The legendary filmmaker behind this movie, Hayao Miyazaki specifically said he wanted no promotion in press whatsoever because he wanted every initial viewer to go in blind.

這是吉卜力工作室的最新作品《鷺鷥少年》，這部電影背後的傳奇製片人宮崎駿曾明確表示，他不希望在媒體上做任何宣傳，因為他希望每一位初次觀影的觀眾都是盲目的。

All we got was this poster and a handful of low profile interviews from some of the team and none from the director.

我們只得到了這張海報和一些團隊成員的低調採訪，卻沒有導演的任何消息。

But now having seen the film and the film being available for a week now, I wanted to share with my research and my insights on the filmmaker and the film,

但現在我已經看過這部影片，而且影片已經上映一週了，我想與大家分享我的研究成果以及我對電影製作人和影片的見解，我認為這部影片的真正含義和資訊是什麼，以及許多晦澀難懂的超現實符號在告訴我們什麼。

what I believe the true meaning and message of this film is, and what the many obscure and surreal symbols are telling us.

We'll discuss this movie in three sections, the inspiration, the symbolism and the message of the boy in the heron in this spoiler-free analysis.

我們將分三個部分討論這部電影，即鷺中男孩的靈感、象徵意義和寓意。

The inspiration.

在這篇沒有劇透的分析中，靈感就像我之前提到的那樣，本片幾乎沒有任何媒體採訪，但有一篇特別的採訪來自制片人之一鈴木敏夫，他在採訪中分析了本片的主題。

As I've mentioned before, there are barely any press interviews at all in this film,

but there's one particular interview from one of the producers, Toshio Suzuki, where he breaks down who this film is about.

He says, "At the start of this project, the filmmaker, Miyazaki, came to me and asked me, 'This is going to be about my story, is that going to be okay?'"

他說，在項目開始時，電影製片人宮崎駿找到我，問我這將是關於我的故事。這樣可以嗎？

And he went on to break down how the main character Mahito is based on him and his own childhood.

他還解釋了主角 Mahiro 是如何以他和他自己的童年為原型創作的。

In the very beginning of the film, Mahito's mother dies in a hospital fire in the midst of World War II.

影片一開始，毛澤東的母親在第二次世界大戰期間死於醫院火災。

Miyazaki himself has very early memories of evacuating war-torn cities being born in Japan in 1940, the middle of World War Two.

宮崎駿本人在 1940 年出生於日本時就有過撤離戰亂城市的早期記憶。

Miyazaki's mother didn't pass away at the time but was also host criticized for quite some time for tuberculosis.

第二次世界大戰期間，宮崎駿的母親雖然沒有離開人世，但也因肺結核被批鬥了很長時間。

Miyazaki was also particularly known to be somewhat of an outcast as a child, very much like Mahito, also with a father who manufactured weaponry for the army.

眾所周知，宮崎駿小時候也是一個被遺棄的孩子，這一點與同樣為軍隊製造武器的父親馬弘非常相似。

Toshio also specified in his interview, "If Miyazaki is the boy, then he himself is also the heron, a mischievous flying entity in the story that pushes the young hero to keep going."

俊夫在採訪中還明確指出，如果說宮崎駿是男孩，那麼他自己也是蒼鷺，是故事中調皮的飛行實體，推動著小主角不斷前進。

And this makes perfect sense, considering the heron's purpose in this film.

考慮到蒼鷺在本片中的作用，這就非常合理了。

The heron in this film pulls Mahito into this surreal and otherworldly journey where he develops new qualities and finds so many new and more mature perspectives.

影片中的蒼鷺將馬弘拉進了這個超現實的異世界之旅，在這裡，他培養了新的品質，發現了許多新的、更成熟的觀點。

The heron represents Miyazaki's intrinsic feeling of guidance that pushes him to evolve his outlook on the world and himself.

蒼鷺代表了宮崎駿內在的指引感，這種指引感推動他不斷髮展自己的世界觀和人生觀。

But if you ask me specifically, I think there is one more character in this film that largely represents Miyazaki as well, and that character is Great Uncle.

但如果你特別問我，我覺得這部電影中還有一個角色也在很大程度上代表了宮崎駿，這個角色就是大叔。

The Great Uncle character was known to have become lost in his obsession with reading and art.

眾所周知，這位大伯父沉迷於閱讀和藝術。

And that obsession caused him to escape the real world and become the controller of this new world.

這種痴迷讓他逃離了現實世界，成為這個新世界的控制者。

He found that fell from the stars.

他發現那是從星星上掉下來的。

This symbolizes Miyazaki's journey in becoming lost in his own art and becoming detached from the world around him.

這象徵著宮崎駿迷失在自己的藝術中，與周圍的世界漸行漸遠的心路歷程。

Great Uncle is also trying to build and balance this new world into a perfect world, completely free from malice and hatred and war.

