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This is a photographer from China who has captured works by non-artists in many places across the country. The art these people create in their daily lives is truly fascinating. Instead of using traditional art tools like brushes or paints, they are better at using everyday objects and the spaces around them to create art.

As a result, they’ve built many amazing and magical structures. I was deeply drawn to these buildings—they feel full of surprises, just like how I feel when I’m in my grandmother’s room, but even more beautiful. That’s why I’ve been thinking about turning my grandmother’s room into an art project—a magical world of collected treasures.

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My grandmother is a warm and welcoming person. She dresses very colorfully and has a positive attitude towards life.

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Hoarding disorder (HD) or Plyushkin’s disorder is a mental disorder[7] characterised by persistent difficulty in parting with possessions and engaging in excessive acquisition of items that are not needed or for which no space is available. This results in severely cluttered living spaces, distress, and impairment in personal, family, social, educational, occupational, or other important areas of functioning.[7][8] Excessive acquisition is characterized by repetitive urges or behaviours related to amassing or buying property. Difficulty discarding possessions is characterized by a perceived need to save items and distress associated with discarding them. Accumulation of possessions results in living spaces becoming cluttered to the point that their use or safety is compromised.[9] It is recognised by the eleventh revision of the International Classification of Diseases (ICD-11)[10][11] and the Diagnostic and Statistical Manual of Mental Disorders, 5th edition (DSM-5).[12]

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Through the study of Unit 9, I have mastered some techniques on how to make stop-motion animation. I tried to make some

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I got a lot of feedback during our group discussion and tutorial, which made me realize that this story is still not complete. I understand that although I want to show the loneliness of the old man, the black and white character will give people a sense of villain, so I decided to make the little girl enter the castle in black and white, but as the story progresses, the little girl finds that the old man is not a weird and lonely old man, but an old man with a lot of feelings for objects and magic.

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I conducted some simple instrument tests. In my imagination, the beginning and the end will use human voice dubbing, and the part in the castle will use pure music for the soundtrack. Considering the copyright issue, I visited several free BGM websites to compose the music for my animation.

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These creations move me more than some artworks. Many of these individuals have spent decades mastering the art of living, making it easy for me to feel the vibrancy of their inner worlds. I want to try make my grandmother's room into an artistic animation.

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This movie starts with a story between a little girl and an adult, telling a story between two lonely souls. The main clue of the movie is narrated through their letters. What attracts me most in the movie is its color matching. When everything is in black and white, bright colors are used to highlight special places, giving the audience a more focused experience.

I think I can choose to use contrast in color in the next animation to highlight what I want to express.

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Mary and Max is a 2009 Australian stop-motion animated tragicomedy film written and directed by Adam Elliot and was his first animated feature film. The film was produced by Melanie Coombs and Melodrama Pictures with music by Dale Cornelius. The voice cast includes Philip Seymour Hoffman, Toni Collette, Eric Bana and Bethany Whitmore, with narration provided by Barry Humphries.

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フリー音源・無料BGM「BGMer(ビージーエマー)」

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安心して使えるフリーBGMが完全無料！YouTubeも商用利用もOK。おしゃれで使いやすい音源をワンクリックでダウンロードできます。膨大な楽曲からも選びやすく、用途を問わず申請不要で使えます。

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Howl's Moving Castle is a classic movie, telling a fantasy love story of a hero and heroine, in which the hero lives in a giant movable castle. This gave me some design inspiration.

I can also design the place where the old lady lives into a movable building, because in my life, when we moved, my grandmother's things took a lot of effort to deal with because of the large number. If I want to draw a fantasy animation, a movable home will be more interesting, and it can add some mystery to the old lady, and the little girl will be more curious about it and go there.

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(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. It is loosely based on the 1986 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 English dub version starred Jean Simmons, Emily Mortimer, Lauren Bacall, Christian Bale, Josh Hutcherson and Billy Crystal.

The film is set in a fictional kingdom where both magic and early twentieth-century technology are prevalent, against the backdrop of a war with another kingdom. It tells the story of Sophie, a young milliner who is turned into an elderly woman by a witch who enters her shop and curses her. 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 strong 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 United States. 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 Howl's Moving Castle was his favorite creation, explaining, "I wanted to convey the message that life is worth living, and I don't think that's changed." The film is significantly thematically different from the novel; while the novel focuses on challenging class and gender norms, the film focuses on love, personal loyalty and the destructive effects of war.

Howl's Moving Castle premiered at the 61st Venice International Film Festival on 5 September 2004, and was theatrically released in Japan on 20 November 2004. It went on to gross $190 million in Japan and $236 million worldwide, making it one of the most commercially successful Japanese films in history. The film received critical acclaim, with particular praise toward its visuals and Miyazaki's presentation of the 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.

Sophie, a young milliner and eldest of three sisters, 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 90-year-old woman. Seeking to break the curse, Sophie leaves home and sets off through the countryside. She meets a living scarecrow, whom she calls "Turnip Head". He leads her to Howl's moving castle where she enters without invitation. She subsequently meets Howl's young apprentice Markl and a fire demon named Calcifer, the source of the castle's magic and movement. Calcifer makes a deal with Sophie, agreeing to break her curse if she breaks his link with Howl. 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, which is searching for its 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 leads her to Calcifer and guarantees her safety. Sophie meets Suliman, the king's head sorceress, and also the Witch of the Waste, whom Suliman punishes by draining all of her power and reverting her to her true age, that of a harmless old woman. Suliman warns Sophie that Howl will meet the same fate if he does not fight for the king. Howl then arrives to rescue Sophie. Suliman tries to trap him by turning him into a monster, but with Sophie's help he remembers himself and just barely avoids death. The duo escapes along with the former Witch of the Waste and Suliman's dog Heen. In the meantime, soldiers from each kingdom break into the homes of both Jenkins and Pendragon (Howl's aliases in those kingdoms). However, the men only find an empty courtyard and warehouse, as the castle's magic nature allows travel between 4 separate residences.

