Tenth Screening Room Hayao Miyazaki Commentary?

The Tenth Screening Room narrates Hayao Miyazaki

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Ten years ago, Hayao Miyazaki was still a relatively unfamiliar name to Chinese viewers, although most kids had already watched his popular animated TV movie "Three Thousand Miles to Find My Mother". However, by the time the master's work really caught the interest of Chinese audiences, it was already in 1997 when the animated film "The Phantom Princess" became a hit in Asia. Since then, Hayao Miyazaki and the Studio Ghibli, with which he is almost equated, have slowly become popular in China, and his works are enjoyed by adults, children, the most demanding critics, and animation technology fanatics. If we ask carefully why they are fond of Miyazaki and Ghibli, most of them will get a similar answer, the ideas in Miyazaki's works, is a consistent dialectical development of his world view, life, history and art, has a clear vein, and ultimately, all for the construction of that complete Miyazaki's world and work hard.

January 5, 1941, Hayao Miyazaki was born in Tokyo, the second in the four brothers, in 1958, the first full-length color film animation in the history of Japanese cinema, "The Legend of the White Snake" was released, or a high school senior, Hayao Miyazaki, obsessed with the film, he originally liked the manga, began to take an interest in animation. After graduating from high school, Miyazaki enrolled in Tokyo Gakushuin University, majoring in political economy. In 1963, Miyazaki graduated from the university and entered Toei Animation, where some of the plans he put forward at the time were often not adopted, but Miyazaki still persisted in his ideals.

In 1964, Hayao Miyazaki met one of the most important collaborators in his life, Takahata. In 1965, he volunteered to help Takahata's production team of Prince of the Sun as a scene designer and original artist, which was the beginning of the collaboration between the two of them, and the first step of Miyazaki's creation of his dream world. In Miyazaki's works, there are many similar characters and personalities, most of the main characters are female, accompanied by innocent boys, who always appear at the right time to protect the female protagonist, and their personalities are cheerful, full of enthusiasm and knowledgeable. In addition to this, the love of animals, the obsession with flying, and the infinite identification with robots and elves all appear frequently in Miyazaki's world. The natural continuation of the characters is the overall tone of these works, and Miyazaki perfectly grasps the balance between reality and imagination. His world may not be the best or the most realistic, but it is by far the most mature and complete. Miyazaki is another legend in the Japanese animation industry since Tezuka Buguji, both as a thinker who raised animation to the heights of humanity, and as a spiritual pillar who has carried on the work of three generations of Japanese animation.

Miyazaki, while breaking the shadow of Tezuka's giant, also contributed greatly to the internationalization of Japanese animation. Whether it was his early works during the Toei Animation period or his later films after the formation of Studio Ghibli, Miyazaki has always been a dreamy realist, obsessively and ceaselessly building his world.

(1982 is an important year in the hearts of Miyazaki fans. The manga "Kaze no Kani" was serialized in Tokuma Shoten's magazine until 1994, and this seven-volume manga, which ran for 12 years, not only contained epic chapters, a quest that spanned life and death, and deep philosophical reflections on mankind and nature, but was also the culmination of Miyazaki's longstanding reflections on his own environmental protection and humanism. It was also in 1982 that Miyazaki met with another person who influenced his life, that is the famous Tokuma Yasuko. As the president of Tokuma Shoten, the largest distribution group in Japan, he was keenly aware of Miyazaki's talent and sponsored Miyazaki and Takahata to start a studio.In 1983, the planning of the animated version of "Valley of the Wind" directed by Hayao Miyazaki began, with Takahata serving as the producer.The theatrical animation of "Valley of the Wind" was released in March of 1984, and the film concentrates on many of Miyazaki's characteristics of animation production, with beautiful and delicate images, Colorful characters, humorous dialogue, and a positive spirit, all of which made Miyazaki famous as a national animator for young and old alike.)

Departure!

