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Degrassi (season 14)
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Degrassi (season 14)
Country of origin
Canada
No. of episodes
28
Release
Original network
MTV Canada (Canada)
TeenNick (United States)
Original release
October 28, 2014 (2014-10-28) – August 2, 2015 (2015-08-02)
Season chronology
← Previous
Season 13
List of Degrassi: The Next Generation episodes
The fourteenth and final season of Degrassi, a Canadian serial teen drama television series, premiered on October 28, 2014.[1] Although only four school years have passed in the story timeline since season six, season fourteen is set during the final weeks of the spring semester in the years it aired. Writers have been able to use a semi-floating timeline, so that the issues depicted are modern for their viewers. This season again depicts the lives of a group of high school freshmen, sophomores, juniors, seniors and graduates as they deal with some of the challenges and issues that teenagers face such as teenage pregnancy, dysfunctional families, sexism, arson, sexting, sexual identity, miscarriages, anxiety disorders, drug use, child abuse, abstinence, and gang violence.
The fourteenth season was announced on November 13, 2013.[2] However, MTV Canada and TeenNick did not announce picking up the season until a month before the first episode was scheduled to air.[3] Filming for the season commenced on April 11, 2014 at Epitome Studios in Toronto. Filming continued into August, with a break before filming the final four episodes of the season in order to give Epitome the opportunity to start filming episodes for the first season of their new series. Filming for this season completed on October 6, 2014. On June 4, 2015, it was announced that Degrassi would no longer air on TeenNick or MTV Canada following the fourteenth season.[4] However, on June 9, 2015, it was announced that Family Channel and Netflix had picked up the series and will air 20 new episodes in 2016, renaming the show Degrassi: Next Class.[5] This season featured the telenovela/soap opera format used in previous seasons, airing new episodes five days a week for the last two weeks of the season.
Contents
[hide]
1 Cast
2 Crew
3 Episodes
4 References
5 External links
Cast[edit]
The fourteenth season has twenty-five actors receiving star billing with twenty-two of them returning from the previous season. Returning cast members include:[6][7]
Craig Arnold as Luke Baker (1 episode)
Luke Bilyk as Drew Torres (20 episodes)
Stefan Brogren as Archie "Snake" Simpson (7 episodes)
Munro Chambers as Eli Goldsworthy (15 episodes)
Sarah Fisher as Becky Baker (15 episodes)
Ana Golja as Zoë Rivas (21 episodes)
Nikki Gould as Grace Cardinal (21 episodes)
Ricardo Hoyos as Zigmund "Zig" Novak (23 episodes)
Demetrius Joyette as Mike "Dallas" Dallas (12 episodes)
Andre Kim as Winston "Chewy" Chu (24 episodes)
Lyle Lettau as Tristan Milligan (17 episodes)
Spencer MacPherson as Hunter Hollingsworth (18 episodes)1
Eric Osborne as Miles Hollingsworth III (20 episodes)
Aislinn Paul as Clare Edwards (19 episodes)
Cristine Prosperi as Imogen Moreno (19 episodes)
A.J. Saudin as Connor DeLaurier (6 episodes)
Olivia Scriven as Maya Matlin (24 episodes)
Melinda Shankar as Alli Bhandari (16 episodes)
Jessica Tyler as Jenna Middleton (7 episodes)
Sara Waisglass as Frankie Hollingsworth (25 episodes)
Richard Walters as Deon "Tiny" Bell (15 episodes)1
Niamh Wilson as Jack Jones (13 episodes)
Joining the main cast this season are:
Amanda Arcuri as Lola Pacini (20 episodes)
Reiya Downs as Shaylynn "Shay" Powers (18 episodes)
Ehren Kassam as Jonah Haak (7 episodes)2
The five actors who did not return this season or were demoted to recurring/guest star status are:
Jahmil French as Dave Turner
Alicia Josipovic as Bianca DeSousa
Cory Lee as Winnie Oh
Chloe Rose as Katie Matlin
Jordan Todosey as Adam Torres
Shane Kippel, who portrayed Gavin "Spinner" Mason in the first nine seasons, returned for a cameo role.
^Note 1 : Spencer MacPherson and Richard Walters were promoted to the main cast after recurring in the previous season.
^Note 2 : Although Ehren Kassam was not credited with the main cast in the credits, Bell Media and Epitome still considered him a series regular.[8]
Crew[edit]
Season fourteen is produced by Epitome Pictures in association with Bell Media and DHX Media. Funding was provided by The Canadian Media Fund, The Shaw Rocket Fund, RBC Royal Bank, The Canadian Film or Video Production Tax Credit, and the Ontario Film and Television Tax Credit.
Linda Schuyler, co-creator of the Degrassi franchise and CEO of Epitome Pictures, serves as an executive producer with her husband, and President of Epitome Pictures, Stephen Stohn. Matt Huether is also credited as a co-executive producer, Karen Hill as consulting producer, Sarah Glinsli an executive producer, and Ella Schwarzman an executive post producer. Stefan Brogren is series producer, while David Lowe is credited as producer, and Stephanie Williams the supervising producer. The casting directors are Larissa Mair and Krisha Bullock Alexander, and the editors include Jason B. Irvine and Gordon Thorne.
The executive story editor is Matt Schiller, the story editors are Ian Malone and Sadiya Durrani, and Courtney Jane Walker is the senior story editor. Episode writers for the season include Ramona Barckert, Courtney Jane Walker, Karen Hill, Michael Grassi, Scott Oleszkowicz, Mike Mcphaden, Matt Huether, and Matt Schiller. The director of photography is Mitchell T. Ness, and the directors include Stefan Brogren, Rt!, and Bruce McDonald.
Episodes[edit]
No. in
season
No. in
series
Title
Canadian airdate
US airdate
Production
code
1
358 "Smells Like Teen Spirit" October 28, 2014 (2014-10-28) October 28, 2014 1401
Clare makes a life-changing decision regarding her pregnancy and struggles with telling Drew. Zoë wants to join Becky's Power Cheer team but is told that she will be a distraction due to everything that happened last term. Mr. Hollingsworth worries that Miles' secret relationship with Tristan will ruin his political prospects.
2
359 "Wise Up" November 4, 2014 (2014-11-04) November 4, 2014 1402
Mr. Hollingsworth thinks he can buy Miles' support and crafts a plan to protect his image. Zoë is tired of being judged for her sexual assault, especially by Zig and takes matters into her own hands. Drew is adamant about not having a baby and when Clare offers him an out, he strongly considers taking it.
3
360 "If You Could Only See" November 11, 2014 (2014-11-11) November 11, 2014 1403
Frankie is tired of the double standard placed on girls and boys in regards to sex, giving Zoë the perfect fundraising idea. Becky realizes that she isn't the same girl that she used to be, after going on a terrible date. Maya becomes worried about Miles after he begins skipping class.
4
361 "Can't Stop This Thing We Started" November 18, 2014 (2014-11-18) November 18, 2014 1404
When Eli returns home, Clare has to muster up the courage to tell him about her situation. Winston grows jealous of Tristan's relationship with his best friend, Miles. A normally confident Zig feels emasculated when Grace beats him at arm wrestling and sets out to prove that he is a man.