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 house and Sophie's hat shop. Howl heads out to protect the group. Sophie then moves everyone out of the house and removes Calcifer from the fireplace, which collapses the castle. The Witch of the Waste realizes that Calcifer has Howl's heart and grabs the fire demon, setting herself on fire. Sophie panics and pours water onto the Witch, which douses Calcifer. The remainder of 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, where she sees a young Howl catch a falling star - Calcifer - and gives him his heart. Sophie calls for them to find her in the future as she is teleported away. She returns to the present, 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, though her hair remains white. After she kisses Turnip Head on the cheek, he returns to human form revealing himself to be Justin, the missing prince from the enemy kingdom. He reveals that only his true love's kiss can break his curse. After seeing Sophie's affection lies with Howl, he promptly heads for home to cease the war, but promises he will see them again. Suliman, watching through a crystal globe, also decides to end the war. Sometime later, bombers fly under dark skies over a recovered and green countryside headed to another war, while Sophie, Howl, and the others travel in the opposite direction in a new flying castle.

Howl's Moving Castle contains strong anti-war themes, influenced by Miyazaki's distaste for the 2003 Iraq War. 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." Miyazaki identifies as a pacifist. 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." In the movie, Madame Suliman appears to have only sadistic motivations for creating conflict, 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. Cavallaro stated that the depiction of the war carried "an unmistakable bitter taste." She also writes that the military presence and warfare was highlighted in the film.[14] From the early concept sketches military elements were emphasized, and when the film shows the bustling commercial district the soldiers in uniforms stand out intentionally.[14]

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. Matt Kimmich has stated, however, that the simplistic message of the film is that "war is bad." 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." This portrayal is in strong contrast to other Miyazaki films like Princess Mononoke, which criticizes military conflict in a more nuanced manner. 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. 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. Osmond states that both films also point out the limits of masculinity, as exemplified by Howl and Ashitaka.

Like several other Miyazaki films, Howl's Moving Castle reflects the director's love of flying. Aircraft of inventive design appear in the film, and Howl frequently transforms into a bird. Miyazaki examines flight as a theme most directly in the later film The Wind Rises. 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. Thus Howl's Moving Castle contains images both of aircraft shown as harmless and beautiful, and large military craft depicted as ugly and destructive. 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."

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," particularly with the effects of technology and a disconnection from nature. Many of his films depict technological hubris as among the roots of evil. The battleships which are seen moving over the landscape are depicted as "gleaming with modernity and parading righteousness," but are then shown to be highly destructive. 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. 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.

Miyazaki stated that an attractive aspect of the story of Howl's Moving Castle was the relatively positive light it shed on growing old. 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. 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. 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. Sophie is one of several strong female protagonists in Miyazaki's films. According to Parsons, this gives the film a feminist aspect as well. 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.

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." 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. 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. 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. Over the course of the film, Howl, its most vain and selfish character, also learns to put others before himself. 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. 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." They are also given a lot of space in the film as active characters, something not commonly found in western movies.

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. A rumor persists that Miyazaki had an idea to do Howl's Moving Castle during a visit to Strasbourg Christmas market. 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.[22] 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. The complex moving castle changes and rearranges itself several times throughout the movie in response to Howl's eccentricity and the various situations. 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.

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. The film was shelved until Miyazaki took over. The project resumed with production in February 2003. It was scheduled to be completed in the spring of 2004, and released in the summer of that year.

Miyazaki went to Colmar and Riquewihr in Alsace, France, to study the architecture and the surroundings for the setting of the film. Additional inspiration came from the concepts of future technology in Albert Robida's work. Commentators have stated that Miyazaki's imagery was influenced by his fondness for the "illusion art" of 19th century Europe. Suzuki stated that unlike many Western films, in which the imagery went "from the general [to] the specific," Miyazaki employed a uniquely Japanese approach, frequently beginning with a very specific image and moving from there. 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.

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. The 1400 storyboard cuts for the film were completed on 16 January 2004. On 25 June the in-between animation was completed and checking was completed on 26 June. 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.

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.

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. 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. 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."

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" that is similar to Baba Yaga's hut in the popular fairy tale. It is vaguely organic, and almost depicted as a life-form. Similarly, Calcifer is a demonic figure in the book, as compared to the "endearing" persona and image that he has in the film. 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. 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.

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. Howl's frequent disappearances are because of his womanizing habits, which makes Sophie see him as a superficial and cowardly person. In the film, however, Howl disappears in order to transform into a giant bird and disrupt the battle plans of both armies.

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. 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. Howl loses the "rakish" womanizing aspect that was a significant part of his character in the novel. 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. 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.

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. 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."

The score was composed and conducted by Joe Hisaishi, and performed by the New Japan Philharmonic.[34] 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".

The film opened at the 61st Venice Film Festival in 2004, and was released in Japan on 20 November 2004. The film grossed $14.5 million in its first week of release in Japan alone. The film was distributed in Japan by Toho, and made $190,000,000 in that country. 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. The film was later dubbed into English under the supervision of Pete Docter of Pixar, and released in the United States by Walt Disney Pictures on 10 June 2005. It was one of the most commercially successful Japanese films ever made. Soon after its release, it became the third most financially successful film in Japan, behind Titanic and Spirited Away.

On home video, Howl's Moving Castle sold 2.7million DVD units in Japan as of May 2007,[37] and grossed over $18 million from Blu-ray and DVD sales in the United States as of April 2022.[38] It was released in the United States on DVD on 7 March 2006 and on Blu-ray by Walt Disney Studios Home Entertainment on 21 May 2013. GKIDS re-released the film on Blu-ray and DVD on 17 October 2017.[40]

In the United Kingdom, the film's Studio Ghibli anniversary release was 2015's eighth best-selling foreign language film on home video, and fifth best-selling Japanese film (below four other Studio Ghibli anime films).[41] It was later 2018's fourth best-selling foreign language film in the UK (below the Japanese films My Neighbor Totoro, Your Name and Blade of the Immortal).[42]

The review aggregator website Rotten Tomatoes reports an 87% approval rating based on 181 reviews, with an average rating of 7.47/10. 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." The film also holds an 80/100 average on Metacritic, based on 40 reviews, indicating "generally favorable reviews".

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". 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". Joe Morgenstern of The Wall Street Journal called the film "a moveable feast of delights". Richard Corliss of Time wrote, "Palaces and shimmering lakes, warplanes and fire sprites all come to life at the breath of Miyazaki's graphic genius." 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." 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."