The Origins of "Valley of the Wind" and the Godfather of Environmentalism

Valley of the Wind is set in a futuristic world, where a once-thriving human civilization has collapsed since the Great War of the Seven Suns of Fire took place. A thousand years later, the few remaining humans are about to be conquered by the vast forested Rotting Sea inhabited by bugs. At the corner of the Rotting Sea, there is a kingdom called the Valley of the Winds, which protects its people by warding off bugs with the sea breeze. Nausicaa is the daughter of the chief of this valley, who flies like a bird on a glider, and is a girl who can communicate with the king bugs that everyone fears with her heart, and is full of incredible affinity. Nausicaa was the name of a Pythagian princess in Homer's Odyssey, who, legend has it, never married, but traveled from court to court, constantly chanting tales of Odysseus and his voyages, becoming the first female troubadour. Miyazaki became completely enamored with the character after reading about her early on in Barnard Ewersling's book The Trivia Code of Greek Mythology. The script of the movie "Valley of the Wind", originated from the first third of the manga, in which the relationship between people and people, people and creatures became the core of the conflict of the whole drama, the heroine Nausicaa, in these relationships around, struggling to deduce a brave, careful and resilient female figure. And Miyazaki Hayao's rich imagination constructed a world completely different from the reality ---- yellow sand everywhere, strange plants, insects, and instead of horses used bird horse, seaplanes, blimps and so on. Completely a real mirror image of the world after the end of the world. From valleys to villages, from beasts to plants, all the details seem to hold the heart of Miyazaki Hayao's fable. However, in the midst of so many amazing things, most viewers still have the hardest time forgetting the little girl who can harness the wind and drive. Nausicaa's image has been ranked as the most popular heroine in Japan for ten consecutive years, and she is the most perfect woman in Miyazaki's writing, which lies in the fact that she demonstrates a convincing strength and a strange spirituality. She is sensitive like an elf who opens the cells of her body to receive signals from the outside world, like a medium who wanders between humans, beasts, plants and nature. Whereas in real life people's communication is so fragile and flat, and language is almost an impotent tool, Nausicaa's spirituality is completely three-dimensional; at a time when people thought it was impossible to communicate with bugs, when man and bugs hated each other, and never wanted to be able to **** together to survive, Nausicaa was the only one who thought of going to talk to bugs. He believed that bugs were just sensitive enough to want to protect themselves, and that they didn't want to start a war. Yet to the outside world, Nausicaa still felt powerless; there was anger and hostility all around, poisonous gases were spreading to her homeworld, people and bugs fought for survival territories, and people were filled with endless aggression against each other. The ambitious Dorumecians, in their quest to conquer the world once and for all, have unearthed the ultimate weapon of Pejit territory, a massive robot left over from a prehistoric civilization, the Giant God Soldier. And in order to take revenge, the unwilling Peijit people use the little king bugs as bait to lure the king bugs to destroy the Dorumecians occupying the Valley of the Winds. Faced with war and hostility, and in the face of the crazy king bugs, Nausicaa bravely assumes the responsibility of defending her homeland. At the end of the movie, Hayao Miyazaki gives a mythological ending, where the girl is brought back from the dead, confirming the long-held legend ---- that one day, a valiant warrior in green will descend from the sky and stand on the golden grassland, ending all the fighting and suffering and leading the people to live a peaceful and happy life from now on. Although this is a somewhat eclectic ending, Miyazaki's ideas about mankind, nature, and war are also presented in such a way that he is regarded as the godfather of environmentalists. When he was a student, he specialized in political economy, and participated in the struggle against the Japan-US security treaty, Miyazaki always maintained a strong social consciousness and humanistic concern, and the nuclear weapons race triggered by the post-war Cold War between the East and the West further deepened his concern and worry for the survival of human beings. Therefore, the destruction of human civilization, regeneration and human and nature **** survival of human society in the 20th century burdened with a variety of heavy issues, are intertwined in his creations, to his film infused with the depth of thought and humanistic thinking different from other shallow entertainment animated films. After the success of "Valley of the Wind", in 1985, Miyazaki and Takahata established Studio Ghibli with funding from Tokuma Shoten, and devoted themselves to the production of theatrical animation feature films, and the world of Miyazaki took shape as a result.

The name "Ghibli" originally meant the hot wind blowing in the Sahara Desert, and during World War II, Italian air force pilots named their reconnaissance planes Ghibli, and Miyazaki, who was a flying machine fanatic, naturally knew about this and decided to use Ghibli as the name of their studio. The Valley of the Wind was a huge success after its release in 1984. So, with the support of Tokuma Shoten, Studio Ghibli was established in 1985. In the same year, Ghibli began production on Castle in the Sky, and since then, Studio Ghibli has been a studio specializing in animation for Hayao Miyazaki and Takahata. Studio Ghibli is a rather special group, both in Japan and internationally. As a rule, Studio Ghibli only produces animation adapted from original works for theatrical release, and because it never aims to make a profit, and because it hates the shoddy animated feature-length dramas that were popular at the time, no one thought that Studio Ghibli would be able to survive, not even the two founders. Yet the stubborn Desert Hot Air made history, slowly building a sense of honor and conscience in the animation world with its very existence.