5
362 "There's Your Trouble" November 25, 2014 (2014-11-25) November 25, 2014 1405
Becky is reluctant to visit Luke in juvenile detention and decides to audition for a school band. Zoë pushes the squad too hard and faces an uphill battle when they want to stop oomfchatting nudes for money. Eli and Clare face an obstacle in their relationship due to her pregnancy with Drew.
Note: This marks the final appearance of Craig Arnold as Luke Baker.
6
363 "(You Drive Me) Crazy" December 2, 2014 (2014-12-02) December 2, 2014 1406
Maya has a recurring nightmare about Miles and thinks that he needs help, but maybe it's she who needs the help. Imogen finds out that Jack doesn't want to be monogamous, which she pretends to be okay with. Frankie finds disturbing comics about the cheerleaders on Hunter's computer.
7
364 "I'll Be Missing You" December 9, 2014 (2014-12-09) December 9, 2014 1407
Zoë's sweet 16 takes a horrifying turn when an anonymous person threatens to reveal the truth about Degrassi Nudes unless she quits the team. Tristan notices a change in Miles' behavior and contemplates talking to him about it. Dallas fears that Alli's future plans do not include him.
8
365 "Hush" December 16, 2014 (2014-12-16) December 16, 2014 1408
Tristan, Winston, Frankie and Hunter stage an intervention for Miles to talk about his "weed addiction." The Power Cheer team attempts to figure out who is blackmailing them as they prepare for semi-finals. Becky has become fast friends with Jonah but Drew seems to think that he has a thing for her.
9
366 "Something's Got to Give" December 23, 2014 (2014-12-23) December 23, 2014 1409
Imogen is on a mission to find out who is behind Degrassi Nudes and is shocked to realize that Jack is involved. Maya lies to the police about the accident to protect Miles from his father's wrath. Drew is committed to keeping Becky happy but his situation with Clare has his attention divided.
10
367 "Hero vs. Villain" December 30, 2014 (2014-12-30) December 30, 2014 1410
When Mr. Simpson calls an assembly to find out who is behind Degrassi Nudes, Zoë goes to extreme lengths to end the threatening messages once and for all. Clare has to figure out a way to tell Drew that Eli is actually the father of the baby. Tristan attempts to work things out with Miles.
11
368 "Firestarter" Part One January 6, 2015 (2015-01-06) January 6, 2015 1411
As word about the fundraising scandal spreads, Frankie convinces the cheerleaders to help her pin Degrassi Nudes entirely on Zoë. Zig and Tiny compete to get a cheerleader's phone number. Clare contemplates her future as her pregnancy becomes public information.
12
369 "Firestarter" Part Two January 13, 2015 (2015-01-13) January 13, 2015 1412
When Mr. Hollingsworth crosses the line, Miles attempts to make the rest of his family see what a bad guy he really is. Winston and Frankie's elaborate plan to get revenge on Zoë puts all of their lives in danger. Eli tries to make things right with Clare after finding out that he is the father of her baby.
13
370 "Watch Out Now" July 20, 2015 (2015-07-20) July 20, 2015 1413
Becky and Jonah plan a lunchtime variety show but when Drew denies the proposal, Becky hatches a plan to change his mind. Zoë faces criminal charges for her part in Degrassi Nudes and lands in detention with her former teammates who now hate her. Winston decides to do standup comedy to prove that he is still funny.
14
371 "Ready or Not" July 20, 2015 (2015-07-20) July 20, 2015 1414
Winston’s musical is set to be performed at Degrassi, but he finds himself reluctant to bring Lola on as the leading lady after their kiss. Zig uses the musical as a distraction as he feels like he is to blame for Damon stabbing Tiny. Clare and Eli find difficulty in only being co-parents due to their feelings for each other.
15
372 "Wishlist" July 21, 2015 (2015-07-21) July 21, 2015 1415
The twins celebrate their 15th birthday with a lavish party, but Frankie is reluctant to make amends with her father until she realizes she can use him financially. Maya struggles to find a friend to go to the spa with. Imogen and Jack face off against Damon, bringing to light a secret Jack has been keeping "in the closet".
16
373 "Walking in My Shoes" July 22, 2015 (2015-07-22) July 22, 2015 1416
Zoë is forced to work in the cafeteria and face her angry classmates. Frankie struggles in Math and cheats off Lola, which leads to a heartbreaking revelation. Imogen adheres to Jack's wishes about coming out to her parents, but with weeks left until her graduation, she soon realizes how much she is giving up.
17
374 "Get It Together" July 23, 2015 (2015-07-23) July 23, 2015 1417
Becky finds out that Jonah has had sex before and although they are both abstinent, she finds herself wanting more from him sexually without breaking her vow to God. Maya finds herself partnered with her nemesis, Tristan for gym class. Clare and Eli take care of Dallas' son as practice for when their baby arrives.
18
375 "Give Me One Reason" July 24, 2015 (2015-07-24) July 24, 2015 1418
Maya and Zig contemplate ending their relationship after her mother catches them making out. Still reeling from news that their son is stillborn, Clare and Eli take a road trip to New York in order to get her into Columbia. Hunter has a crush on Arlene, but has a hard time expressing his feelings.
19
376 "I Wanna Be Adored" July 27, 2015 (2015-07-27) July 27, 2015 1419
Alli feels like her BFF is being distant and soon questions their friendship, when Clare continues to miss prom committee meetings. Zig moves in with Tiny and his brother, Vince and soon falls back into old habits. Tristan makes creative changes to his online dating profile.
20
377 "Teen Age Riot" July 28, 2015 (2015-07-28) July 28, 2015 1420
Zig reluctantly lets Maya visit his place, but when Vince throws a drug-fueled party, the two lovebirds take things way too far. Clare is nominated for valedictorian, but is furious to find out what the cameras around school are actually being used for. Frankie finds it hard being around Winston and contemplates quitting the musical.
21
378 "The Kids Aren’t Alright" Part One July 29, 2015 (2015-07-29) July 29, 2015 1421
Zig learns the truth about what happened to Damon and realizes that he is now an accomplice to a crime. Frankie has feelings for Winston again and comes up with a plan to test his fidelity. While volunteering at a hospital, Becky is forced to work with Drew, who questions whether or not Jonah can be trusted.
22
379 "The Kids Aren’t Alright" Part Two July 30, 2015 (2015-07-30) July 30, 2015 1422
Zig finds out that Damon's crew plans on getting revenge during the musical, and is forced to make a decision that could change his life forever. Winston realizes that he cannot perform well without Frankie by his side. Becky has to choose whether or not to forgive Jonah for stealing from her.
23
380 "Finally" Part One July 31, 2015 (2015-07-31) July 31, 2015 1423
It's prom time at Degrassi and in a last-minute shot to save his night, Drew plans an elaborate prom-posal. Miles attempts to salvage the little relationship he has with his brother, Hunter by helping him with his crush on Arlene. With everyone going off in their separate ways after graduation, Clare begins to worry about her future.