Conversely, Roger Ebert of the Chicago Sun-Times gave the film two and a half out of four stars, and called it a "disappointment" compared to Miyazaki's other recent movies. 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." 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." 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."[52] However, he said that the movie also empowered young women, and was "beautiful beyond telling."[52] 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. 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. 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," and that the "animation manages to free itself from the demands of the two plots-and flies."

There's a word for the kind of comic, dramatic, romantic, transporting visions Miyazaki achieves in Howl's: bliss.

-Peter Travers, Rolling Stone

The film appeared on many critics' top ten lists of the best films of 2005.

Accolades Edit

Year

Award

Category

Result

Recipient

Reference

2004

61st Venice Film Festival

Osella Awards for Technical Achievement

Won

Howl's Moving Castle

Mainichi Film Awards

Best Japanese Movie Overall
(Readers' Choice Award)

Won

Howl's Moving Castle

Japan Media Arts Festival

Excellence Prize, Animation

Won

Howl's Moving Castle

2005

Tokyo Anime Award

Animation of the Year

Won

Howl's Moving Castle

Best Director

Won

Hayao Miyazaki

Best Voice Actor/Actress

Won

Chieko Baisho

Best Music

Won

Joe Hisaishi

Maui Film Festival

Audience Award

Won

Howl's Moving Castle

Seattle International Film Festival

Golden Space Needle Award

1st Runner-up

Howl's Moving Castle

2006

78th Academy Awards

Best Animated Feature

Nominated

Hayao Miyazaki

Saturn Awards

Best Animated Film

Nominated

Howl's Moving Castle

2007

Nebula Award

Best Script

Won

Hayao Miyazaki (script),
Cindy Davis Hewitt, and Donald H. Hewitt
(English translation)

"Official Awards of the 61st Venice Film Festival". labiennale.org/. 11 September 2004. Archived from the original on 9 October 2004.

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.

Geoghegan, Kev (5 December 2011). "Howl's Moving Castle adapted for the stage in Southwark". BBC.

Gordon, Devin (2005). "A 'Positive Pessimist'". The Hayao Miyazaki Web.

[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.

Levi, Antonia (2008). "Howl's Moving Castle". Mechademia. 3: 261-263. doi:10.1353/mec.0.0059. S2CID 201752967.

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. (eds.). 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.

McCarthy, Helen (2009). 500 Essential Anime Movies: The Ultimate Guide. HarperCollins. ISBN 978-0-06-147450-7.

Parsons, Elizabeth (19 October 2007). "Animating Grandma: the indices of age and agency in contemporary children's films" (PDF). Journal of Aging, Humanities, and the Arts. 1 (3-4): 221-229. doi:10.1080/19325610701638243. hdl:10536/DRO/DU:30007845.

Puig, Claudia (9 June 2005). "'Howl's Moving Castle' enchants". USA Today.

Rooney, David (8 September 2004). "Review: 'Howl's Moving Castle'". Variety.com. Archived from the original on 5 March 2018.

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 17 August 2003.

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.

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. S2CID 191753828.

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(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. It is loosely based on the 1986 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.

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I updated the ending of the story and integrated the real-life neighbor conflict into it.the ending is no longer about castal fall down. Instead, the people in the town called the police to talk about cleaning up the castle, but the old lady was very resistant to this. So when the little girl went back to visit her, she found that the old lady had moved away.

My classmates suggested that it could be changed to the people in the town being resistant to magic and not allowing the old lady to cast magic, but after thinking about two points, I decided not to change it.

1. It looks like magic, but it's actually just the little girl's personal emotions (the inspiration came from my childhood) and the feelings that the old lady put into the objects. It's not real magic.

2. I think it's very interesting that the whole story involves magic but ends with realistic reasons. The adult world is boring like this.

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There is an interesting phenomenon. What is written on the box is not necessarily what is inside the box. For example, the cookie box can be reused to become a sewing box, just like a surprise box. I am considering adding this element to the animation.

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At first, I wanted to use voice-over, but then I chose natural sounds to make the viewers feel like they are really there. Later in the video, I used music to create a contrast. I wanted to show the change from the real world to the girl's imagination

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in this show，everything not only represent the tradition of housekeeping in that time, but also show the anxiety of the older about the uncertain future. In Song Dong's narration, i learned that these things were saved one by one by his mother over the years ，because she had experienced poverty and war so had a deep respect for goods.

for her hoarding is not only a way of life, but also a culture memory

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撰文：林上童，劉競晨
翻譯：Trish Lyons
Written by : Lin Shangtong, Harry Liu
Translated by：Trish Lyons

攝影：劉競晨
Photography by：Harry Liu

Waste Not was the UK debut solo exhibition by Chinese artist, Song Dong that took place in the Curve in The Barbican Centre, London. The exhibition consisted of a single installation comprising over 10,000 commonplace, domestic items of daily life that had been used and amassed by the artist's mother (Zhao Xiangyuan) over fifty years. The shabby and sometimes thread bare items were arranged throughout the curved space of the gallery along the lines of a Chinese traditional garden with serpentine pathways and changes in scale serving to draw in the viewer, whilst re-casting the collective memory of an entire generation under Mao Tse-tung's reign.

Song Dong (b. 1966) started exhibiting in China, in the 1990s. His broad practice includes installation, performance, and new media with themes revolving around simple daily life. Song believes that art should not be treated as a commodity, but as an experience that integrates life and consciousness. Song's artworks revolve around different themes, but for the most part his work relates to his personal life experiences and emotions. One such noted work is 'Writing Diary with Water' (1995 - ongoing) where Song uses a calligraphy brush to write diary entries in water on a particular block of stone, when the water vaporizes, his diary disappears with it. The block of stone has become a part of Song's life, "although this block of stone does not weight much, to me, it is heavy." For the artist, art is neither mystical knowledge nor a virtuous career, but life itself.

At the entrance of Waste Not, an old calendar falls on the date 18th October 2002. This is the day that Song Dong's father died of a heart attack. Since then, the calendar from the family home has remained on this page. No one has torn off this page to reveal the next day. From this point on, Mrs Zhao Xiangyuan's behaviour suddenly and dramatically changed as she became locked in a self-enclosed world.

It was generally understood that Zhao Xiangyuan's sudden mental collapse was a response to her husband's sudden death. However, it transpires that the seeds were sown during her traumatic childhood. The grief for her husband simply triggered her symptoms.