Forward!

"Castle in the Sky" and the obsession with flying

"Castle in the Sky" was adapted from the novel "Gulliver's Travels" written by Swift, and it was the opening work of Studio Ghibli. Hayao Miyazaki took on the four important roles of the original writer, the supervisor, the script, and the character setting all by himself, which made it a pure Miyazaki concept from the beginning to the end of the work, and Hayao Miyazaki's musical partner, Jean Hisaishi, also reached this time the the pinnacle of his soundtrack career. The movie is set in the fantasy continent of Europe. In a gold mine, the legend of Laputa, the city in the sky of the ideal world, is circulating, which is said to possess endless treasures and the strange ability to control the world, and Paso, a boy who lives in the mine, is convinced of this legend, because his father has once taken a picture of the city in the sky. One day Paso saves a girl, Hidayat, who slowly floats down from the sky. The flying stone necklace she wears around her neck attracts troops and pirates, and it turns out that Hidayat is the child from the City in the Sky, and that flying stone represents the only clue to the prehistoric civilization of Laputa. The movie "Castle in the sky" everywhere embodies Miyazaki's obsession with flying, because his father used to work as a supervisor in a factory manufacturing airplanes, Miyazaki has been interested in flying machines and other things since he was a child. In "Castle in the sky", although the heroine Hida's flight mode is a standard Japanese magic flight, but the whole film is still full of Hayao Miyazaki's world, the most wonderful and gorgeous flying machine, when those have a medieval color, full of small windmills of the huge flying ship appeared, the film opened the Miyazaki world of that belongs to the sky of the magnificent prologue. In the movie there is a group of smell sensitive pirates, the leader is a greedy old woman, pirates in order to seize the flight stone, or chase Paso and Hidayat, on the way to the army and intervene, and finally they are in full view of the public, fell into the 10,000-foot-deep mine, Hidayat wearing the sky stone once again glowing, so that the two people float down peacefully. But soon Hidayda is captured by the army men and taken to the fortress, and Paso is also taken away by the pirate granny, but in the chaos, Paso impresses the money-loving granny with her sincerity and convinces her to let herself be part of the search for Hidayda. The granny's plan goes off without a hitch, however, in her haste, Sheeta loses the Sky Stone and is found by a soldier named Muska, who has been coveting Laputa for a long time, and orders his troops to fly to the Sky City, following the guidance of the holy light on the stone. On the other hand, the Pirate Granny figured out the direction of Laputa from Hidayat's account, Hidayat and Paso started full speed ahead in their glider, and when they were about to reach it, suddenly a tornado appeared in front of them, and Paso and Hidayat bravely flew into it. Here is abandoned by God's domain, natural horror and the wrath of the gods gathered here, flying over the thick darkness, in the vertical and horizontal whistling of electricity, teenagers and young girls through the corridors of lightning, breaking through the boundaries of life and death, and once again opened the door of destiny, it turns out that the center of the tornado, is the legendary city of the sky, Laputa. The utopias created by technology abound in Hayao Miyazaki's works, and Laputa is a silent paradise, an aerial metropolis manned only by robots, home to plants and ancient creatures. The setting of the movie City in the Sky is built in the hustle and bustle of an imaginary industrial society. For the family of the pirate granny, the word greed is as much a natural part of their nature as their frank loveliness, and Paso, a boy from the mines, has been accustomed to the existing way of life. However, when he meets Hidayat and comes to the city in the sky, they finally realize that it is nature and life that should be protected. In Miyazaki's works, there is a consistent theme that technology, once utilized by mankind, can have devastating consequences. Muska captures the pirates and comes to Laputa as well. He forces Hida to join him in the central control room to activate the writing on the Black Tablet and begin his ambition of world domination. Hida snatches back the Sky Stone and in order to stop Muska, she joins Paso in reciting the spell that will destroy everything. The ending of the story suggests an allegorical theme, as the villain, along with the weapon he seeks, crashes into the sea as a ball of atmospheric fire, while the clarified flying stone carries Laputa's Tree of Life up to the end of the sky. We should understand this ending in two ways. On the one hand, flying to the sky brings ease and confidence; on the other hand, yet it is also a compromise and escape from the mundane world. Miyazaki creates a paradise lost with such a two-edged sword, and he always hopes that the world can be awakened through his animated films, instead of lingering on those exquisite appearances.