24
381 "Finally" Part Two July 31, 2015 (2015-07-31) July 31, 2015 1424
Drew helps Dallas save prom night, but is punished and unable to participate in the graduation ceremony. Clare is still unsure of her future plans, including where she stands with Eli. Imogen has managed to win Jack back, but her happiness is fleeting when she finally realizes that they aren't compatible.
Note: This marks the final appearances of Aislinn Paul as Clare Edwards, Munro Chambers as Eli Goldsworthy, Melinda Shankar as Ali Bhandari, A.J. Saudin as Connor DeLaurier, Demetrius Joyette as Mike "Dallas" Dallas, Niamh Wilson as Jack Jones, Jessica Tyler as Jenna Middleton, Sarah Fisher as Becky Baker, Cristine Prosperi as Imogen Moreno, and Luke Bilyk as Drew Torres.
Note: This is the final regular episode of the first incarnation of the Degrassi: The Next Generation series.
25–28
382–385 "Degrassi: Don't Look Back" August 2, 2015 (2015-08-02) August 2, 2015 1425–1428
Maya has high hopes of spending the summer lifeguarding at the beach with Zig, but her hopes are crushed when she fails her CPR class. Determined not to let her summer be a total bust, she sets her sights on a nanny job for a prestigious music producer, but is foiled by Gloria who swoops in and gets the job. Frankie’s pumped for her summer job as a city hall intern but finds it’s an uphill battle with the other older interns. Meanwhile, Zoë is determined to coast through summer school with Tristan by riding the coat-tails of Hunter and Grace. And while all the kids have challenges, what really overshadows the summer is that sexy and infuriating Gloria goes missing. This cloud hovers over everyone’s summer as they are all, in one way or another, touched by her disappearance.
Note: This is a two-hour movie special, and airs as "Summer Girls" in half-hour syndication.
Note: This is the final movie special of the first incarnation of the Degrassi: The Next Generation series.
References[edit]
Jump up ^ "E! Online / More Degrassi Scoop Than You Can Handle: Season 14 Premiere Date, New Cast Members and First Look at the Epic Promo!". E! Online. Retrieved September 29, 2014.
Jump up ^ Stohn, Stephen (November 13, 2013). "400600646702735360". Twitter. Retrieved November 30, 2014.
Jump up ^ Bibel, Sara (September 30, 2014). "'Degrassi' Season Fourteen to Premiere Tuesday, October 28 on TeenNick". TV by the Numbers. Retrieved September 30, 2014.
Jump up ^ Howe, Nia (2015-06-04). "'Degrassi' to end 14-season run on TeenNick in July". EW.com. Retrieved 2015-06-13.
Jump up ^ "Degrassi Lives and is Headed to Netflix - Get The Scoop". Eonline.com. Retrieved 2015-06-13.
Jump up ^ "Degrassi". Teenick.com. Retrieved January 10, 2015.
Jump up ^ "More Degrassi Scoop Than You Can Handle: Season 14 Premiere Date, New Cast Members and First Look at the Epic Promo!". E! Online. Retrieved January 11, 2015.
Jump up ^ http://www.degrassi.tv/episodes/season-14/
External links[edit]
Book: Seasons of Degrassi: The Next Generation
List of Degrassi: The Next Generation episodes on IMDb
Degrassi: Don't Look Back on IMDb
List of Degrassi: The Next Generation episodes at TV.com.
[hide]
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text:
Zach Tyler Eisen
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Zach Tyler Eisen
Born
Zachary Tyler Eisen[1]
(1993-09-25) September 25, 1993 (age 25)
Stamford, Connecticut, U.S.[1]
Education
Syracuse University[2]
Years active
1996–2008[2]
Zachary "Zach" Tyler Eisen (born September 25, 1993) is a former American voice actor best known for voicing Aang in the Nickelodeon animated series Avatar: The Last Airbender, Lucas Nickle in The Ant Bully, Andrew in Nick Jr.'s Little Bill and Pablo the Penguin in the Nick Jr. animated series The Backyardigans.[1] While living in Connecticut, he did most of his Avatar: The Last Airbender recordings via satellite.
Filmography[edit]
Entropy (1999) - Lucas[1]
Little Bill (1999–2002) – Andrew[1]
Marci X (2003) - Boy
The Backyardigans – Pablo the Penguin[1] (2004–06)
Avatar: The Last Airbender (2005–08) - Aang[1]
The Ant Bully (2006) – Lucas Nickle[3][4]
Calling All Engines from Tomorrowland (2005) - Sailing Around the World (Season 1)
References[edit]
^ Jump up to: a b c d e f g "Kim Talks With Zachary Tyler Eisen, the Voice of Aang in AVATAR: THE LAST AIRBENDER". gotham-news.com. Retrieved 11 March 2015.
^ Jump up to: a b https://www.linkedin.com/in/zteisen
Jump up ^ L. KENT WOLGAMOTT / GZO. "'Ant Bully' marches to formulaic tune". JournalStar.com. Retrieved 11 March 2015.
Jump up ^ "The Ant Bully - Production Notes" (PDF). Warner Brothers. Retrieved 2015-03-11.
External links[edit]
Zach Tyler Eisen on IMDb
Authority control
WorldCat Identities
BNF: cb15120132b (data)
GND: 1090923961
ISNI: 0000 0000 0281 1633
LCCN: no2014098746
VIAF: 7685911
Retrieved from "https://en.wikipedia.org/w/index.php?title=Zach_Tyler_Eisen&oldid=860809848"
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Howl's Moving Castle (film)
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Howl's Moving Castle
Japanese release poster
Japanese
ハウルの動く城
Hepburn
Hauru no Ugoku Shiro
Directed by
Hayao Miyazaki[1]
Produced by
Toshio Suzuki[1]
Screenplay by
Hayao Miyazaki[2]
Based on
Howl's Moving Castle
by Diana Wynne Jones[2]
Starring
Chieko Baisho
Takuya Kimura
Akihiro Miwa
Music by
Joe Hisaishi[1]
Cinematography
Atsushi Okui[1]
Edited by
Takeshi Seyama[1]
Production
company
Studio Ghibli[1]
Distributed by
Toho[3]
Release date
5 September 2004 (2004-09-05) (Venice)
20 November 2004 (2004-11-20) (Japan)
[4][3]
Running time
119 minutes[3]
Country
Japan[2]
Language
Japanese [2]
Budget
¥2.4 billion
USD$24 million
Box office
¥23.2 billion
USD$235.1 million (worldwide)[3]
Howl's Moving Castle (Japanese: ハウルの動く城, Hepburn: Hauru no Ugoku Shiro) is a 2004 Japanese animated fantasy film written and directed by Hayao Miyazaki. The film is loosely based on the novel of the same name by British author Diana Wynne Jones. The film was produced by Toshio Suzuki, animated by Studio Ghibli and distributed by Toho. The Japanese voice cast featured Chieko Baisho and Takuya Kimura, while the version dubbed in English starred Jean Simmons, Emily Mortimer, Lauren Bacall and Christian Bale.
The story is set in a fictional kingdom where both magic and early 20th century technology are prevalent, against the backdrop of a war with another kingdom. The film tells the story of a young hatter named Sophie after she is turned into an old woman by a witch's curse. She encounters a wizard named Howl, and gets caught up in his resistance to fighting for the king.
