View source for Princess Mononoke

{{short description|1997 Japanese animated film by Hayao Miyazaki}}
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{{Use American English|date=January 2024}}
{{Infobox film
| name           = Princess Mononoke
| native_name    = {{Infobox Japanese
 | kanji         = もののけ姫
 | revhep        = Mononoke-hime}}
| image          = Princess Mononoke Japanese poster.png
| caption        = Theatrical release poster
| alt            = A young girl with blood on her mouth stands in front of a large white wolf. The film's title and credits are below.
| director       = [[Hayao Miyazaki]]
| producer       = [[Toshio Suzuki]]
| writer         = Hayao Miyazaki
| screenplay     = 
| story          = 
| based_on       = 
| starring       = {{Plainlist|
* [[Yōji Matsuda]]
* [[Yuriko Ishida]]
* [[Yūko Tanaka]]
* [[Kaoru Kobayashi (actor)|Kaoru Kobayashi]]
* [[Masahiko Nishimura]]
* [[Tsunehiko Kamijō]]
* [[Akihiro Miwa]]
* [[Mitsuko Mori]]
* [[Hisaya Morishige]]
}}
| narrator       = 
| music          = [[Joe Hisaishi]]
| cinematography = Atsushi Okui
| editing        = [[Takeshi Seyama]]
| studio         = [[Studio Ghibli]]
| distributor    = [[Toho]]
| released       = {{Film date|1997|07|12}}
| runtime        = 133&nbsp;minutes
| country        = Japan
| language       = Japanese
| budget         = {{Plainlist|
* {{¥|2.35 billion|link=yes}}
* ({{US$|23.5 million|long=no|link=yes}})}}
| gross          = {{USD|194.3 million}}
}}

{{Nihongo|'''''Princess Mononoke'''''|もののけ姫|''[[Mononoke]]-[[hime]]''|extra=|lead=yes}} is a 1997 Japanese animated [[historical drama|historical]] [[fantasy film]] written and directed by [[Hayao Miyazaki]] and animated by [[Studio Ghibli]]. In voice acting roles, the film stars [[Yōji Matsuda]], [[Yuriko Ishida]], [[Yūko Tanaka]], [[Kaoru Kobayashi (actor)|Kaoru Kobayashi]], [[Masahiko Nishimura]], [[Tsunehiko Kamijo]], [[Akihiro Miwa]], [[Mitsuko Mori]], and [[Hisaya Morishige]].

Set in the late [[Muromachi period]] of Japan (approximately 1336 to 1573 AD) and including fantasy elements, the story follows a young [[Emishi]] prince named Ashitaka, and his involvement in a struggle between the gods (''[[kami]]'') and spirits (''[[yōkai]]'') of a forest against the humans who consume its resources. The film deals with a recurrent theme in Studio Ghibli work: [[environmentalism]] as a reaction against [[industrialization|over-industrialization]] within the context of [[Shintoism]], [[animism]], and [[Japanese folklore|folklore]].<ref>The Guardian: ‘I’m really serious this time!’: have Hayao Miyazaki and Studio Ghibli made their final masterpiece? [https://www.theguardian.com/film/2023/dec/09/boy-and-the-heron-final-studio-ghibli-film-hayao-miyazaki]</ref><ref>The Guardian: ‘Irreplaceable’: will Hayao Miyazaki, Japan’s animation auteur, ever retire? [https://www.theguardian.com/film/2024/mar/15/the-boy-and-the-heron-can-hayao-miyazaki-auteur-of-animation-ever-retire]</ref><ref>[https://www.theguardian.com/film/2020/jan/28/studio-ghibli-ranked-netflix-princess-mononoke-spirited-away The Guardian: Studio Ghibli films]</ref>

''Princess Mononoke'' was released in Japan on July 12, 1997, by [[Toho]], and in the United States on October 29, 1999. A critical and commercial success, the film became the highest-grossing film in Japan of 1997, and also held Japan's box office record for domestic films until 2001's ''[[Spirited Away]]'', another Miyazaki film. It was [[dubbing (filmmaking)|dubbed]] into English with a script by [[Neil Gaiman]] and initially distributed in North America by [[Miramax]], where it sold well on home media despite not performing strongly at the box office.<ref>{{Cite magazine |date=July 20, 2021 |title=How Spirited Away Changed Animation Forever |url=https://time.com/6081937/spirited-away-changed-animation-studio-ghibli/ |access-date=August 22, 2023 |magazine=Time |language=en |archive-date=August 5, 2023 |archive-url=https://web.archive.org/web/20230805005044/https://time.com/6081937/spirited-away-changed-animation-studio-ghibli/ |url-status=live}}</ref> The film greatly increased Ghibli's popularity and influence outside Japan.
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== Plot ==
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<!-- Per WP:FILMPLOT, plot summaries for films should be between 400 to 700 words. Please check the word count before making any additions. Please go to the talk page before making any major changes. -->

In [[Muromachi period|Muromachi]] Japan, an [[Emishi]] village is attacked by a hideous [[Yōkai|demon]]. The last Emishi prince, Ashitaka, kills it before it reaches the village, but it grasps his arm and curses him before its death. The curse grants him superhuman strength, but it also causes him pain and it will eventually kill him. The villagers discover that the demon was a [[animal worship#Hunting cults|boar god]], corrupted by an iron ball lodged in his body. The village's oracle tells Ashitaka that he may find a cure in the western lands that the demon came from, and that he cannot return to his homeland.