(Miyazaki's brother later recalled that when he saw the pirate woman in "Castle in the Sky", he couldn't help but think of his own mother, who looked nothing like him but had a similar personality. Miyazaki's mother was a strict and intelligent woman who had a great influence on his life; in 1947 Miyazaki's mother was stricken with tuberculosis and stayed in bed for nine whole years. Studio Ghibli, after "Castle in the Sky", the next work "Totoro" has the shadow of this gray day of Miyazaki's family. Ghibli's Totoro, released in 1988, and The Witch's House, released in 1990, can be considered transformative chapters in Miyazaki's oeuvre. On the one hand, the focus of the movie gradually shifted from nature to human beings; on the other hand, "Totoro" and "The Witch's Home Companion", which gave up all future backgrounds and even complicated plots, focused on ordinary human beings and the world around them. The portrayal of family love in Totoro and the detailed description of a young girl's growth in The Witch's Home Companion make people feel affectionate and touched. (The release of The Witch's Home Companion also marked the beginning of Ghibli's rise as a guaranteed box-office hit, attracting some 246 million viewers and making it Japan's biggest-grossing film of the year.)

Transformation!

"Totoro" and a nostalgic kinship

"Totoro," Hayao Miyazaki's and Ghibli's third film, is the calm, heartwarming movie that made Totoro, the lovable creature, a household name all over the world. When Hayao Miyazaki was young, he once heard that there was a kind of magical elf in his hometown, they lived like neighbors, frolicking and playing around people, but ordinary people can't see them, and it is said that only the pure and innocent mind of a child can capture their shape, and if he listens quietly, the sound of the wind can be heard vaguely as they run. After growing up, devoted to the animation production of Hayao Miyazaki, the heart always remembers to down through that wonderful time, always remembers, this for the little children to weave the exquisite dream, in this emotion under the inspiration, "Totoro" came out. A young girl, May, and her younger sister, Mi, move into a new house in the countryside with their father, but since he often has to visit their sick mother in the hospital, the two girls are left to their own devices to get to know their brand-new surroundings. In the countryside, the sky is so blue, the air is so good, there is no traffic noise, no more high thick concrete walls, in the embrace of nature, the two children experienced never before felt the joy. One day when Mi was alone in the yard looking for acorns, she accidentally saw the naive little chinchilla, who panicked and tried to get rid of Mi, but led her to the big, big chinchilla who was sleeping. May is envious of her sister's secret and dreams of one day meeting a chinchilla genie, and her wish soon comes true. One rainy evening, while the two sisters wait by the station where their father returns from work, the great Totoro appears. When summer is almost over, the sisters receive a telegram from the hospital that their mother is not feeling well and must delay her return home. The sisters are very worried about their mother's condition and quarrel. Mi complains that her sister doesn't care about her, and when her sister blames Mi for not understanding, Mi runs away crying and tries to walk to the hospital by herself to visit her mother, but she gets lost. May thinks of Totoro as she looks around for Mi. So Totoro called the cat bus car, finally found the lost millet, and then the cat bus car and brought the sisters to the mother's hospital room window, far from (地)看到一切平安的妈妈, the sisters feel very happy. The story of "Totoro" is simple and simple, the most unforgettable thing in the movie, besides the fat Totoro, should be the peaceful nature relative to the hustle and bustle of the city, Hayao Miyazaki has always loved to depict the nature, and is keen on weaving dreams for the children. The whole movie with Miyazaki's world of consistent magic realism style, the use of some natural scenery, cut into the meaning of the protagonist's activities, so that the viewer's heart to get the most genuine **** song.

Transformation!