大伯父也在努力建設和平衡這個新世界，使之成為一個完全沒有惡意、仇恨和戰爭的完美世界。

Miyazaki is also famously known for being highly critical of the shallowness, the greediness and the hatefulness of our current world and uses his art to escape that harsh reality.

宮崎駿還以高度批判當今世界的膚淺、貪婪和仇恨而聞名，他用自己的藝術來逃避殘酷的現實。

And most importantly, great uncle is in the final chapter of his life, hoping to pass this beautiful world on to the next generation.

最重要的是，大叔正處於人生的最後一章，他希望將這個美麗的世界傳給下一代，就像宮崎駿一樣，他正處於職業生涯的末期，他的電影作品和工作室都充滿了華麗的想象力，等待著超越宮崎駿本人的死亡。

Just like Miyazaki, who is at the end of his career with a gorgeously imaginative filmography and studio, waiting to transcend the mortality of Miyazaki himself.

So let's together explore the surreal world that Miyazaki has created and what the surreal world's many symbols are trying to tell us in the next section.

接下來，讓我們一起探索宮崎駿所創造的超現實世界，以及這個超現實世界的諸多象徵所要告訴我們的東西。當我們看著這個美麗的新超現實世界，並與塔外的現實世界進行比較時，有些相似之處就非常明顯了。

The symbolism.

When we look at this beautiful new surreal world, and we compare with the real world outside of the tower, some of the parallels are very obvious.

The young and tough Kiriko parallels the old Kiriko; Himi, the fire maiden parallels Mahito's mother who died in the hospital fire.

年輕而堅強的 Carico 與年邁的 Kuriko Jimmy 相似，消防少女與在醫院火災中喪生的 Mahiro 的母親相似，而馬約睡覺時照看他的玩偶與在他家照看女傭的老婦人非常相似。

And the dolls watching over Mahito as he sleeps, perfectly resembled the elderly woman watching over Mahito at his home.

These parallels between the surreal world and the real world clarify to us that this new world is inspired by the real world, and connected to the real world at every moment in time,

超現實世界與現實世界之間的這些相似之處向我們說明，這個新世界的靈感來自現實世界，並且在每一個時間點上都與現實世界相連，因為我們看到了無窮無盡的門，每一扇門都通向現實世界的不同時間點。

as we see this endless number of doors that each lead to different points in time in the real world.

And the reason for this is this world is the ultimate reflection of Mahito and Great Uncle's entire lives, every moment within their memory and future.

究其原因，是因為這個世界是馬弘和大伯父整個人生的終極寫照，是他們記憶中的每一刻，也是他們的未來。

And most importantly, this world is the ultimate reflection of Miyazaki's life, since Mahito and Great Uncle and this film all represent him and the life he's looking back on.

最重要的是，這個世界是我的扎基從毛澤東和大伯父開始的生活的最終寫照。

And also very much like Miyazaki, since Great Uncle is the controller of this surreal world, he wants to make it completely free of the evils in the real world that caused him to escape it.

而這部電影都代表了他和他正在回顧的生活，也非常像宮崎駿，因為大叔是這個超現實世界的控制者，他想讓這個世界完全擺脫現實世界的罪惡，而正是現實世界的罪惡讓他逃離了這個世界。

He wants a world free of malice, war, and destruction, full of happiness, peace and togetherness.

他想要一個沒有惡意、戰爭和毀滅的世界，一個充滿幸福、和平和團結的世界。

However, he has spent his entire life struggling to create such a balance.

然而，他的一生都在努力創造這種平衡。

He can't just seem to get it right.

他似乎就是做不好。

This is symbolized by the block tower.

這就是積木塔的象徵。

We see always almost on the verge of falling apart.

我們看到的總是幾乎瀕臨崩潰的邊緣。

And sadly, we see this imbalance reflected in the wildlife and ecosystems of this surreal world.

可悲的是，我們看到這種不平衡反映在這個超現實世界的野生動物和生態系統中。

The Pelicans have no prey to feed on and are seen as evil because they feed on the innocent Warawara when frankly they are starving .

鵜鶘沒有獵物可吃，它們被視為邪惡，因為它們以無辜的 WW 為食，而坦率地說，它們在普通世界裡是在餓死鸚鵡，它們是美麗無害的小動物，但進入超現實世界後，它們就變成了這些詭計多端的吃人怪物，它們被最惡毒、最貪婪的角色統治著。

The parakeets in the regular world, they're beautiful harmless little creatures but become these scheming human-eating monsters when they enter the surreal world.

And they're ruled by the most malicious and greedy character in the whole film, the Parakeet King.

在整部影片中，鸚鵡國王。

This surreal world is also a test of character for Mahito.

這個超現實的世界也是對 Mahiro 性格的考驗。

For example, Mahito may be frustrated with his new mother figure, but this is the reality he has to accept and he has to try to see the good in it and in her.