Heading west, Ashitaka meets Jigo, an opportunistic monk who tells Ashitaka he may find help from the [[animism|Great Forest Spirit]], a  [[animal worship#Deer|deer-like animal god]] by day and a giant [[Daidarabotchi|Nightwalker]] by night. Nearby, men on a cliffside herd oxen to their home of Iron Town, led by Lady Eboshi, and repel an attack by a wolf pack led by the [[animal worship#Wolf|wolf goddess]] Moro, whom Eboshi wounds with a gunshot. Riding one of the wolves is San, a human girl. Down below, Ashitaka encounters San and the wolves, who rebuff his greeting. He then rescues two of the men fallen from the cliff and transports them back through the forest, where he briefly glimpses the Great Forest Spirit.

Ashitaka and the survivors arrive at Iron Town, where he is greeted with fascination. Iron Town is a refuge for outcasts and [[leper]]s employed to process iron and create firearms, such as [[hand cannon]]s and [[Matchlock|matchlock muskets]]. Ashitaka learns that the town was built by [[clearcutting]] forests to mine the iron, leading to conflicts with Asano, a [[daimyō]] (''[[kanrei]]''<ref name="program"/>), and a giant boar god named Nago. Eboshi admits that she shot Nago, incidentally turning him into the demon that attacked Ashitaka's village. She also reveals that San — dubbed [[hime|Princess]] [[Mononoke]], a supernatural spirit of retribution — was raised by the wolves and hates humankind.

San infiltrates Iron Town and fights Eboshi, but Ashitaka intervenes and subdues them both. Amidst the hysteria, a villager with a firearm shoots him, but the curse gives him strength to carry San out of the village. San wakes and tries killing the weakened Ashitaka, but hesitates when he compliments her beauty. She decides to trust him after the Forest Spirit heals his bullet wound that night. The next day, a boar clan led by the blind god Okkoto plans to attack Iron Town to save the forest. Eboshi sets out to kill the Forest Spirit with Jigo. Eboshi intends to give the god's head to the [[Emperor of Japan|Emperor]] (who believes it will grant him immortality) in return for protection from Asano, while Jigo desires the large reward being offered.

Ashitaka recovers and finds Iron Town besieged by Asano's [[samurai]] and ''[[jizamurai]]''.<ref name="program">{{Cite book |date=July 12, 1997 |title=宮崎駿 監督作品 もののけ姫 (Japanese souvenir program booklet) |publisher=[[Toho]] |pages=6, 9–10 |quote=ただあそこに来たのは、"アサノ公方"って言ってますから、管領とか由緒正しい侍だから、 (p.6), 侍 鉄を狙ってタタラ場を狙う領主アサノの武者達 (p.6), 地侍たちが攻めかかってくるのは、別に悪いことでも何でもない。 (pp.9-10) |language=ja}}</ref> The boar clan has been annihilated in battle, and Okkoto is badly wounded. Jigo's men trick Okkoto into leading them to the Forest Spirit. San tries stopping Okkoto but is swept up as his pain corrupts him into a demon. As everyone clashes at the pool of the Forest Spirit, Ashitaka rescues San while the Forest Spirit euthanizes Moro and Okkoto. As it begins to transform into the Nightwalker Eboshi decapitates it. Jigo steals the head, while the Forest Spirit's body bleeds ooze that spreads over the land and kills anything it touches. The forest and its spirits begin to die. Moro's head briefly comes alive and bites off Eboshi's right arm, but she survives. An enraged San tries killing Eboshi, but is stopped by Ashitaka, who consoles her and encourages her not to give up.

After Iron Town is evacuated, Ashitaka and San pursue Jigo and retrieve the head, returning it to the Forest Spirit. The Spirit dies but its form washes over the land, healing it and lifting Ashitaka's curse. Ashitaka stays to help rebuild Iron Town, but promises San he will visit her in the forest. Eboshi vows to build a better town and the forest begins to regrow.
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== Voice cast ==
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{{Multiple image
| align     = right
| direction = vertical
| width     = 150
| image1    = Billy Crudup 2015 1b.jpg
| caption1  = [[Billy Crudup]] ''(pictured in 2015)'', who voiced Ashitaka in the English dub
| image2    = Claire Danes.jpg
| caption2  = [[Claire Danes]] ''(pictured in 2015)'', who voiced San
}}