Zhao Xiangyuan was born into a wealthy family in 1938. Her father was a Kuomintang officer who was awarded an honour in the War of Resistance for saving an underground member of the Communist Party in Chongqing. However, in 1953, Zhao's father was betrayed by a Kuomintang secret agent and the underground member he had saved refused to testify in court. Her father was sentenced to seven years imprisonment and after his release he worked in a button factory in Beijing until retirement. Tragically, shortly after his release from prison, in 1961, Zhao's mother died from cancer, which came as a tremendous blow to Zhao. This was followed by the Three Years of Great Chinese Famine in which the entire family became poor. This succession of sad events left an indelible shadow on Zhao's young mind. It was at this time, that Song Dong's father appeared, providing great comfort to his mother.

Thrift is a common virtue of Chinese people and became a means of survival and a way of life for most Chinese families of that era. For many years, Zhao Xiangyuan stored a large number of daily necessities. The installation Waste Not is not only a physical document of Zhao's life but also the portrait of a generation. During Song Dong's childhood, Zhao always bought bits of cloth so that she could make clothes. Purchasing bits of fabric cost less then clothing coupons that were rationed by the government and the panic of material scarcity led her to save lots of material. As long as the object could still be used, it was not to be thrown away. This mindset and humble lifestyle has had a psychological impact on future generations. The contrast between Zhao's generation and that of Song's could not be more severe. The survival instincts of a generation that had learned to save and not waste have been lost to the present generation where opulence and obsolescence thrives. China's economic rise in the global world and its shift in policy has unwittingly drawn a deep divide between two generations and the relationship between Song Dong and his parents was no exception to this.

From the time of the death of her husband, Zhao Xiangyuan began to keep obsolete objects and items. This grew to become a hoarding obsession. Inside the house, there was no space, and throwaway items were not discarded. Song Dong and his sister tried to organise all the items and even discarded some, which displeased their mother. With her husband gone, the empty room was unbearable. The items and detritus she collected formed new memories for her, filling the space around her as she hid in this cocooned private world, seeking an illusory safety and warmth.

In traditional Chinese culture, to respect one's parents' lifestyle is filial piety. Song Dong thought that as long as his mother was happy, she could do whatever she liked. Therefore, he adapted his own life and work, by sharing her life, her material items and adopting her philosophy on life. He also started to make work with the 'no waste' principle. Art as he had understood it up to this point, was no longer important, what mattered was drawing his mother out of her grief.

In 2005, Waste Not was exhibited at Beijing Tokyo Art projects, 798 Factory, Beijing. The work was divided into four major categories: something to wear, something to eat, somewhere to live and something to use. The installation allowed for a conversation around objects, memories and family ethics against the background of contemporary China.

The exhibition provided Zhao Xiangyuan a place to organize and recall her history and also became a reflection of today's consumerist society. Zhao was pushed into becoming an artist and Song Dong played a role as her son and assistant to help her organize and decorate her house. The mother and son started a new life together through the intercession of art.

Through the continuous process of packing and unpacking, arranging and displaying, organizing and reviewing each and every item and scrap that had been saved and hoarded the bond between mother and son grew stronger. The cracked values between generations had healed and Zhao Xiangyuan found a second life. Sadly, during the installation of Waste Not in MoMA, New York, Zhao died from a fall whilst trying to save a wounded bird. Thus her children, Song Dong and Song Hui became the custodians of the items, which have come to be a continuation of their mother's life and a tribute to her.

For those who had experienced the great change of China's reform and opening period, Song Dong's Waste Not elicited much sympathy. In the era of material scarcity, the Chinese planned economy was distributed equally in every Chinese family with each family owning the same items. The objects in the installation were familiar to everyone's childhood. Not only was the piece about the love between a mother and son, it referred to something greater that was deeply rooted in the collective memory of China.

此次在英國倫敦巴比肯藝術中心曲型空間舉辦的《物盡其用》展覽是中國觀念藝術家宋冬在英國舉辦的首次個人展覽，展覽展出了宋冬母親在50多年裡積攢的超過一萬件的日常生活用品或者說是生活垃圾，藝術家宋冬通過這些看似破舊和雜亂的物品為觀眾們重鑄了一代人的共同記憶，也表達了藝術家對於生活和藝術之間關係的理解和闡釋，此前《物盡其用》展覽曾經在中國北京、韓國光州雙年展、德國柏林世界文化宮、英國沃爾索新美術館、紐約現代美術館、溫哥華美術館巡迴展出。

與以往不同，由於巴比肯曲型空間展廳的特殊空間結構，使得宋冬打破了以往平鋪直敘使作品的陳列方式，為了使觀眾能在展覽中更充分的體驗藝術家設置的線索和體驗，宋冬採用了中國傳統園林的佈局方式，使觀者遊走於作品之中同時能近距離的與作品產生共鳴，做到錯落有致，一步一景。正如策展人凱特布希所說：" 物盡其用所展出的是中國大變革時期的肖像照，是一部中國巨大變革之中的活生生的歷史記憶。"
藝術家宋冬
宋冬是中國90年代以來重要的觀念藝術家，他的作品形式非常多樣，包括裝置，行為，新媒體等眾多媒介，但其作品的主要觀念都是圍繞着關於生活和生命這樣既簡單又宏大的命題，對於宋冬來說，真正的藝術不應該是放在畫廊裡被出售的，而應該是融入到生命和意識當中的一種體驗和生活狀態，在他看來"生活就是藝術，藝術就是生活"。 宋冬的藝術作品形式各異，但很多重要作品都與其生活經歷和情感息息相關，而這些藝術創作也使得他不斷地對生活和藝術產生新的認識，從而這些藝術創作慢慢融入了他的生活成為他生活和藝術的組成部分，比如宋冬從上世紀90年代開始的《水寫日記》，他每日把日記用毛筆和清水寫在一塊石頭上面，然後水慢慢蒸發散去，所寫所記便慢慢逝去，周而複始，每日如斯。宋冬最初以為這只是一個藝術作品，表達了他對於日常生活"不做白不做，作了也白做，白做也得做"一種態度，但隨着作品的延續，那塊天天承載他隱形日記的石頭卻成為了他生活和生命的一個部分，他說："也許這塊石重量不大，但對我來說，它卻很沉很沉。"由於宋冬對於當下社會的和生活的關注，使得他的作品當中充滿了平淡和樸實的智慧，在他作品當中沒有什麼高科技，他總是從一個平凡的人的角度出來用他的智慧發聲，對他來說，藝術並不是什麼高深莫測的學問，或者是驚天動地的偉業，只不過是生活。