Influenced by Miyazaki's opposition to the United States' invasion of Iraq in 2003, the film contains strongly anti-war themes. Miyazaki stated that he "had a great deal of rage about [the Iraq war]," which led him to make a film which he felt would be poorly received in the US.[5] It also explores the theme of old age, depicting age positively as something which grants the protagonist freedom. The film contains feminist elements as well, and carries messages about the value of compassion.
In 2013 Miyazaki said the film was his favorite creation, explaining "I wanted to convey the message that life is worth living, and I don't think that's changed."[6] The movie is thematically significantly different from the book; while the book focuses on challenging class and gender norms, the film focuses on love, and personal loyalty and the destructive effects of war.[7]
Howl's Moving Castle had its world premiere at the Venice Film Festival on 5 September 2004, and was released in Japanese theaters on 20 November 2004. The film went on to gross $190 million in Japan and $235 million worldwide, making it one of the most financially successful Japanese films in history. The film received critical acclaim, particularly for its visuals and Miyazaki's treatment of its themes. It was nominated for the Academy Award for Best Animated Feature at the 78th Academy Awards, but lost to Wallace & Gromit: The Curse of the Were-Rabbit, in 2006, and won several other awards, including four Tokyo Anime Awards and a Nebula Award for Best Script.
Contents
1 Plot
2 Voice cast
3 Themes
3.1 Pacifism
3.2 Flight and critique of modernity
3.3 Old age and compassion
4 Production
5 Comparisons between film and novel
6 Music
7 Release and reception
7.1 Box office
7.2 Critical response
7.3 Top ten lists
7.4 Accolades
8 References
9 Sources
10 External links
Plot[edit]
Sophie, a young milliner, encounters a wizard named Howl on her way to visit her sister Lettie. Upon returning home, she meets the Witch of the Waste, who transforms her into a ninety-year-old woman. Seeking to break the curse, Sophie leaves home and sets off through the countryside; she meets a living scarecrow, whom she decides to call 'Turnip Head'. He leads her to Howl's moving castle, where she meets Howl's young apprentice Markl, and the fire-demon Calcifer, who is the source of the castle's magic. When Howl appears, Sophie announces that she has hired herself as a cleaning lady.
Meanwhile, Sophie's nation is caught up in a war with a neighboring kingdom, who is searching for their missing prince. The King summons Howl to fight in the war; however, Howl decides to send Sophie to the King (under the pretense of being his mother) to tell him that Howl is too much of a coward to fight. Before leaving, he gives Sophie a charmed ring that connects her to Calcifer. Sophie meets Suliman, the king's advisor, and also the Witch of the Waste, whom Suliman punishes by draining all of her power, causing her to regress into a harmless old woman. Suliman warns that Howl will meet the same fate if he does not fight. Howl arrives to rescue Sophie; Suliman tries to trap him, but with Sophie's help, they escape along with the former witch.
Sophie learns that Howl's life is somehow bound to Calcifer's, and that Howl has been transforming into a bird-like creature to interfere with both sides in the war, but each transformation makes it more difficult for him to return to human form. Howl then has the castle magically-linked to Sophie's home, parking the castle itself on the town's outskirts. A few days later, the town is bombed by enemy aircraft and Suliman's henchmen attack the abode. Howl heads out to protect the group; Sophie then moves everyone out of the abode and removes Calcifer from the fireplace, which collapses the castle. The witch realizes that Calcifer has Howl's heart, and grabs the fire demon; Sophie panics and pours water onto the witch, which douses Calcifer. The castle then splits in two; Sophie falls down a chasm and is separated from the group.
Following the charmed ring, Sophie wanders into a scene from the past: she sees a young Howl catch a falling star — Calcifer — and give him his heart. Sophie calls for them to find her in the future as she is teleported away. She returns to the present and finds Howl, and they reunite with the others. The witch returns Howl's heart, and Sophie places it back inside Howl, reviving him and freeing Calcifer, though he decides to stay. Sophie's curse is broken, and after she kisses Turnip Head on the cheek he reverts to human form — revealed to be the missing prince Justin from the enemy kingdom, who promptly heads for home. Suliman, watching through a crystal globe, decides to end the war. As the bombers fly away, Sophie, Howl and the others travel high in the air in a new flying castle.
Voice cast[edit]
Chieko Baisho, who voiced Sophie in the Japanese version of the film
Emily Mortimer, who voiced the young Sophie in the version of the film dubbed into English
Character
Japanese
English (Disney Release)
Sophie (Sofî) (old)[2] Chieko Baisho Jean Simmons
Sophie (young)[2] Emily Mortimer
Howl (Hauru)[2] Takuya Kimura Christian Bale
Witch of the Waste (Arechi No Majo)[2] Akihiro Miwa Lauren Bacall
Calcifer (Karushifā) Tatsuya Gashūin[2] Billy Crystal
Markl (Marukuru) Ryūnosuke Kamiki[2] Josh Hutcherson
Madame Suliman (Sariman)[2] Haruko Kato Blythe Danner
Lettie Yayoi Kazuki Jena Malone[8]
Honey Mayuno Yasokawa Mari Devon
Prince Justin/Turnip Head (Kakashi No Kabu) Yō Ōizumi[2] Crispin Freeman[8]
Madge Rio Kanno Liliana Mumy
King of Ingary (Kokuō) Akio Ōtsuka[2] Mark Silverman
Hin[2] Daijirō Harada
Themes[edit]
Pacifism[edit]
Howl's Moving Castle contains strong anti-war themes, influenced by Miyazaki's distaste for the 2003 Iraq War.[5][9][10] When he received an Oscar for Spirited Away, he said that he "had a great deal of rage about [the war]. So [he] felt some hesitation about the award."[5] Miyazaki identifies as a pacifist.[9][10][11] On the eve of the Iraq War, Miyazaki decided to make a film that he felt would be poorly received in the United States. Despite the film's success in that country, literary scholar Dani Cavallaro stated that Miyazaki was able to "create a film which ought, in principle, to have caused a certain unease among American audiences."[5] In the movie, Madame Suliman appears to have only sadistic motivations for creating conflict,[5] and despite being omniscient, is unable to recognize the idiocy of the war until the very end of the story. This reflects Miyazaki's desire to show real-world conflicts as also being somewhat arbitrary and fueled by the desires of capricious people.[12] Cavallaro stated that the depiction of the war carried "an unmistakable bitter taste."[5]
The universe of Howl's Moving Castle is depicted as not having clear-cut villains and heroes; instead, the characters are complex, and even those that are initially portrayed in a negative light, such as Howl, are shown as capable of change.[13] Matt Kimmich has stated, however, that the simplistic message of the film is that "war is bad."[11] A scene where Sophie is standing in a beautiful field of flowers is interrupted by a war machine, "a finger accusing empire as the destroyer of peace."[14] This portrayal is in strong contrast to other Miyazaki films like Princess Mononoke, which criticizes military conflict in a more nuanced manner.[11] Andrew Osmond stated that "Howl's pure-hearted anti-war stance is presented as nihilism with no alternative as he fights forces from each side and becomes the worst terror of all," in the form of the monstrous bird. By transforming into the bird, Howl risks losing his own humanity; Calcifer comments at one point that he will soon not be able to return to human form.[11] In contrast, Ashitaka in Princess Mononoke fights the demonic sickness with which he is afflicted, and tries to negotiate a peace between the two sides.[11] Osmond states that both films also point out the limits of masculinity, as exemplified by Howl and Ashitaka.[11]
Flight and critique of modernity[edit]
Like several other Miyazaki films,[13] Howl's Moving Castle reflects the director's love of flying.[15] Sequences in the film include both several aircraft of inventive design, as well as Howl transforming into a bird.[15] Miyazaki examines flight as a theme most directly in the later film The Wind Rises.[15] Miyazaki stated that he was attracted to military aircraft as a child, but that he grew to detest them because of the destructive purpose for which they are created.[15] Thus Howl's Moving Castle contains images both of aircraft shown as harmless, and large military craft depicted as ugly and destructive.[15] Cavallaro writes that Miyazaki wants to "portray flight as an object of admiration and awe," but that he is not "[blind] to its abuse by unscrupulous strategists and rulers."[15]