{{Plain row headers}}
{| class="wikitable plain-row-headers"
! scope="colgroup" colspan="2" | Character name
! scope="colgroup" colspan="2" | Voice actor{{sfn|Nausicaa.net a}}
|-
! scope="col" width="25%" | English
! scope="col" width="25%" | Japanese 
! scope="col" width="25%" | Japanese
! scope="col" width="25%" | English
|-
! scope="row" | Ashitaka
| {{Nihongo|2=アシタカ|3=Ashitaka}}|| [[Yōji Matsuda]] || [[Billy Crudup]]
|-
! scope="row" | San
| {{Nihongo|2=サン|3=San}}|| [[Yuriko Ishida]] || [[Claire Danes]]
|-
! scope="row" | Lady Eboshi
| {{Nihongo|2=エボシ御前|3=Eboshi Gozen}}|| [[Yūko Tanaka]] || [[Minnie Driver]]
|-
! scope="row" | Jigo
| {{Nihongo|2=ジコ坊|3=Jiko-bō}}|| [[Kaoru Kobayashi (actor)|Kaoru Kobayashi]] || [[Billy Bob Thornton]]
|-
! scope="row" | Toki
| {{Nihongo|2=トキ|3=Toki}}|| [[Sumi Shimamoto]] || [[Jada Pinkett Smith]]
|-
! scope="row" | Kohroku
| {{Nihongo|2=甲六|3=Kōroku}}|| [[Masahiko Nishimura]] || [[John DeMita]]
|-
! scope="row" | Gonza
| {{Nihongo|2=ゴンザ|3=Gonza}}|| [[Tsunehiko Kamijō]] || [[John DiMaggio]]
|-
! scope="row" | Moro
| {{Nihongo|2=モロの君|3=Moro no Kimi}}|| [[Akihiro Miwa]] || [[Gillian Anderson]]
|-
! scope="row" | Oracle
| {{Nihongo|2=ヒイ様|3=Hī-sama}}|| [[Mitsuko Mori]] || [[Debi Derryberry]]
|-
! scope="row" | Okkoto
| {{Nihongo|2=乙事主|3=Okkoto-nushi}}|| [[Hisaya Morishige]] || [[Keith David]]
|-
! scope="row" | Nago
| {{Nihongo|2=ナゴの守|3=Nago no Kami}}|| Makoto Sato || rowspan="3" {{Unknown}}
|-
! scope="row" | Wolf
| {{Nihongo|2=山犬|3=Yama-inu}}|| Tetsu Watanabe
|-
! scope="row" | ''Ushikai''
| {{Nihongo|2=牛飼いの長|3=Ushikai no Osa}}|| Akira Nagoya
|-
|}
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== Development ==
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=== Early concepts and pre-production ===

[[Hayao Miyazaki]] composed the preliminary ideas for what would become ''Princess Mononoke'' shortly after the release of his first film ''[[The Castle of Cagliostro]]''{{nbsp}}(1979),{{sfn|Denison|2018|p=3}} drawing sketches of a princess living in the woods with a beast.{{sfn|McCarthy|2002|p=182}} The story was roughly based on the "[[Beauty and the Beast]]"{{nbsp}}(1740) fairy tale, set in historical Japan.{{sfnm|Denison|2018|1p=3|McCarthy|2002|2p=182}} The Beast was realized as an animalistic spirit ({{tlit|ja|[[mononoke]]}}) whom the protagonist, the daughter of a nobleman, is forced to marry.{{sfnm|Kanō|2006|1p=189|McCarthy|2002|2p=182}} However, after unsuccessfully proposing the film project to several production companies, Miyazaki published his concepts in a book in 1983,{{sfn|Greenberg|2018|p=136}} republished in 2014 as ''[[Princess Mononoke: The First Story]]''.{{sfn|Green|2014}} He reused various ideas from this project in his subsequent works such as ''[[My Neighbor Totoro]]''{{nbsp}}(1988) and ''[[Porco Rosso]]''{{nbsp}}(1992).{{sfn|Kanō|2006|pp=189–190}} ''[[Shuna's Journey]]''{{nbsp}}(1983) in particular bears the closest resemblance to the eventual film, featuring a protagonist who rides an elk to the land of gods.{{sfn|Greenberg|2018|pp=137–138}} Very few of the ideas from the 1980 concept appear in the final film,{{sfn|Greenberg|2018|p=136}} and the character designs and plot are entirely different.{{sfn|Denison|2018|p=3}} The film scholar [[Raz Greenberg]] wrote that the original concept also {{nowrap|"[portrayed]}} the end of tyranny vividly", in contrast with the film, showing the antagonist's fortress destroyed, and its slaves emancipated.{{sfn|Greenberg|2018|p=137}} According to the film scholar [[Rayna Denison]], the stark difference between the original idea and the final film demonstrates the radical change of Miyazaki's filmmaking philosophies during that time.{{sfn|Denison|2018|p=3}} He took cues from Japanese folklore, especially the tale of a princess with a birthmark, which evolved over time into Ashitaka's curse.<ref>Cited in {{harvnb|McCarthy|2002|pp=182–183}}.</ref>

[[File:Shiratani Unsui Gorge 17.jpg|thumb|Some of the film's natural scenery was inspired by a visit to the forests of [[Yakushima]].{{sfnm|Napier|2018|1p=189|Yanagihara|2018}}|upright=1.1|alt=A dense forest floor.]]

