist and believe in reincarnation. However, there is a longing in our soul to improve next time we came down, if that ever happens, to try again, to have a second, third or fourth chance to be happy, to enjoy life and get what life is all about.
> Happiness is not in the outside world, it is how you feel about the outside world.
One of the most puzzling things in the film is that Kaguya is not a princess in the Disney sense or in the traditional European sense. Certainly, she has a legendary beauty, she is loving and lovable, and she has many suitors who have to do things to get her love. Yet, Kaguya is not perfect, she is a confused human being, and the story doesn't have a perfect ending either. Actually, Kaguya is truly imperfect, is the anti-heroine, she is a mortal human being, she has regrets, but she is never fake or accepts the system. Her only betrayal she commits is that of not letting her voice being heard at the right time and allowing herself to be engulfed by everything and everybody that surrounds her.
More and more, I feel that 2D animation is really modern, artistic and versatile, and that is far from being replaced by 3G. This film is beautifully artistically drawn and lightened, with a very soft palette of gorgeous colors, and an intentional use of the background for narrative purposes. For example, life in the city is shown mostly through images of people, the backgrounds are basic and barely there, not much action, there is some sort of passivity and slow motion. On the contrary, the childhood period in the countryside and the trips of Kaguya to her native town are the opposite, and have very detailed backgrounds and images, rich colors, full of animals and little creatures and plants, and most of what happens there is movement. And that is, after all, the way Kaguya perceives the world.
The only two downsides I see in the movie are, firstly, that it is unnecessarily long and, secondly the quite dramatic differences in the mood of the first and second part of the tale and there is not transition.
I watched the movie in Japanese with English subtitles, and it was delightful.

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