The nuanced view of flight is part of Miyazaki's broader critique of modern society and technology. Margaret Talbot writes that in person, Miyazaki exhibits "a profound dissatisfaction with modern life,"[13] particularly with the effects of technology and a disconnection from nature.[13] Many of his films depict technological hubris as among the roots of evil.[16] The battleships which are seen moving over the landscape are depicted as "gleaming with modernity and parading righteousness,"[17] but are then shown to be highly destructive.[17] In contrast, the semi-organic castle demonstrates "Miyazaki’s Taoist presentation of industrialism needing to be aligned with nature" according to Carl and Garrath Wilson.[17] Antonio Lioi writes that Miyazaki often depicts beautiful scenes in contrast to those containing symbols of modernity, such as the scene where Sophie's reverie is interrupted by a war machine. This contrast is part of an ecological criticism of modernity, but Miyazaki also offers an alternative, in the form of beautiful natural scenery.[14]
Old age and compassion[edit]
Miyazaki stated that an attractive aspect of the story of Howl's Moving Castle was the relatively positive light it shed on growing old.[13] When Sophie becomes old as a result of the witch's spell, she also feels more able to speak her mind. According to Miyazaki, old women are only infrequently allowed to dominate the screen as in Howl's Moving Castle, which made it a risky concept.[13] Elizabeth Parsons stated that the film disrupts the stereotype of "aged unattractiveness," when the artificially aged Sophie manages to rescue two attractive men (who come to love her) and to unintentionally end the war in her country.[18] Sophie's actions are those usually associated with grandmothers, such as being kind and nurturing to those around her, and engaging in housework; however, these actions are depicted as being powerful and heroic.[18] Sophie is one of several strong female protagonists in Miyazaki's films.[14] According to Parsons, this gives the film a feminist aspect as well.[18] Additionally, even though Sophie manages to make her presence in the castle legitimate by claiming to be a cleaning lady, the film goes on to show that the housework is equitably distributed, strengthening its feminist aspect.[18]
In 2013, Miyazaki stated that Howl's Moving Castle was his favorite creation, and explained his choice by saying "I wanted to convey the message that life is worth living, and I don't think that's changed."[6] In the film, Sophie is shown to overcome extreme challenges by learning to put the well-being of those she cares about above her own self-interest, a quality which Miyazaki refers to as devotion.[6] Several of the protagonists in Miyazaki's films, such as Ashitaka and San in Princess Mononoke and Sheeta and Pazu in Castle in the Sky learn to survive by learning the same lesson.[6] Cavallaro states that Miyazaki spreads this moral through the entire film, to convey human beings' ability to be compassionate, such as when the scarecrow holds an umbrella over Sophie's head when it rains.[6] Over the course of the film, Howl, its most vain and selfish character, also learns to put others before himself.[18] When Madame Suliman returns the Witch of the Waste to her true form as a decrepit old woman, Sophie takes her in and cares for her, despite the witch being responsible for Sophie's curse, thus strongly demonstrating the idea of compassion.[18] The witch then nearly destroys Howl through her selfish behavior, but also helps save the castle at the end. Parsons writes that "In Miyazaki's balancing act, old women can be powerful and weak, positive and negative, nurturing and selfish, maligned and loved; in short, they can not be simply categorized or stereotyped, and they can not be dismissed as fantasy malefactors embodied by evil witches."[18] They are also given a lot of space in the film as active characters, something not commonly found in western movies.[18]
Production[edit]
Director and screenwriter Hayao Miyazaki in 2009
Toshio Suzuki, who produced the film, at its premiere
In September 2001, Studio Ghibli announced the production of two films. The first would become The Cat Returns and the second was an adaptation of Diana Wynne Jones' novel, Howl's Moving Castle.[19] A rumor persists that Miyazaki had an idea to do Howl's Moving Castle during a visit to Strasbourg Christmas market.[19] Toshio Suzuki, who produced Howl's Moving Castle, stated that Miyazaki was inspired to make the film when he read Jones' novel, and was struck by the image of a castle moving around the countryside.[20] The novel does not explain how the castle moved, and Miyazaki was interested in figuring out how the castle might move, which led to the image of a castle on chicken legs.[13] The complex moving castle changes and rearranges itself several times throughout the movie in response to Howl's eccentricity and the various situations.[19] The basic structure of the castle consists of more than 80 elements including turrets, a wagging tongue, cogwheels and chicken legs, that were rendered as digital objects.[19]
Mamoru Hosoda of Toei Animation was originally selected to direct the film, but quit the project after Studio Ghibli's executives rejected many of his concept ideas.[21] The film was shelved until Miyazaki took over.[21] The project resumed with production in February 2003.[19] It was scheduled to be completed in the spring of 2004, and released in the summer of that year.[21]
Miyazaki went to Colmar and Riquewihr in Alsace, France, to study the architecture and the surroundings for the setting of the film.[19] Additional inspiration came from the concepts of future technology in Albert Robida's work.[19] Commentators have stated that Miyazaki's imagery was influenced by his fondness for the "illusion art" of 19th century Europe.[22] Suzuki stated that unlike many Western films, in which the imagery went "from the general [to] the specific,"[13] Miyazaki employed a uniquely Japanese approach, frequently beginning with a very specific image and moving from there.[13] However, Howl's Moving Castle, and Miyazaki films in general, have a focus on realistic imagery in a way that other anime films do not.[13]
The film was produced digitally, but the original backgrounds were drawn by hand and painted prior to being digitized, and the characters were also drawn by hand prior to scanning them into the computer.[19] The 1400 storyboard cuts for the film were completed on 16 January 2004.[23] On 25 June the in-between animation was completed and checking was completed on 26 June.[24] Studio Ghibli used digital technology to run many copies of the still portions of a scene, a process which avoids inconsistencies between various still frames, but can create an impression of artificiality. Therefore, the studio chose to manually retouch the digitally altered images, recreating the "feel" of a hand-drawn image.[25]
Like with the other Studio Ghibli movies, the film was co-produced with other companies, which were Tokuma Shoten, the Nippon Television Network, Dentsu, Buena Vista Home Entertainment, Mitsubishi and Toho.[26]
Comparisons between film and novel[edit]
The film has several differences from the novel, partly due to the different requirements of the two media. Diana Wynne Jones' novel has a very large cast of characters, and several plot threads that were too complex to be transferred into the film.[27] As a result, characters such as Sophie's second sister Martha are left out, as is the plot thread involving Markl (who is called Michael in the novel, and depicted as an adolescent, rather than as a young boy) courting her.[28] Jones discussed the film with Studio Ghibli representatives, but did not have any input or involvement in the production of the film. Miyazaki traveled to England in the summer of 2004 to give Jones a private viewing of the finished film. She has been quoted as saying "It's fantastic. No, I have no input—I write books, not films. Yes, it will be different from the book—in fact it's likely to be very different, but that's as it should be. It will still be a fantastic film."[29]