Miyazaki, inspired by the writings of [[Yoshie Hotta]], also considered creating a film adaptation of the ''[[Hōjōki]]''{{nbsp}}(1212), a Japanese literary classic on the ephemerality of life.{{sfn|Napier|2018|p=180}} It was written by the poet [[Kamo no Chōmei]] during a period of political turmoil and natural disasters, which the animation scholar [[Susan J. Napier]] felt resonated with the "increasing sense of vulnerability" in Japanese culture during the time of the film's production.{{sfn|Napier|2018|p=181}}{{efn|See {{slink|#Conflicts of nature, technology, and humanity}} for further information.}} However, Miyazaki felt the concept was "far removed from common sense" and had no possibility of commercial success;<ref>Cited in {{harvnb|Kanō|2006|p=190}}.</ref> he never moved forward with this concept but nonetheless continued to consider creating a historical piece.{{sfn|Napier|2018|p=181}} Upon the completion of his [[manga]] series ''[[Nausicaä of the Valley of the Wind (manga)|Nausicaä of the Valley of the Wind]]''{{nbsp}}(1982–1994), Miyazaki began work on the project proposal for the film in April 1994.{{sfnm|McCarthy|2002|1p=185|Napier|2018|2p=176}} However, encountering [[writer's block]] in December, he decided to take a break from the production and direct the short film ''[[On Your Mark]]''{{nbsp}}(1995) as a side project.{{sfnm|Greenberg|2018|1p=140|McCarthy|2002|2p=185}} Miyazaki returned to the film and began working on the storyboards in April 1995.{{sfn|McCarthy|2002|p=185}} The film's broad scope and high level of detail extended the pre-production process.{{sfn|Napier|2018|p=178}} In May 1995, Miyazaki took four of the art directors to visit the island of [[Yakushima]], which had already inspired some environments in ''Nausicaä of the Valley of the Wind'', to achieve the environmental depiction that he was seeking to portray.{{sfn|McCarthy|2002|p=186}} The island's isolation and relative lack of development led them to create the film's forest of the gods.{{sfnm|Napier|2018|1p=189|Yanagihara|2018}} The fifth, [[Kazuo Oga]], went to the [[Shirakami-Sanchi]] mountains to take inspiration for the Emishi village.{{sfn|McCarthy|2002|p=186}}

=== Production and animation ===

''Princess Mononoke'' was the most expensive animated film ever produced at the time.{{sfn|Schilling|1999|p=5}} The film was originally allocated a budget of {{JPY|2 billion}}, which needed to be expanded to {{JPY|2.35 billion}} later in the production.{{sfn|Kanō|2006|p=195}} Miyazaki stated, "I don't care if the studio goes bankrupt."<ref>Cited in {{harvnb|Kanō|2006|p=193}}.</ref> The animation production commenced in July 1995.{{sfn|McCarthy|2002|p=185}} Miyazaki created the [[storyboard]]s using the approach he took toward serialized manga, writing the film's plot as he drew the scenes.{{sfn|Kanō|2006|p=194}} Miyazaki's declining sight initially caused him to use oversized paper, but he switched back to the normal size to increase the pace of the storyboarding.{{sfn|Kanō|2006|pp=193–194}} This process was done in parallel with the animation and the final boards outlining the end of the film were not finished until January 1997.{{sfn|Kanō|2006|p=195}}

An unusually high level of detail was afforded to the background illustrations and to animating background characters due to the large budget available.{{sfn|Denison|2018|p=7}} The decision to assign five art directors to the film was also unprecedented in the animation industry.{{sfn|Denison|2018|p=10}} Each one tackled a different aspect; for example, the daytime shots would be handled by one director while another covered the nighttime.{{sfn|Denison|2018|pp=10–11}} The film used approximately 144,000 [[cel]]s, 80,000 of them being [[key animation]] frames, more than any other Studio Ghibli film.{{sfnm|Schilling|1999|1p=5|Toyama}} Miyazaki is estimated to have drawn or retouched nearly 80,000 cels himself.{{sfn|Denison|2018|pp=8–9}} In June 1997, with less than a month from the release date, the final shots were completed.{{sfn|McCarthy|2002|p=185}}

=== Computer graphics ===

[[File:Mononoke hime cgi.png|thumb|[[3D rendering]] was used to create writhing demon flesh that was [[Digital compositing|digitally composited]] onto a [[Hand-drawn animation|hand-drawn]] Ashitaka.{{sfn|Denison|2023|p=114}}|upright=1.1|alt=Ashitaka draws a bow with dark demon flesh on his arm.]]