我 一直在背後看著他：就像無色無味無形的水一樣，流動在空間中，隱現在人群裡。許多人都知道，宋冬常年以水在石上寫日記，水痕干時，文字消失。而在我眼裡， 那天，巴比肯就是一塊巨大的石頭，宋冬本人是水，"物盡其用"則是他的筆，三者不分彼此，共同寫下一段歷史。完成了一個新的循環。這樣的循環，過去曾有， 未來還會有。
而到最後，筆會徹底忘記自己寫過些什麼，水再次回到空氣裡，石頭重新進入大自然的懷抱......於是，言語死亡，秘密再生。
在倫敦巴比肯中心開展當日，各方記者走馬燈般地來了又去，排着隊採訪《物盡其用》的創作者--中國當代藝術家宋冬。而宋冬始終微笑着耐心回答每個人的問題。他的生活語言和他的藝術語言一樣真誠樸素，卻包含着驚人的真相和巨大的力量。

"物盡其用"展覽在英國藝術界和媒體圈引起轟動。更有無數普通觀眾在《物盡其用》面前默默地徜徉，好像突然見到過世已久的朋友或親人。這件如此不加雕飾、如此具有文化和歷史特殊性的作品，直截了當地觸動了成千上萬陌生人的心。
《物盡其用》之前的展出，都是在開闊性空間中，一萬多件"破爛兒"依次鋪排，一覽無遺。這回巴比肯的曲形空間，延展前進，人站在任何一個點上，都只能看 到整個空間的一小部分。這給了宋冬一個挑戰。他最後借用了中國古典園林"一步一景"的理念，將展品分類，依次擺放。踏進巴比肯曲形空間展廳的入口，映入眼 簾的是化石般的洗衣皂、中西藥盒、舊桌椅等；然後是堆積如山的瓶瓶罐罐鍋碗瓢盆乃至塑料快餐盒；再往前走，是高高疊起來的包裝紙箱，宋冬將展品從中取出後，將空盒子就地堆砌得高矮參差，權作假山，起到視覺隔斷的作用；"假山"後，是多年前孩子們丟棄的玩具；曲形空間的中段，矗立着一座約五六米高的建築構架，是用北京胡同裡宋冬老房子拆下的木頭和玻璃搭成的，其下的地上，鋪排着各種型號和品牌的礦泉水瓶子、空油瓶；而展覽的最後一景，則是由鞋子、布料、被裡、棉絮等組成的。
絡繹不絶的觀眾走進這個由一萬多件老舊生活物品組成的特殊"園林"，在其中徜徉、拍照、沉思、回憶。一場多層次的無聲對話，在白色的曲形空間裡交錯起伏。

這場對話，存在於人與人，物與物，記憶與遺忘，消費與節儉，毀滅與治癒，文革與改革，東方與西方，時代與時代之間......

爸，別擔心！我們和媽都挺好的。

"物盡其用"展覽入口處，一本舊日曆上顯示的日期是2002年10月18日......