The novel depicts Howl's castle as a tall, dark and sinister wizard's tower, very different from the complex image in the film. The film's castle may be seen as a parody of the machines seen in the movie, driven both by steam-engines and by magic. In the film, it is a "rotund collage of chimneys, roofs, steam pipes, and other odd appendages, borne along on mechanized bird legs"[28] that is similar to Baba Yaga's hut in the popular fairy tale. It is vaguely organic, and almost depicted as a life-form.[28] Similarly, Calcifer is a demonic figure in the book, as compared to the "endearing" persona and image that he has in the film.[28] Both film and novel try to render fantastic elements as mundane and ordinary things. Although they are set in a fantasy universe, the characters are often shown performing routine tasks, like cooking breakfast or washing up, in contrast to the heroic actions typical of a fantasy universe.[30] In the novel, Jones disrupts the fantasy-world setting by including scenes in which the characters travel to the real-world Wales. The movie, however, avoids this digression, and maintains a constant setting.[31]
Miyazaki's biggest addition to the plot of the book was the use of the war as a large part of the plot. In the book, the war is only tangentially referred to; the king orders Howl to find the king's missing brother Justin, because Justin's military skills are needed for a forthcoming war.[32] Howl's frequent disappearances are because of his womanizing habits, which makes Sophie see him as a superficial and cowardly person.[32] In the film, however, Howl disappears from the scene in order to transform into a giant bird and disrupt the battle plans of both armies.[32]
The roles of several characters also differ between novel and film due to this plot change. The Witch of the Waste is the chief antagonist of the book, whereas in the film she is reduced by Madame Suliman's magic to an ultimately harmless old woman who evokes sympathy in the audience and in Sophie.[32] In contrast, the film conflates the novel's two characters of Mrs. Penstemmon and the wizard Suliman into Madame Suliman. Although Suliman comes closest to being a traditional villain in the film, she is shown as having ambiguous motivations, and reviewers have stated that the real villain is war itself.[32] Howl loses the "rakish" womanizing aspect that was a significant part of his character in the novel.[32] In contrast, Sophie becomes a more conventional figure in the film; she is less grumpy and outspoken, and demonstrates her love for Howl earlier and more explicitly.[32] The storyline in the novel of Sophie being a powerful sorceress in her own right is muted in the film, although she is still shown to have control over her curse.[7]
The thematic focus of the story also differs between the novel and the film. Reviewer Antonia Levi wrote that the experience of watching the film was similar to reading high quality fan fiction; although the characters and the setting were the same, the story was different.[7] Although in both cases the story begins with Sophie being a prisoner of her circumstances and of social norms, the challenges she faces are slightly different. Levi said that "Jones uses Sophie, Howl, and Calcifer in a fairytale format to tell a story about challenging class and gender expectations, Miyazaki uses the same characters to tell a story about personal loyalty, love, and war."[7]
Music[edit]
Joe Hisaishi, who composed and conducted the score, in 2011
The score was composed and conducted by Joe Hisaishi, and performed by the New Japan Philharmonic.[33] The soundtrack CD was first released on 19 November 2004 by Tokuma Japan Communications. Hisaishi also composed and conducted a Howl's Moving Castle: Symphony Suite, an album published on 21 January 2004 which includes ten re-arranged pieces from the original soundtrack. He and Youmi Kimura also composed Howl's Moving Castle CD Maxi-Single, a CD single published on 27 October 2004 which includes the film's theme song, sung by Chieko Baisho (the Japanese voice actor for Sophie), its karaoke version, and a piano version of the film's main theme, "The Merry-Go-Round of Life".[34]
Release and reception[edit]
Box office[edit]
The film opened at the 61st Venice Film Festival in 2004,[4] and was released in Japan on 20 November 2004.[3] The film grossed $14.5 million in its first week of release in Japan alone.[13] The film was distributed in Japan by Toho, and made $190,000,000 in that country.[3] It was distributed internationally by various companies, and made approximately an additional $45,000,000 outside Japan, for a worldwide total of $235,184,110.[3] The film was later dubbed into English by Pixar's Pete Docter.[35] It was distributed in the United States by Buena Vista, a subsidiary of Disney.[3] It was released on DVD on 10 March 2006.[8] It was one of the most commercially successful Japanese films ever made.[4] Soon after its release, it became the third most financially successful film in Japan, behind Titanic and Spirited Away.[16] GKIDS re-released the film on Blu-ray and DVD on 17 October 2017.[36]
Critical response[edit]
The review aggregator website Rotten Tomatoes reports an 87% approval rating based on 175 reviews, with an average rating of 7.5/10. The website's critical consensus reads, "Exquisitely illustrated by master animator Miyazaki, Howl's Moving Castle will delight children with its fantastical story and touch the hearts and minds of older viewers as well."[8] The film also holds an 80/100 average on Metacritic, based on 40 reviews, indicating "generally favorable reviews".[2]
USA Today critic Claudia Puig gave the film a positive review, praising it for its ability to blend "a childlike sense of wonder with sophisticated emotions and motives".[37] Helen McCarthy in 500 Essential Anime Movies said that the natural world was "beautifully represented", with "some absolutely breathtaking mountains and lakeside landscapes". She also praised the design of the Castle and added that Miyazaki added his own themes to the film: "man's relationship to nature, the futility of war, and the joy of flight".[38] Joel Morgenstern of The Wall Street Journal called the film "a moveable feast of delights".[39] Richard Corliss of TIME magazine wrote, "Palaces and shimmering lakes, warplanes and fire sprites all come to life at the breath of Miyazaki's graphic genius."[40] Writing for The Boston Globe, Ty Burr said, "At its best, 'Howl's Moving Castle' offers a rich fantasy of adolescent escape, of romance in the old and epic sense. At its worst, it's the most amazing 12-course meal you can't bring yourself to finish."[41] A.O. Scott of The New York Times wrote, "Admirers of [Hayao Miyazaki's] work, which is wildly imaginative, emotionally intense and surpassingly gentle, will find much to appreciate in this film because it demonstrates, once again, his visual ingenuity and his sensitivity as a storyteller. For newcomers to his world, "Howl's Moving Castle" is a fitting introduction to one of modern cinema's great enchanters."[42]
Conversely, Roger Ebert, also of the Chicago Sun-Times, gave it two and a half out of four stars, and called the film a "disappointment" compared to his recent movies.[43] Jonathan Trout of the BBC said, "Youngsters and Miyazaki fans will coo at the world's depth and rich surreality, but opaque plotting, and a tendency to mope with Sophie whilst Howl is off affecting events let the momentum of the first act vanish into thin air."[44] Writing for Salon, Stephanie Zacharek said, "the plot of "Howl's Moving Castle" meanders so listlessly that its details become less and less charming. Miyazaki's storytelling style resembles that of a breathless young tot who's fearlessly exercising his newfound powers of expression."[45] Stephen Hunter from The Washington Post criticized the plot of the film, saying "There is no story, or rather, there's no force to the story, which meanders almost casually this way and that for no apparent reason."[46] However, he said that the movie also empowered young women, and was "beautiful beyond telling."[46] David Rooney, writing in Variety, stated that "the narrative motor roars ahead in the opening hour and is more erratic thereafter," and suggested that better translation would help.[1] Literary scholar Matt Kimmich stated that the film came across as "uneasy compromise between two plots and two imaginations," referring to Jones' original story and Miyazaki's style of animation and storytelling.[47] However, he stated that those scenes which were not dependent either on Jones' original plot or Miyazaki's added plot threads found "a visual humor that recalls the verbal wit and lightness of Jones's novel,"[48] and that the "animation manages to free itself from the demands of the two plots—and flies."[48]
Top ten lists[edit]
"There's a word for the kind of comic, dramatic, romantic, transporting visions Miyazaki achieves in Howl's: bliss."