The film was realized with a combination of [[hand-drawn animation]] and [[computer-generated imagery]]; approximately five minutes of the film were animated entirely using digital processes. A further ten minutes use [[digital ink and paint]], a technique used in all subsequent Studio Ghibli films.{{sfnm|Denison|2018|1p=13|Napier|2018|2p=177}} The company's hand-drawn methods were becoming outdated by the late 1990s,{{sfn|Denison|2023|pp=106–107}} and in a 1997 interview with members of the computer graphics team at Studio Ghibli, they felt that the adoption was made largely out of necessity.<ref>{{harvnb|Shimamura|Sugano|1997}}, cited in {{harvnb|Denison|2023|p=107}}.</ref> According to [[Mamoru Oshii]] – a contemporary of Miyazaki's – digital painting was adopted as a technique at the insistence of [[Michiyo Yasuda]], a senior colorist at Studio Ghibli.<ref>{{harvnb|Oshii|Ueno|2004|p=89}}, cited in {{harvnb|Napier|2018|p=275|loc=note 3}}.</ref> While Studio Ghibli had already begun experimenting with digital techniques a few years prior on ''[[Pom Poko]]''{{nbsp}}(1994), its computer graphics department was opened during the production of ''Princess Mononoke''.{{sfn|Denison|2023|p=108}}

Miyazaki's distaste for digital animation techniques were well known in Japan before the film's release, so his use of computer graphics came as a surprise to audiences.{{sfn|Denison|2023|p=107}} He made the decision to use the new techniques early in the production, starting with the opening sequence with the demon god.{{sfn|Denison|2018|p=12}} Certain sequences in the film were created using 3D tools, then processed to resemble a traditionally-animated sequence using a program called Toon Shader, developed by [[Microsoft]] at the studio's request.{{sfnm|Denison|2023|1p=113|Kanō|2006|2p=203}} Some of this work was outsourced to the animation studio [[Toyo Links]].<ref>{{harvnb|Clements|2013|p=200}}, cited in {{harvnb|Denison|2023|p=108}}.</ref> Three broad categories of digital techniques were applied to the animation: use of digital ink and paint to finish coloring hand-drawn frames, [[3D rendering]] and [[digital compositing]], which put the hand-drawn images in a three-dimensional environment to create more visual depth, and [[morphing]] and [[particle effects]], which create additional detail and smoother transitions.{{sfnm|Denison|2018|1p=12|Denison|2023|2p=113}} {{ill|Yoshinori Sugano|ja|菅野嘉則}}, the head of the computer graphics department, recalled that the most involved use of digital techniques were to mask the transitions between the digital and hand-drawn elements on screen. Some characters, particularly the gods, alternate being rendered with each approach between shots.{{sfn|Denison|2023|p=114}}
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== Themes ==
<!--#region Themes-->
<!-- This section is not for personal theories and observations on the themes in the film. It is a summary of published relevant real world information. Simple associations are trivial and undue for mention. Relevant rules: [[WP:OR]], [[WP:MOSFILM]], [[WP:NOT]] -->

=== Conflicts of nature, technology, and humanity ===

[[Environmentalism]] is a central theme of ''Princess Mononoke''.{{sfnm|Napier|2018|1p=xiii|2a1=Odell|2a2=Le Blanc|2y=2009|2p=109}} In the war between the forest gods and the people of Irontown, Ashitaka – the protagonist – serves as the mediator.{{sfn|Daniels-Lerberg|Lerberg|2018|p=57}} However, the film does not present these positions as complete opposites, as many Western works that touch on these themes do,{{sfn|Daniels-Lerberg|Lerberg|2018|p=58}} nor does it outright reject modernity and technology.{{sfn|Napier|2005|pp=245–246}} The scholars Tracey Daniels-Lerberg and Matthew Lerberg wrote that it instead "[embraces] the unpredictable outcomes that emerge in the uncertainty that remains."{{sfn|Daniels-Lerberg|Lerberg|2018|p=58}} Both humanity and nature are given equal standing in the film's world and Napier wrote that the film "offers a vision of life as a densely interwoven design, rather than a simple allegory of dichotomized opposites."{{sfn|Napier|2018|p=185}} Additionally, the film portrays internal strife within parties on both sides of the conflict: the different clans of spirits disagree on how to handle the conflict, and the humans war amongst themselves for various reasons.{{sfnm|1a1=Odell|1a2=Le Blanc|1y=2009|1p=110|Thevenin|2013|2pp=161–162}} Ashitaka's relationships with both parties are volatile and "even dissatisfying at moments", according to Daniels-Lerberg and Lerberg. They attribute this sense of unease to the focus on emotion, rather than strict logic, that the film puts on the conflict.<ref>{{harvnb|Chan|2015|p=93}}, cited in {{harvnb|Daniels-Lerberg|Lerberg|2018|p=57}}.</ref> According to the film critic [[Roger Ebert]], ''Princess Mononoke'' is not a "simplistic tale of good and evil, but the story of how humans, forest animals, and nature gods all fight for their share of the new emerging order."{{sfn|Ebert|1999b}}