2002年，宋冬的父親突發心肌梗塞，在短短的幾分鐘後永遠地離開了家人。一家人陷入了極度的痛苦之中。2002年10月18日，是宋冬的父親下葬的日子。從此以後，宋家的這本日曆，就永遠停留在了這一頁，再沒有人去撕下它。這一天，痛苦就像一把帶電的刀直刺他們的心臟，並長久地滯留其中，整個家庭陷入巨大的悲痛中不能自拔。尤其是宋冬的母親趙湘源女士，走進了一個自我的封閉世界，整個人的精神和行為，突然發生了巨大變化。
趙 湘源精神上的崩潰，就像她丈夫的身體崩潰一樣，看似突然。事實上，那根崩潰的尖刺，早在經年前就種下了，在我們的內部，以物理或者精神的方式，不動聲色、 不可迴轉地生長着。直到某一個時刻，這哀傷和絶望的尖刺，終於頂破了血肉肌膚，刺穿了我們看似完好的表皮，赤裸裸地曝露在空氣裡......
趙湘源1938年出生於一個富裕家庭，父親是國民黨軍官，在抗戰中立過功，曾救過共產黨重慶地下黨成員。1953年她的父親被冤枉成國民黨軍統特務。而被他救過的地下黨，為了明哲保身，一直拒絶出庭作證。他被判刑七年，出獄後在北京紐扣廠當工人，直至退休。在他出獄後不久，趙湘源的母親又因癌症在1961年去世，這給了趙湘源巨大的打擊。時至著名的三年自然災害，整個家庭日益走向貧寒。也許正是這樣的生活反差和歷史造成的家庭悲劇，在她幼小的心靈裡留下不可磨滅的陰影。此時，宋冬的父親出現在了趙湘源的生活中，給了她很大幫助，她悲痛欲碎的心得到了極大安慰。
節儉是中國人的美德，更是那個時代絶大多數中國家庭的生存之道，不然如何活下去？多 年來趙湘源存儲了大量的生活用品。"物盡其用"是她的生活準則，也是中國一代人的寫照。宋冬小的時候，趙湘源總是買布頭拼湊起來做衣服，因為布頭可以不用 政府配給的有限的布票。由於對物質匱乏的恐慌，導致她攢了很多布頭，導致了這樣一種生活方式，只要是可以存得住的東西都不許扔，物盡其用的思維和生活方式 成了慣性，但當物質豐富時這種慣性又成了生活的累贅。生活的巨變似乎是在瞬間完成的，空間被這些等待"物盡其用"的物質所佔據。物質匱乏的恐慌，對於下一 代來說，成了無用物質堆積的焦慮。這種生活觀念導致了像宋冬這樣的下一代與父母之間的深深鴻溝。
丈夫去世後，趙湘源變得固執而封閉，她將多年來收集的舊物鋪滿在桌上，地上。屋裡幾乎沒有插腳的地方。宋冬和姐姐幾次整理空間並扔掉一些東西，卻引起她的不快。丈夫走了，屋子空了，她的心裡也空了，她用飽含着多年生活記憶的舊物，填滿身邊的空間，躲在這個蠶繭一般的私人世界裡，從中尋求着虛幻的安全與溫暖。
順者為孝，宋冬認為只要母親高興，便順她而去，但仍然讓母親吃好穿好住好。所以他轉換了一個方式，展示她的生活，她的物質，她的生活哲學，並與她共同使用"物盡其用"原則開始做"藝術"。其實藝術在這裡已經不重要，重要的是能將母親從她封閉的悲痛中帶出來，哪怕是給她這個封閉的空間一點縫隙。
2005年，他們的作品"物盡其用"在北京展出，分為"衣食住用"四大類，期待將物件、記憶和家庭倫理放置到當代中國的大背景當中進行討論。
這 些可能這輩子都用不上的物，終於都用上了。她很高興，對兒子說：留着有用吧。展示只是看得見的一部分，重要的是在展覽為趙湘源提供了一個場所，一個整理和 回憶她的歷史的場所，也是對今天以物質為基礎的社會的反思。趙湘源在這裡被推到一個藝術家的位置，而宋冬以她的兒子和助手的雙重身份，幫她整理，幫她裝修 她的房子，使她生活得快樂。母子倆共同以藝術為媒介，共同開始新的生活。
意料之外的事情發生了： 這堆中國老百姓的"破爛兒"一發而不可收拾，變成了一次巡迴世界的盛大展覽。
它先是獲得了韓國光州雙年展大獎，又成為了現身當代藝術聖地紐約MOMA的第一件大型中國當代藝術作品。
在德國，在美國，在英國，在韓國，無數觀眾在《物盡其用》面前默默地流下了眼淚，好像突然見到過世已久的朋友或親人。
一位普通的觀眾觀後想起了自己的母親："我覺得自己突然能理解她了。當母親忍痛放棄一捆捆破布頭的時候，心情和戰亂中的李清照丟失一車車金石圖籍沒有兩樣。"瑣碎的日常廢物和巨大的紀念碑性被結合在一起，模糊了現實生活和觀念藝術的邊界。
這件如此不加雕飾、如此具有文化和歷史特殊性的作品，直截了當地觸動了成千上萬陌生人的心。
另一方面，在趙湘源一家對這些物品進行持續整理與回顧的過程中，他們之間的親情不斷昇華，兩代人間本已近破裂的價值觀念得到了分享與彌補，笑容重新回到了趙湘源的臉上。她說自己找到了第二次生命......
幸福不久長。在"物盡其用"的展覽期間中，善良的趙湘源因為試圖去救樹上一隻受傷的鳥而跌倒，鳥被聞訊趕來的家人們救活了，趙湘源卻不幸故去。
這樣，她的孩子宋冬和宋慧成為了這些東西永遠的保管者，它們成為了母親生命的承載物和回憶她的媒介。
這次在倫敦巴比肯的展覽，展示的是趙湘源收藏的"物盡其用"的物，展覽也包括看不見的部分--趙湘源的家。展覽同時也是給宋冬在天上的父親的。

巴比肯藝術中心門前安裝的霓虹燈寫着："爸，別擔心！我們和媽都挺好的。"
離開倫敦的前一晚，宋冬在巴比肯門前的寒風中，反覆拍攝着這一行字。

對於經歷過中國改革開放大變革時期的人來說，宋冬的物盡其用非常能夠獲得觀者的共鳴，在那個物質匱乏的年代，計劃經濟餘溫未散之季，中國人家庭都有着同樣的經歷，甚至在展覽中展出的許多物件兒都曾經存在於當時每個人的生命力，也正是如此，宋冬的這件作品才在很大程度上更易於被理解。而且在闡釋作品形成過程的時候，這種深植於中國文化的深沉的母子之情和看似"儲物癖"病態的表象之下，是中國人傳統文化和哲學觀念的反應。

此次在倫敦展出，由於觀者和藝術家之間存在的文化差異和知識結構的不同，導致了很多來自西方的觀眾對於作品的理解存在"必要的"誤讀。因為二戰後英國也經歷過物資匱乏的時期，從這個層面上來說，倫敦的觀眾比較容易理解對於囤積物品的必要性，但從藝術家母親的行為出發，實際上是存在一種病態的對囤積物品的強迫症，而且對於所陳列的物品來說，由於沒有共同記憶和上下文關係，也很難使得倫敦的觀眾很容易就能體會到作品中蘊含的含蓄的母子之間深情的理解和關愛。

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撰文：林上童，劉競晨 翻譯：Trish Lyons Written by : Lin Shangtong, Harry Liu Translated by：Trish Lyons 攝影：劉競晨 Photography by：Harry Liu Waste Not was the UK debut solo exhibition by Chinese artist, Song Dong that took place in the Curve in The Barbican Centre, London. The exhibition consisted of a single installation comprising over 10,000 commonplace, domestic items of ...

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During the spring break, I went back home to visit my grandmother. She still responded to me enthusiastically, but her room was still very messy as always. I tried to interview her (in a roundabout way, because she would get angry if I said it directly) and I got some conclusions.

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1. Due to her early experiences, when my grandmother was young, China was experiencing a war and there was a shortage of supplies, so she developed the habit of thrift and hoarding supplies. This habit made her hoard a lot of food in the refrigerator. When I was in elementary school, there were even some wartime foods at home, such as compressed biscuits, but I ate them all in the end.

2. My grandmother is a strong person. When we offer to help her clean up, she gets angry. She considers herself a thrifty person and thinks throwing things away is a waste. When we try to clean up, she feels that her territory is being invaded.

3.The pressure and insecurity of not being able to control one's own life has, to some extent, promoted the idea of ​​piling up things one is used to and likes to build a "pillow castle" to give oneself a sense of security.

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Hoarding is a symptom that makes it hard to get rid of items to the point that it affects a person’s ability to use their home or work areas.

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Emotional Attachment and Hoarding:
The book points out that hoarders often form strong emotional attachments to objects — even items others might see as trash. This emotional significance makes it extremely difficult for them to part with possessions.

Cognitive Challenges:
Hoarders often struggle with organizing, categorizing, and evaluating the usefulness or value of items. This may stem from underlying difficulties in information processing.