—Peter Travers, Rolling Stone[35]
The film appeared on many critics' top ten lists of the best films of 2005.[49]
2nd – Ella Taylor, LA Weekly (tie)
4th – Kenneth Turan, Los Angeles Times
5th – Tasha Robinson, The A.V. Club
6th – Lawrence Toppman, The Charlotte Observer
6th – Jonathan Rosenbaum, The Chicago Reader (tie)
8th – Michael Sragow, The Baltimore Sun
8th – Michael Wilmington, The Chicago Tribune
NA – Peter Rainer, The Christian Science Monitor (listed alphabetically)
Accolades [edit]
Main article: List of accolades received by Howl's Moving Castle (film)
Year
Award
Category
Result
Recipient
Reference
2004 61st Venice Film Festival Osella Awards for Technical Achievement Won Howl's Moving Castle [50]
Mainichi Film Awards Best Japanese Movie Overall
(Readers' Choice Award) Won Howl's Moving Castle [51]
Japan Media Arts Festival Excellence Prize, Animation Won Howl's Moving Castle [52]
2005 Tokyo Anime Award Animation of the Year Won Howl's Moving Castle [53]
Best Director Won Hayao Miyazaki [53][54]
Best Voice Actor/Actress Won Chieko Baisho [53][54]
Best Music Won Joe Hisaishi [53][54]
Maui Film Festival Audience Award Won Howl's Moving Castle [53][54]
Seattle International Film Festival Golden Space Needle Award 1st Runner-up Howl's Moving Castle [53][54]
2006 78th Academy Awards Best Animated Feature Nominated Howl's Moving Castle [55]
Saturn Awards Best Animated Film Nominated Howl's Moving Castle [56]
2007 Nebula Award Best Script Won Hayao Miyazaki (script),
Cindy Davis Hewitt, and Donald H. Hewitt
(English translation) [57]
References[edit]
^ Jump up to: a b c d e f g Rooney 2004.
^ Jump up to: a b c d e f g h i j k l m n o Metacritic 2005.
^ Jump up to: a b c d e f g h boxofficemojo 2016.
^ Jump up to: a b c Geoghegan 2011.
^ Jump up to: a b c d e f Cavallaro 2015, pp. 61–62.
^ Jump up to: a b c d e Cavallaro 2015, pp. 171–172.
^ Jump up to: a b c d Levi 2008.
^ Jump up to: a b c d Rotten Tomatoes 2011.
^ Jump up to: a b Gordon 2005.
^ Jump up to: a b Smith 2011.
^ Jump up to: a b c d e f Kimmich 2007, pp. 134–135.
Jump up ^ Cavallaro 2015, p. 8.
^ Jump up to: a b c d e f g h i j k Talbot 2006.
^ Jump up to: a b c Lioi 2010.
^ Jump up to: a b c d e f Cavallaro 2015, pp. 146–147.
^ Jump up to: a b Scott 2005a.
^ Jump up to: a b c Wilson & Wilson 2015.
^ Jump up to: a b c d e f g h Parsons 2007.
^ Jump up to: a b c d e f g h Cavallaro 2006, pp. 157–171.
Jump up ^ "Japanese Walt Disney - Film - Entertainment - theage.com.au". www.theage.com.au. Retrieved 14 December 2017.
^ Jump up to: a b c Shilling 2002.
Jump up ^ Cavallaro 2015, p. 145.
Jump up ^ Schnell 2013, p. 7.
Jump up ^ Schnell 2013, p. 23.
Jump up ^ Cavallaro 2015, p. 137.
Jump up ^ Rooney, David (8 September 2004). "Howl's Moving Castle". Variety. Retrieved 5 March 2018.
Jump up ^ Kimmich 2007, p. 127.
^ Jump up to: a b c d Kimmich 2007, p. 128.
Jump up ^ nausicaa1 2016.
Jump up ^ Kimmich 2007, p. 129.
Jump up ^ Kimmich 2007, pp. 129–130.
^ Jump up to: a b c d e f g Kimmich 2007, pp. 132–133.
Jump up ^ "Music in the movies: Joe Hisaishi". Den of Geek. Retrieved 14 December 2017.
Jump up ^ Ghibli 2013.
^ Jump up to: a b Travers 2005.
Jump up ^ Giardina, Carolyn (17 July 2017). "Gkids, Studio Ghibli Ink Home Entertainment Deal". The Hollywood Reporter. Retrieved 17 July 2017.
Jump up ^ Puig 2005.
Jump up ^ McCarthy 2009.
Jump up ^ Morgenstern 2005.
Jump up ^ Corliss 2005.
Jump up ^ Burr 2005.
Jump up ^ Scott 2005b.
Jump up ^ Ebert 2005.
Jump up ^ Trout 2005.
Jump up ^ Zacharek 2005.
^ Jump up to: a b Hunter, Stephen (10 June 2005). "The Emperor Has No Story". The Washington Post. Retrieved 20 November 2016.
Jump up ^ Kimmich 2007, p. 126.
^ Jump up to: a b Kimmich 2007, p. 137.
Jump up ^ Metacritic 2007.
Jump up ^ Biennale 2004.
Jump up ^ animenews 2016.
Jump up ^ Japan Media Arts 2004.
^ Jump up to: a b c d e f imdb 2016.
^ Jump up to: a b c d e nausicaa2 2016.
Jump up ^ Oscars 2006.
Jump up ^ animenews 2006.
Jump up ^ Locus 2007.
Sources[edit]
"Howl Nominated for Saturn Award". animenewsnetwork. 21 February 2006. Retrieved 24 July 2016.