The film scholars Colin Odell and Michelle Le Blanc wrote that the film simultaneously mounts a criticism of humanity's mistreatment of the natural world and "grudgingly admits" that some disputes are inevitable to facilitate technological progress.{{sfn|Odell|Le Blanc|2009|p=109}} While Irontown is shown to be a haven for downtrodden members of society, who have the opportunity to live honest lives and enjoy fair treatment from Eboshi,{{sfnm|Greenberg|2018|1p=137|Thevenin|2013|2p=161}} the conflict arises from the harm that the settlement causes to the surrounding environment. Greenberg identified this dynamic as a marked increase in complexity from Miyazaki's earlier works, which typically presented a [[utopian]] model as an answer to social issues.{{sfn|Greenberg|2018|p=137}} In a 1998 interview at the [[Berlin International Film Festival]], Miyazaki stated that he "meant to state [his] objection to the way environmental issues are treated",<ref>{{harvnb|Miyazaki|2014|pp=85–86}}, cited in {{harvnb|Denison|2018|p=3}}.</ref> referring to the general exclusion of humanity's role in environmental discourse in Japan.{{sfn|Denison|2018|pp=3–4}} The ecological writings of the historian {{ill|Sasuke Nakao|ja|中尾佐助}}, especially his "evergreen forest culture theory", were greatly influential on Miyazaki when creating the film's forest of the gods.<ref>{{harvnb|Napier|2005|p=242}}; {{harvnb|Miyazaki|2009|p=358}}, cited in {{harvnb|Yoshioka|2018|p=29}}.</ref> Miyazaki stated that "[Nakao's book] taught me what I was the descendent of", and provided him an alternative to many traditional depictions of Japanese history that he disliked.<ref>{{harvnb|Komatsu|1997|p=49}}, cited in {{harvnb|Napier|2005|p=242}}; {{harvnb|Yoshioka|2018|p=29}}.</ref>

Napier saw the film as an "elegy for a lost Japan", a version of the country that predates the modern [[patriarchal]] society and was controlled by nature.{{sfn|Napier|2005|p=232}} Setting the film in the Muromachi period allowed Miyazaki to depict the country before it had been deforested and altered by rice agriculture,{{sfn|Denison|2018|p=4}} and positions the film within the moment of history when "humankind pushed nature into submission", according to the animation writers [[Jonathan Clements]] and [[Helen McCarthy]].{{sfn|Clements|McCarthy|2015|p=653}} Miyazaki intended to portray the gods as "living animals, tortured by humans", feeling it to be an important aspect to depict in the relationship between nature and humanity.<ref>{{harvnb|Miyazaki|2014|p=31}}, cited in {{harvnb|Denison|2018|p=2}}.</ref> He was inspired for the film's concept by the [[Epic of Gilgamesh]]{{nbsp}}({{abbr|c.|circa}}{{nbsp}}2100–1200 BCE), an ancient [[epic poem]] that depicts the death of the forest god and the ruin of humanity.{{sfn|Kanō|2006|p=197}} The philosopher [[Takeshi Umehara]], who wrote a stage play titled ''[[Gilgamesh (play)|Gilgamesh]]''{{nbsp}}(1988), had previously suggested that Miyazaki adapt his work into a film. Miyazaki had declined the offer at the time, but later stated that he had unconsciously included elements similar to the play in ''Princess Mononoke''.{{sfn|Yoshioka|2018|p=30}} The film presents several themes similar to the ''Nausicaä of the Valley of the Wind'' manga, which Miyazaki had completed in 1994,{{sfn|Napier|2018|pp=176–177}} namely the "environmental catastrophe, the role of technology and warfare, and human interactions with nonhuman species", according to Napier.{{sfn|Napier|2018|p=182}} Clements and McCarthy wrote that the film was conceived partly due to Miyazaki's discontent with the narrative of [[Nausicaä of the Valley of the Wind (film)|the manga's film adaptation]]{{nbsp}}(1984), in which the environmental theme was suddenly resolved via a ''[[deus ex machina]]''.{{sfn|Clements|McCarthy|2015|p=653}}

Miyazaki's filmmaking style changed considerably in the 1990s in response to various geopolitical conflicts including the [[Gulf War]] and the [[Yugoslav Wars]] following the [[dissolution of the Soviet Union]].{{sfn|Yoshioka|2018|p=26}} He was especially critical of Japan's decision to provide military aid in the Gulf War, which he considered to be in violation of [[Article 9 of the Japanese Constitution]].<ref>{{harvnb|Miyazaki|2009|p=147}}, cited in {{harvnb|Yoshioka|2018|pp=26–27}}.</ref> These events disheartened Miyazaki, who compared them to the preamble to [[World War I]] and felt he was watching history repeat itself.<ref>{{harvnb|Miyazaki|2002|p=95}}, cited in {{harvnb|Yoshioka|2018|p=27}}.</ref> In 1995, two disasters occurred in Japan that had a marked negative impact on its culture: the [[Great Hanshin earthquake]], which killed thousands and became the worst on record since 1923, and the [[Tokyo subway sarin attack]] perpetrated by the [[Aum Shinrikyo]] cult. Napier wrote that these had an effect "on both a psychological and environmental level" and heightened the country's cultural "emptiness" following the [[Japanese asset price bubble]] bursting in 1992.{{sfn|Napier|2018|p=181}} After finishing ''Porco Rosso'', Miyazaki resolved to create a "substantial film" that acknowledged academic discourse, eschewing the [[Escapist fiction|escapist]] philosophy of his earlier works.{{sfn|Yoshioka|2018|pp=27–28}} He instead set out to depict the philosophy that, "No matter how messy things get, we have no choice but to go on living."<ref>{{harvnb|Miyazaki|2009|p=386}}, cited in {{harvnb|Yoshioka|2018|p=27}}.</ref>