The book mainly talks about the causes of hoarding and different cases. For example, someone hoarded instruction manuals from decades ago because he thought they would be useful one day. I think this is also a sense of crisis to a certain extent, but thinking too much about the crisis will ignore the current environment.

I think one point mentioned in the book is very interesting. When it comes to treatment, it says that because society has a great prejudice against hoarders, they think they are sloppy and weird, so some patients are unwilling to cooperate with active treatment. This made me realize that people's overall impression of hoarding is not good, so I decided to interview my neighbors about their views on hoarding.

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·Strong desire to own things and emotional attachment to them

·Refusing to clean up or throw away even garbage or useless things

·Messy living environment that often affects the normal use of the kitchen, bedroom, and bathroom

·Tensions in family relationships and social avoidance

· accumulation of items Emotional distress, such as anxiety, shame, or depression

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There are many different types of hoarding disorder. Some people only hoard specific things, such as clothes, food, utensils, etc., while others hoard everything. However, the common feature is that it is difficult for them to discard things.

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Hoarders: BURIED in Clutter - Extreme Hoarding in Michigan *Compilation* | A&E

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There is an interesting point in this book. The author believes that the expansion of diseases in DSM-5 has led to many normal emotions and behaviors being classified as mental illnesses. This trend has led to the so-called "diagnostic inflation", which has caused a large number of originally healthy people to be labeled as "patients".

Hoarding disorder is a type of mental illness, but there is no clear standard to say what degree is hoarding disorder rather than just hoarding . In our daily life, many people have symptoms of hoarding, and this situation that is classified as a disease will make some people resist and unwilling to change.

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Specialist advice for people affected by hoarding behaviours, chronic disorganisation and extreme clutter

We help and support people who are affected not only by hoarding and clutter but also chronic disorganisation. We work with the team around the person to create person-centre approaches to support the wellbeing of the individuals impacted by their environment and the wider community. We understand that hoarding is a very complex issue and each case is unique.

Our approach is non-judgemental, and trauma informed. Our priority is to focus on improving people's health, safety and wellness. We help empower individuals to make positive changes to their lives.

Training Get Support

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Based in West Berkshire, Hoarding Disorders UK - Community Interest Company was set up by Jo Cooke and Amanda Peet. MISSION STATEMENT Company Number: 8835291 Hoarding Disorders UK is a not for profit Community Interest Company. Our aim is to provide practical hands on support as well as expert advice to those affected by the varying [...]

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In our community, my grandmother is not the only one who likes to hoard things. There are other elderly people who have the same problem.

1.An elderly man who lives alone and likes to collect cardboard and discarded mineral water bottles often rummages through trash cans in the community and collects them to exchange for money, but in fact he is not poor.

2.An old lady who lives alone and likes to rescue stray cats. She loves shopping very much. She watches live broadcasts and buys things on Tik Tok and various shopping platforms every day. Her house is full of things and she can hardly walk. The community management has talked to her family, but her family can't control her and thinks that the old lady can do whatever she wants.

I tried to visit them. The first old man refused my visit. The second old man talked to me outdoors and did not invite me to her home. During the conversation, I felt that there were always one or two things about them that were mentioned in the previous book, thesis and documentary.

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Because I thought I could try to use complicated patterns to replace the feeling of hoarding a lot of things, so I went to Waterstone to find some books about patterns, and thought about whether I could learn and try to design some patterns to add to my animation

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I decided to incorporate my own experiences and design myself as a little girl, unfolding the relevant adventures from her perspective.

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I designed a story line, telling a small adventure from the perspective of a little girl. I added some factors of neighbors' dissatisfaction with the protagonist's hoarding, and the beginning started with the prejudice of the small town residents. The little girl played a neutral and key role to visit the old man, but I modified the ending. The ending of the current version of the story sounds more like some kind of forced treatment, so I modified this part next.

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I tried to use real-life shooting to create camera movements by pulling the lens, but the effect was not very good without professional equipment, and this could only achieve the sense of the lens but not the effect of animation, so I did not choose this method.

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Hoarding Disorder is a kind of mental health problem. Many people simply regard it as "lazy", or "selfish", there are the complex psychological problem behind it. This make the patient's hind their willingness to seek help.

hoarding is often appear with psychological problems such as anxiety and stress disorder. We need to look at hoarding patients with more understanding not a simple lifestyle problem.

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Hoarder brother, how to help him clear place. – Hoarding Support

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I also interviewed their neighbors. Most of them feel helpless about the elder who liked to collect waste. Some people were willing to give their waste paper boxes to the elder when he wanted them, while others prefer avoided him. The neighbors living above and below old lady were very worried that if there have a fire she put so many things , the residents above and below would also suffer. They were more disgusted with this matter.

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I tried to use the Phenakistoscope drawing technique to draw animated animations, but compared to drawing on paper, I used software to draw different characters on the same line. This is a very good experiment and I will consider using it in final.

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Free Produntion Music,Free Stock Music and Free Download!It’s MusMus.

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Firat, I planned to create an art therapy project to help individuals with hoarding disorder express their feelings and heal through creative activities. Art therapy can be a powerful tool for emotional expression and personal growth.

However, after research I realized that many people misunderstand hoarding disorder.

I noticed that this misunderstanding leads to stigma and shame, making it harder for those affected to seek help.Therefore, I decided to shift my project's focus to creating an animation that highlights and challenges the common prejudices against hoarding disorder.

For me, animation can better express the subject of my project. I want to use not only colors but also music and movement to show vitality and contrast.

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This is an animated film about the naughty little Nicolas that was exhibited in 2022. I have always liked this little French fairy tale very much, especially the drawing style in it, which uses simple images to show a kind of childlike innocence. Maybe I can also try to use the feeling of children's painting to make animations in the next story design

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Little Nicholas: Happy as Can Be - Wikipedia

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Little Nicholas: Happy As Can Be (French: Le Petit Nicolas : Qu’est-ce qu’on attend pour être heureux ?) is a 2022 French animated comedy film directed by Amandine Fredon and Benjamin Massoubre.[1] The film portrays the story of René Goscinny and Jean-Jacques Sempé as they create the influential Le Petit Nicolas series of illustrated children’s books, blending both scenes that directly adapt vignettes from the books and scenes that depict the real world creation of the books including Goscinny and Sempé interacting with and talking to Nicholas directly.[2]

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After researching, I realized that when I was a kid, I really liked my grandma's room because it brought me so many surprises. But in real life, adults think it's a very annoying thing and it invades their living space. It can even be said that if they are in cartoons, such people will appear as villains because their lifestyle is different from others. So I thought about whether I could make an animation to draw what my grandma's room looked like to me from my perspective as a kid. I also want to try to explore the causes of hoarding so that people can better understand this kind of people.