"2004 Mainichi Film Awards". animenewsnetwork. 24 January 2005. Retrieved 24 July 2016.
"Howl's Moving Castle". boxofficemojo.com. Retrieved 24 July 2016.
"Official Awards of the 61st Venice Film Festival". labiennale.org/. 11 September 2004. Archived from the original on 9 October 2004.
Burr, Ty (10 June 2005). "Though unintelligible at times, Miyazaki's 'Castle' is magical". The Boston Globe. Retrieved 18 July 2016.
Cavallaro, Dani (2006). The Anime Art of Hayao Miyazaki. McFarland. ISBN 978-0-7864-5129-6.
Cavallaro, Dani (2015). Hayao Miyazaki's World Picture. McFarland. ISBN 978-1-4766-2080-0.
Corliss, Richard (5 June 2005). "Movies: For Children of All Ages". TIME. Retrieved 18 July 2016.
Ebert, Roger (9 June 2005). "Howl's Moving Castle Movie Review (2005)". RogerEbert.com. Retrieved 2 June 2013.
Geoghegan, Kev (5 December 2011). "Howl's Moving Castle adapted for the stage in Southwark". BBC. Retrieved 24 July 2016.
Online Ghibli. "Howl's Moving Castle". Online Ghibli. Retrieved 16 July 2013.
Gordon, Devin (2005). "A 'Positive Pessimist'". The Hayao Miyazaki Web. Retrieved 8 May 2008.
"Howl's Moving Castle". imdb.com. Retrieved 24 July 2016. [unreliable source?]
"2004 Japan Media Arts Festival Awards" (in Japanese). Japan Media Arts Plaza, Agency for Cultural Affairs. Archived from the original on 4 April 2010. Retrieved 1 March 2009.
Levi, Antonia (2008). "Howl's Moving Castle". Mechademia. 3: 261–263. doi:10.1353/mec.0.0059.
Kimmich, Matt (2007). "Animating the Fantastic: Hayao Miyazaki's Adaptation of Diana Wynne Jones's Howl's Moving Castle". In Straytner, Leslie; Keller, James R. Fantasy Fiction into Film. Jefferson, North Carolina: McFarland & Company.
Lioi, Anthony (2010). "The City Ascends: Laputa: Castle in the Sky as Critical Ecotopia". Interdisciplinary Comics Studies. 5 (2).
"The Locus Index to SF Awards: 2007 Nebula Awards". Locus. Archived from the original on 5 June 2011. Retrieved 6 December 2011.
McCarthy, Helen (2009). 500 Essential Anime Movies: The Ultimate Guide. HarperCollins. ISBN 978-0-06-147450-7.
"Metacritic: 2007 Film Critic Top Ten Lists". Metacritic. Archived from the original on 14 December 2007. Retrieved 4 January 2008.
"Howl's Moving Castle". Metacritic. Retrieved 18 July 2016.
Morgenstern, Joel (10 June 2005). "Married, With Howitzers: 'Mr. and Mrs. Smith' Battle, Slaying Nuance and Humor". The Wall Street Journal. Retrieved 18 July 2016.
"(Howl's Moving Castle) – Frequently Asked Questions (FAQ)". nausicaa.net. Retrieved 19 July 2016.
"Hauru no Ugoku Shiro – Credits". nausicaa.net. Retrieved 24 July 2016.
"The 78th Academy Awards (2006) Nominees and Winners". Oscars.org. Retrieved 5 September 2013.
Parsons, Elizabeth (19 October 2007). "Animating Grandma: the indices of age and agency in contemporary children's films". Journal of Aging, Humanities, and the Arts. 1 (3–4): 221–229. doi:10.1080/19325610701638243.
Puig, Claudia (9 June 2005). "'Howl's Moving Castle' enchants". USA Today. Retrieved 2 June 2013.
"Howl's Moving Castle Movie Reviews". Rotten Tomatoes. Flixster. Retrieved 16 August 2011.
Rooney, David (8 September 2004). "Review: 'Howl's Moving Castle'". Variety.com. Retrieved 18 July 2016.
"Studio Ghibli Diary". Translated by Schnell, Philip. Nausicaa.net. Retrieved 5 September 2013.
Scott, A.O. (10 June 2005). "A Cursed Teenager Turns 90. Let the Adventures Begin". The New York Times. Retrieved 18 July 2016.
Scott, A. O. (July 2005). "Where the Wild Things Are: The Miyazaki Menagerie" (PDF). The Asia-Pacific Journal. 3 (7).
Shilling, Mark (17 December 2002). "New Hayao Miyazaki film heads Toho line-up". ScreenDaily. Archived from the original on 7 August 2003. Retrieved 5 September 2013.
Smith, Lindsay (1 April 2011). "War, Wizards, and Words: Transformative Adaptation and Transformed Meanings in Howl's Moving Castle". The Projector Film and Media Journal. 11 (1).
Talbot, Margaret (March 2006). "The Auteur of Anime". The Asia-Pacific Journal. 4 (3).
Travers, Peter (9 June 2005). "Howl's Moving Castle". Rolling Stone. Retrieved 18 February 2012.
Trout, Jonathan (13 September 2005). "Howl's Moving Castle". BBC. Retrieved 18 July 2016.
Wilson, Carl; Wilson, Garrath T. (2015). "Taoism, Shintoism, and the ethics of technology: an ecocritical review of Howl's Moving Castle". Resilience: A Journal of the Environmental Humanities. 2 (3): 189–194. doi:10.5250/resilience.2.3.0189.
Zacharek, Stephanie (10 June 2005). "Howl's Moving Castle". Salon. Retrieved 18 July 2016.
External links[edit]
Wikimedia Commons has media related to Howl's Moving Castle (film).
Wikiquote has quotations related to: Howl's Moving Castle
Official Website by Disney
Howl's Moving Castle on IMDb
Hauru no ugoku shiro at The Big Cartoon DataBase
Howl's Moving Castle at Rotten Tomatoes
Howl's Moving Castle at AllMovie
Howl's Moving Castle (anime) at Anime News Network's encyclopedia
"ハウルの動く城 (Hauru no ugoku shiro)" (in Japanese). Japanese Movie Database. Retrieved 21 July 2007.
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values: قلعة هاول المتحركة – Arabic

values: Haulun yeriyən qəsri (cizgi filmi, 2004) – Azerbaijani

values:
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values: Howl ê Tín-tāng Siâⁿ-pó – Chinese (Min Nan)

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values: Подвижният замък на Хоул (филм) – Bulgarian

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values: Το Κινούμενο Κάστρο – Greek

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values: La moviĝanta kastelo de Haŭl – Esperanto

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values: Howl's Moving Castle (film) – Indonesian

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values: Ходячий замок (аниме) – Russian

values: Howl's Moving Castle (movie) – Simple English

values: Покретни дворац – Serbian

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values: Howl's Moving Castle (film) – Serbo-Croatian

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values: Мандрівний замок Хаула (аніме) – Ukrainian

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values: Lâu đài bay của pháp sư Howl (phim) – Vietnamese

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values: 哈尔的移动城堡 – Chinese

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