"The Witch's Home Companion" and Growing Up Tough

The Witch's Home Companion, which was released two years after "Totoro," switched from the theme of family love to growing up, but what remained constant was the consistent girls, magic, and flight of Miyazaki's world. It became Japan's top-grossing movie immediately after its release. The original author of "Witch in the House" is Eiko Kadono, a Japanese writer who won the Hans Christian Andersen Award, and Miyazaki's reproduction of the movie gives the whole movie a strong European flavor, once again bringing the audience into a wonderful world, whether it is the green towns seen in the air, the turquoise-blue sea or the white gulls or geese that fly along with the female protagonist, Kiki, are all as beautiful as poems. Common people think of magical girls often live in a cold castle, only fly at night, they have a strange hawkish nose and ear-piercing grin wearing a long pointed hat, has been elf-like black cat lying next to a pile of test tubes. However, Kiki, the heroine of The Witch's Home Companion, is not the traditional image of an eerie witch, but a little girl waiting to grow up. She wears a wide magical girl costume and a red bow, relaxed and natural, with a sunny smile. On a clear night with a full moon, the thirteen-year-old witch Kiki leaves home with her black cat Jiji, because when a witch reaches the age of thirteen, she must stand on her own two feet, but Kiki only knows a little bit of broom-riding magic, which makes her parents quite worried, and Kiki comes to a seaside town in a haze, and boards at the home of the kind bakery owner, Oisina, and begins the process of growing up to be a witch's courier, which means that she rides her broomstick and delivers parcels to other people. The growing up process of making a living by delivering parcels on a broomstick for others. In Miyazaki's eyes, the ability to fly usually belongs only to young girls, and he admits that young girls have more vitality and loveliness than men, who carry all sorts of baggage and can't help but fall into some kind of awkward situation. Miyazaki himself has a daughter, and he likes to resurrect the characteristics of little girls in his works: curiosity, kindness, passion and the common problem of women's caution, and so on. A person alone in a strange city to earn a living, will always encounter setbacks, Kiki in the storm to help the grandmother to send a birthday gift to her granddaughter, when she finally condensed a piece of the heart of the fish pie to the delivery, but received a cold and unsympathetic reception, the heart of the simple Kiki can not accept this result, the warmth of family gradually dissipate, so she was disappointed. After returning, Kiki falls ill and temporarily loses the ability to fly, but such a plot is not in the original, a pure Miyazaki-style adaptation, the original is an interpolated story, Kiki meets a variety of people in the delivery process, a variety of vignettes have been written into the body, she did not have some bad or dramatic stories, she has not lost her magic, nor encountered accidents, Hayao Miyazaki in the In the movie, the reason why he made these changes was because he needed a structure that could support the whole movie, an experience about growing up Since what the movie is trying to convey, is a more realistic feeling, Kiki here has to go through greater frustration and loneliness than she did in the original book, and only after she overcomes these frustrations and loneliness, she can really grow up. It is said that Eiko Kadono was once so vehemently unhappy with these adaptations that it almost caused the movie to run aground at the script stage, with Hayao Miyazaki and Studio Ghibli producers visiting her at home in person, and then inviting her into the studio to discuss the matter, before finally persuading her to give in. But from the movie's point of view, the audience will have to thank Miyazaki for his adaptation of the story. As Kiki goes from being a hothouse flower who knows nothing, through wind and rain, to finally maturing into a mature and understanding person, the audience seems to see their own experiences of growing up to adulthood here, recalling the hardships they knew, and experiencing the storms they must go through in the process of growing up. The day after she loses her ability to fly, the lady who entrusted Kiki to deliver the fish pie gives Kiki a cake to thank her for her help last time, and Kiki is y touched. At that time, the TV was broadcasting the take-off of the flying boat but due to a storm, there was an accident, which put Kiki's friend Dragonfly in a dangerous situation. In the nick of time, Kiki's ability to fly was restored, and she rode on the brush lent to her by the old man of the bell tower to save Dragonfly. In Miyazaki Hayao's writing, know each other is the most important element of the feelings between people, even if each other almost never say the word love, but because of the feelings of this broad and pure touching, Kiki and love of flying between the teenage dragonfly, because of the flight **** the same desire and exploration, cultivate a pure and healthy love and friendship, and intelligent and caring bakery owner's wife has become the talk and mutual help of friends, and even the black cat has been with the side of the black cat, even the black cat has been with the side of the black cat. Even the black cat, who has always been by her side, finds a beautiful white cat to keep her company. At the end of the movie, Kiki becomes close friends with everyone and falls in love with the city. Perhaps in reality, young girls will always become adults, and the ability to fly and fantasize will eventually give way to reality and urban life. Only in Miyazaki's world, those young girls and the legend of flight prove the childhood time we once had.