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I realized that people who like to hoard things have certain similarities. They are all people with a strong sense of boundaries, are relatively closed, and have a certain sense of loneliness. They are people who are left behind by the times.

They give me a gray feeling, maybe they won’t show it, or even realize it.

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Explore this post and more from the hoarding community

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This is an interesting show. Many of the guests in it actually have some hoarding habits. However, the people in it are actively seeking change, which is different from many hoarding disorders.

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Tidying Up with Marie Kondo | Official Trailer [HD] | Netflix

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I also modified the prince: the little girl's doll thought the little girl would not do it anymore, so she went to the old lady's castle. This was the old lady's magic, but the reality was that the old lady was reluctant to discard the doll and put her own doll away. This prince and little girl are very simple. Going to the castle out of curiosity can better show that the old lady is a hoarder.

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I realized a few problems.

1. the beginning and the ending needed to be changed. It needed to show that the grandma was a hoarder who was unwilling to throw away useless things, rather than someone who was really unwilling to clean up. I decided to change the ending to a gradual escalation of the conflict with the town. When the little girl went back to look for the grandma, he had disappeared along with the house.

2. I need to reflect the loneliness of the grandma, so I need to change the color and sound to make the front and back (inside and outside the castle) different. I think about changing the color of the castle to black and white to reflect the loneliness of the old man. For the sound, I consider using natural sound and silence to set off the atmosphere of the front and back.

3. The character design needs more work, and because of the changes in time, I'd better simplify the little girl to reflect a neutral and weakened role, mainly enriching the image of the grandma, because the old man is the main body of this story.

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I have lived with my grandmother since I was a child, and my grandmother has a serious hoarding habit. Therefore, although we have a harmonious relationship, every time my grandmother wants to pile things in the living room, my mother will quarrel with her about this matter. She thinks that it doesn’t matter if it is in your own room, but you can’t occupy the public space. But when I was young, I couldn’t understand why at all. I just thought that my grandmother’s room was very mysterious. I didn’t know what was hidden in it. It was a place of treasures.

This is an irreconcilable contradiction in my family. My grandmother likes to hoard things, so over time, it will spread to other rooms. Now I am in the UK, so I heard from my mother that my bed in my room in China has been slowed down by my grandmother's things and turned into a temporary storage room. When my mother wants to throw things away, she will be angry, thinking that things are thrown away without her consent, but if she is really allowed to choose whether to throw away or not, there will be no end to the things. She likes to hoard more food, cloth and utensils, unlike some overly serious hoarders whose homes are full of garbage, so we did not interfere too much with her hoarding habit.

In the last project, I want to start with my own story to explore the world of hoarding.

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I designed this old lady character basically based on the image of my grandmother. On the basis of the previous design, I covered her with a quilt to reflect her closed personality.

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I tried to draw some animations using sketching. I thought that since I was drawing from the perspective of a little girl, I could draw the animation in the form of a little girl’s diary, just like I did in my previous research.

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I chose some directions to draw in the animation, and finally drew the main contradictions in the previous sketch as representatives, one is food, one is cloth, and one is utensils. I also added a rag doll to echo the little girl's cat doll.

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Reference list

A&E (2025). Hoarders: BURIED in Clutter - Extreme Hoarding in Michigan Compilation | A&E. [online] YouTube. Available at: https://www.youtube.com/watch?v=ZdKry0g9B7k.

American Psychiatric Association (2024). What Is Hoarding Disorder? [online] Psychiatry.org. Available at: https://www.psychiatry.org/patients-families/hoarding-disorder/what-is-hoarding-disorder.

ART.ZIP. (2012). 宋冬：物盡其用 Song Dong: Waste Not. [online] Available at: https://www.artzip.org/song-dong-waste-not.

Frances, A. (2013). Saving normal : an insider’s revolt against out-of-control psychiatric diagnosis, DSM-5, big pharma, and the medicalization of ordinary life. New York: William Morrow.

Frost, R.O. and Steketee, G. (2011). Stuff : compulsive hoarding and the meaning of things. Boston: Mariner Books.

Hoarding Disorders UK. (n.d.). Home. [online] Available at: https://hoardingdisordersuk.org/.

Hoarding.support. (2015). Hoarder brother, how to help him clear place. – Hoarding Support. [online] Available at: https://hoarding.support/forums/topic/hoarder-brother-how-to-help-him-clear-place/ [Accessed 22 May 2025].

Mayer, J., Conover, T., Tagliaferro, L. and Sartori, S. (2019). 500 Patterns. London: Laurence King Publishing Ltd.

Netflix (2018). Tidying Up with Marie Kondo | Official Trailer [HD] | Netflix. YouTube. Available at: https://www.youtube.com/watch?v=WvyeapVBLWY.

Verywell Mind. (n.d.). Hoarding Disorder: Get the Facts. [online] Available at: https://www.verywellmind.com/what-is-hoarding-disorder-2510602.

Wikipedia Contributors (2019). Mary and Max. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Mary_and_Max.

Wikipedia Contributors (2020). Howl’s Moving Castle (film). [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Howl%27s_Moving_Castle_(film).

Wikipedia Contributors (2025). Little Nicholas: Happy as Can Be. Wikipedia.

Wikipedia. (2023). Hoarding disorder. [online] Available at: https://en.wikipedia.org/wiki/Hoarding_disorder.

Xiaohongshu.com. (2024). 蔡山海 - 小红书. [online] Available at: https://www.xiaohongshu.com/user/profile/5c4c5d83000000001200f362?xsec_token=YB6pqMNaDSEmuvqEjanPezYAncRDDATiYugeXrrl9xw64=&xsec_source=app_share&xhsshare=CopyLink&appuid=5dd948ba0000000001008f73&apptime=1747891423&share_id=8cc939fa5cb74544be8573bed30e79f0 [Accessed 22 May 2025].