=== Heterogeneity of society ===

Napier wrote that "the sense of a broken heterogeneous world is stridently manifest" within ''Princess Mononoke''.{{sfn|Napier|2005|p=232}} Although some aspects of the film's storytelling align with the tropes of melodrama, the complexity to which Miyazaki develops the characters and his eschewal of a definite narrative resolution stand in contrast to the typical approach to a melodramatic style, which may use stereotypes and straightforward morals in service of the allegorical plot.{{sfn|Thevenin|2013|p=161}} Miyazaki explained that he was inspired to portray people living with leprosy after visiting the [[Tama Zenshoen Sanatorium]] near his home in Tokyo.{{sfn|Napier|2018|p=184}}
<!--#endregion Themes-->

== Style ==
<!--#region Style -->

''Princess Mononoke'' marked the first time Miyazaki explored a {{lang|ja-Latn|[[jidaigeki]]}} style – a [[period drama]] focusing on the lives of historic Japanese peoples.{{sfn|Napier|2018|p=176}} He particularly appreciated the works of [[Akira Kurosawa]], who had directed several key films in the genre.{{sfn|Napier|2018|p=181}} The film subverts many traditional elements of the {{lang|ja-Latn|jidaigeki}}, such as the portrayals of the Emperor and the samurai as sacred and noble.{{sfn|Napier|2018|p=183}} Miyazaki chose not to align with typical depictions of the Muromachi period, such as the development of high culture or [[Zen]] aesthetics in the capital city of [[Kyoto]].{{sfn|Napier|2005|p=233}} Napier wrote that the forest of the gods also subverts typical depictions of nature in the Muromachi period; as opposed to carefully tended Zen gardens, it is untamed, violent, and is largely avoided by humans.{{sfn|Napier|2005|p=243}} The film exaggerates its historical perspective in order to facilitate the narrative; Irontown, for example, is inspired primarily by metalworking settlements in China.<ref>{{harvnb|Miyazaki|2014|p=64}}, cited in {{harvnb|Denison|2018|p=4}}.</ref> Miyazaki lacked a historical reference for the Emishi people's garments, so the clothing of the girls in Ashitaka's village are influenced by styles from Bhutan and Thailand.<ref>{{harvnb|Miyazaki|2002|p=166}}, cited in {{harvnb|Yoshioka|2018|p=30}}; {{harvnb|Niskanen|2018|p=47}}.</ref> Instead of traditional arms, guns are the primary weapons in the film's conflict.{{sfn|Napier|2005|p=235}} [[Isao Takahata]] – a fellow director and longtime friend of Miyazaki's – said that the film was "dangerously liable to give the audiences misconceived impressions of history."<ref>{{harvnb|Kanō|2006|p=218}}, cited in {{harvnb|Napier|2018|p=185}}.</ref> Napier wrote that the film goes "beyond realism" to support its themes,{{sfn|Napier|2018|p=185}} and the critic Kazuhiko Komatsu felt that the film's world, while sometimes consistent with historical fact, is essentially Miyazaki's fantasy.<ref>{{harvnb|Komatsu|1997|p=51}}, cited in {{harvnb|Napier|2005|p=237}}.</ref>

According to Napier, the film presents a much "grimmer" tone than his previous works, inspired by the themes of the {{lang|ja-Latn|Hōjōki}}.{{sfn|Napier|2018|pp=180–181}} She contrasted the nostalgic depictions of historical settings that Miyazaki had previously created to the film's rendering of the Muromachi period, which she wrote "refuses to sentimentalize the medieval history it highlights".{{sfn|Napier|2005|pp=236–237}} The film is unusual in Miyazaki's filmography for its lack of flying sequences. Napier suggested that its focus on lateral motion over vertical can be tied the "sense of entrapment and desperation" it presents.{{sfn|Napier|2005|pp=324–325|loc=note 7}} Studio Ghibli had begun hiring full-time animators by the early 1990s, in contrast to the industry standard of staff being employed on short-term contracts. Denison wrote that this helped the studio develop an animated "house style" over time.{{sfn|Denison|2018|pp=9–10}} Miyazaki felt that an important aspect of this style was the studio's aptitude for illustrating the natural world;<ref>{{harvnb|Miyazaki|2014|p=90}}, cited in {{harvnb|Denison|2018|p=10}}.</ref> Denison observed from an interview with the art directors that their approach was to "simplify and caricature nature's essential meanings", prioritizing moments of contemplation and mindfulness of the surrounding landscape.{{sfn|Denison|2018|p=10}} The film uses a palette for the forest that contrasts with the [[pastel colors]] typically used in Miyazaki films, employing darker shades of green and brown.{{sfn|Napier|2005|p=243}} Napier emphasized that the medium of animation, compared to [[live action]], is well suited for exploring the film's themes.{{sfn|Napier|2018|p=186}} The film depicts a number of animals and gods, but she noted that they are entirely distinct from the humans; most notably, the Forest Spirit presents a serene yet entirely foreign visage.{{sfn|Napier|2018|pp=186–187}}
<!--#endregion Style -->