(In February, 1989, Osamu Tezuka, a famous manga artist and the founder of Japanese animation, passed away. Miyazaki Hayao said in the article in memory of Osamu Tezuka, as an animation movie writer, can't only put Osamu Tezuka as a room saint simple thing, but in a sense, must put Osamu Tezuka as constantly beyond, constantly challenge the opponent, I can't say that I have already surpassed Tezuka, but I think that I have searched for a different direction with him, challenge and part with Tezuka's works so as to produce a new style of animation, maybe it is what Tezuka expects. I think that this is what Tezuka was hoping for. Osamu Tezuka laid a very deep foundation for Japanese animation, the word of humanity that he promoted became a major theme of Japanese animation in the future, however, it is in the background of Hayao Miyazaki has laid an unshakeable position of first-class animation movie writer, in 1989, Osamu Tezuka's resignation and Hayao Miyazaki's eulogy aiming to challenge the myth of Tezuka, only then highlights a special symbolic significance in the history of animation movies, Hayao Miyazaki (To say that perhaps it is a reflection on Tezuka-style humanity.)

Eiko Kadono is said to have been so vehemently dissatisfied with these adaptations that it nearly caused the film to run aground at the script stage, with Miyazaki and Studio Ghibli producers visiting her at home in person, and then inviting her into the studio to discuss the matter, before finally persuading her to relent. But from the movie's point of view, the audience will have to thank Miyazaki for his adaptation of the story. As Kiki goes from being a hothouse flower who knows nothing, through wind and rain, to finally maturing into a mature and understanding person, the audience seems to see their own experiences of growing up to adulthood here, recalling the hardships they knew, and experiencing the storms they must go through in the process of growing up. The day after she loses her ability to fly, the lady who entrusted Kiki to deliver the fish pie gives Kiki a cake to thank her for her help last time, and Kiki is y touched. At that time, the TV was broadcasting the take-off of the flying boat but due to a storm, there was an accident, which put Kiki's friend, Dragonfly, in a dangerous situation. In the nick of time, Kiki's ability to fly was restored, and she rode on the brush lent to her by the old man, Clock Tower, to save Dragonfly. In Miyazaki Hayao's writing, know each other is the most important element of the feelings between people, even if each other almost never say the word love, but because of the feelings of this broad and pure touching, Kiki and love of flying between the teenage dragonfly, because of the flight **** the same desire and exploration, cultivate a pure and healthy love and friendship, and intelligent and caring bakery owner's wife has become the talk and mutual help of friends, and even the black cat has been with the side of the black cat, even the black cat has been with the side of the black cat. Even the black cat, who has always been by her side, finds a beautiful white cat to keep her company. At the end of the movie, Kiki becomes close friends with everyone and falls in love with the city. Perhaps in reality, young girls will always become adults, and the ability to fly and fantasize will eventually give way to reality and urban life. Only in Miyazaki's world, those young girls and the legend of flight prove the childhood time we once had.

(In February, 1989, Osamu Tezuka, a famous manga artist and the founder of Japanese animation, passed away. Miyazaki Hayao said in the article in memory of Osamu Tezuka, as an animation movie writer, can't only put Osamu Tezuka as a room saint simple thing, but in a sense, must put Osamu Tezuka as constantly beyond, constantly challenge the opponent, I can't say that I have already surpassed Tezuka, but I think that I have searched for a different direction with him, challenge and part with Tezuka's works so as to produce a new style of animation, maybe it is what Tezuka expects. I think that this is what Tezuka was hoping for. Osamu Tezuka laid a very deep foundation for Japanese animation, the word of humanity that he promoted became a major theme of Japanese animation in the future, however, it is in the background of Hayao Miyazaki has laid an unshakeable position of first-class animation movie writer, in 1989, Osamu Tezuka's resignation and Hayao Miyazaki's eulogy aiming to challenge the myth of Tezuka, only then highlights a special symbolic significance in the history of animation movies, Hayao Miyazaki (To say that perhaps it is a reflection on Tezuka-style humanity.)