例如，馬弘可能會對他的新母親形象感到沮喪，但這是他必須接受的現實，他必須努力看到現實和母親身上的優點。

And when we think specifically about the delivery room scene in this surreal world, that entire scene symbolizes that Natsuko in this surreal world won't accept Mahito until Mahito accepts her.

具體到這個超現實世界中的產房場景，整個場景象徵著這個超現實世界中的夏子不會接受梅奧，直到梅奧接受她。

It's a test of gratitude, appreciation and true, unconditional love for what he has in Natsuko, even though he misses his real mother so deeply.

這是對夏子的感激、欣賞和無條件的真愛的考驗，儘管他對親生母親的思念是如此之深。

Ultimately, this real world seems to naturally itself be trying to counterbalance the overwhelming one-sidedness that Great Uncle is trying to instill and embarking Mahito on a journey of maturity and open-mindedness,

最終，這個真實的世界似乎自然而然地在試圖抵消大伯父試圖灌輸的壓倒性的片面性，並讓馬弘踏上了成熟和開放的心智之旅。

two struggles that director Miyazaki has faced and is still facing.

宮崎駿導演曾經面臨並仍在面臨的兩場鬥爭，讓我們進一步討論一下這種不平衡和這一歷程對作為觀眾的我們來說意味著什麼。

And let's discuss further. What this imbalance and this journey means for the film us as the audience, and for Miyazaki himself in the final section of this video.

The message.

而對於宮崎駿本人來說，在這段視頻的最後部分，整個積木塔和生態系統以及超現實世界本身的持續失衡所傳遞的資訊，對我們和宮崎駿來說，都象徵著現實世界需要善與惡、愛與恨的平衡，而這種平衡是任何人都無法調整和控制的。

The entire continuous imbalance of the block tower and the ecosystems and the surreal world itself symbolizes to us and to Miyazaki that the real world requires a balance of good and evil, love and hate, that can't be adjusted or controlled by anyone.

Both sides exist within us all and as individuals, all we can do is play our part and being as good and as loving as possible.

這兩面都存在於我們每個人的內心，作為個人，我們所能做的就是扮演好自己的角色，做一個儘可能善良和充滿愛的人。

This is what Miyazaki is realizing and what he is communicating to us in this film.

這就是宮崎駿在這部電影中意識到的，也是他要傳達給我們的。

Like Great Uncle, Miyazaki can't simply escape the harsh truce of the world and get lost in his own world of the most beautiful and tranquil art, his own films.

就像偉大的宮崎駿叔叔一樣，他無法簡單地逃離這個殘酷的休戰世界，迷失在自己的世界裡，迷失在最美麗、最寧靜的藝術世界裡，迷失在自己的電影裡。

And like Great Uncle, Miyazaki can't be so stubborn in trying to control the artistic progress and culture around him.

而像宮崎駿大叔這樣的人，也不能如此固執地試圖控制身邊的藝術進步和文化。

And like Mahito, Miyazaki can't simply outcast himself from the real world around him.

宮崎駿也不能像毛澤東那樣簡單地將自己與周圍的現實世界隔離開來。

Even if he has trouble fitting in with his own new family and potential new friends in this community, he still has to try and must embrace who he is publicly.

即使他難以融入自己的新家庭和這個社區中潛在的新朋友，他也必須嘗試，必須公開接受自己的身份。

The original title for the film is actually "How do you live?"

影片的原名實際上是《你是如何生活的？

Inspired by a childhood favorite book of Miyazaki's of the same title.

靈感來自宮崎駿童年時最喜歡的一本同名書籍。

Put simply, the book is about learning life lessons and evolving your own moral code as you experience more of life.

簡而言之，這本書講述的是在體驗更多生活的過程中，學習生活的經驗教訓，並逐漸形成自己的道德準則。

This is very much what Mahito does throughout the movie and truly what ties this film together entirely is the lead single for the soundtrack of this film that plays during the credits spinning Globe by Kenji Yonezu.

這正是 Mahiro 在整部影片中所做的事情，而真正將這部影片緊密聯繫在一起的是在片頭播放的由米津賢治創作的《Globe》原聲單曲。

When you listen to the lyrics, you learn that its entire hardly about learning to live on while desperately longing for something else that you miss.

當你聆聽歌詞時，你會了解到它的全部內容幾乎都是關於學會繼續生活，同時拼命地渴望你所懷念的其他東西。

And when the darkness of the world reaches you, don't suffer within it or try to escape it.

當世界的黑暗來臨時，你不會在其中受苦，也不會試圖逃避。

Seek out the light by rising above that darkness.

超越黑暗，尋找光明。

Because whether you do or not, like a spinning globe, this beautifully imperfect world will continue to carry on.

因為無論你是否像旋轉的地球一樣，這個美麗而不完美的世界都將繼續下去。