== Release ==
<!--#region Release-->

{{Multiple image
| align             = right
| direction         = vertical
| width             = 150
| image1            = HayaoMiyazakiCCJuly09.jpg
| caption1          = [[Hayao Miyazaki]] ''(pictured in 2009)'', the director
| image2            = Toshio Suzuki, Howl's Moving Castle premiere.jpg
| caption2          = [[Toshio Suzuki]] ''(pictured in 2004)'', the producer
}}

=== Marketing and Japanese release ===

The promotional strategy was spearheaded by the film's producer, [[Toshio Suzuki]], who by 1997 had already developed relationships within the media industry while promoting previous Studio Ghibli releases.{{sfn|Yoshioka|2018|p=33}} Napier noted that the marketing put the film under the Studio Ghibli brand for the first time – as opposed to previous works that were labeled primarily as Miyazaki films – which she felt reflected Suzuki's rising position as the studio's main producer.{{sfn|Napier|2018|p=179}} According to Suzuki, three important elements of the campaign were the repeated use of a recognizable title logo, key imagery from the film, and a tagline.<ref>{{harvnb|Suzuki|2005|p=122}}, cited in {{harvnb|Denison|2018|p=6}}.</ref> The tagline underwent several iterations before, with Suzuki's input, the final phrase was chosen: "Live."{{sfn|Kanō|2006|pp=209–210}} Suzuki also changed the title from the original intention of ''The Legend of Ashitaka''{{efn|[[Japanese language|Japanese]]: {{lang|ja|アシタカの𦻙記}}, [[Hepburn romanization|Hepburn]]: {{tlit|ja|Hepburn|Ashitaka no Sekki}}. Napier alternatively translated this title as ''The Tale of Ashitaka''.{{sfn|Napier|2018|pp=182–183}} }} without Miyazaki's initial approval, as he found it less interesting.<ref>{{harvnb|McCarthy|2002|p=182}}; {{harvnb|Suzuki|2016|p=71}}, cited in {{harvnb|Napier|2018|p=276|loc=note 12}}.</ref> The budget allotted for the film's promotion was at least {{JPY|2.6 billion}}, even higher than the production budget, making it the largest film advertisement campaign in Japan at the time.{{sfn|Kanō|2006|p=209}} The film scholar [[Shiro Yoshioka]] argued that it was essential for ''Princess Mononoke'' to be a commercial success to make up the large production budget, and the scale of its campaign was significantly expanded from previous films' as a result.{{sfn|Yoshioka|2018|p=33}} Several types of merchandise, such as [[Stuffed toy|stuffed]] {{tlit|ja|kodama}} and copies of San's mask, were sold.{{sfn|Denison|2018|pp=16–17}} A number of preview screenings were organized before the release to advertise the film by word of mouth. 130 of them were originally scheduled and 70 were ultimately held, a number that the film scholar [[Seiji Kanō]] still found "astonishing"; Miyazaki's previous film ''Porco Rosso'' had had only 23 screenings by comparison.<ref>{{harvnb|Kanō|2006|p=210}}, cited in {{harvnb|Yoshioka|2018|p=33}}.</ref>

Following the distribution deal struck between [[Walt Disney Studios (division)|Walt Disney Studios]] and Studio Ghibli's then–parent company [[Tokuma Shoten]] in 1997, the film would be the first among Miyazaki's works to receive a worldwide release. While the arrangement did extend the studio's reach to new regions, the announcement was made primarily to attract local audiences.{{sfnm|Napier|2018|1p=179|Denison|2023|2p=173}} Miyazaki also hinted at his retirement following the film's release, further piquing audience interest.{{sfn|Yoshioka|2018|p=34}} The film was marketed as a split between an anime and an [[art house film]], avoiding advertising in the mainstream ahead of its release.{{sfn|Denison|2008|p=106–107}} Denison felt that this choice was indicative of the studio's initial lack of confidence in the film's commercial viability{{sfn|Denison|2008|p=107}} and their perception of its financial riskiness.{{sfn|Denison|2018|pp=5–6}} {{ill|Yasuyoshi Tokuma|ja|徳間康快}}, the head of Tokuma Shoten, said in an interview before the release that it would be a "huge success" just to make back the investments that had been put into the film.<ref>Cited in {{harvnb|Denison|2018|p=5}}.</ref> Denison argued, however, that the scale of the marketing campaign revealed the studio's ultimate aim to achieve a commercial success;{{sfn|Denison|2008|p=107}} she interpreted this approach to the release as a "local equivalent of the 'calculated' [[Blockbuster (entertainment)|blockbuster]] film."{{sfn|Denison|2018|p=5}}

''Princess Mononoke'' was presented by Tokuma Shoten, [[Nippon Television Network]], and [[Dentsu]],{{sfn|Miyazaki|1999|p=217}} and released theatrically in Japan on July 12, 1997,{{sfn|Galbraith|2008|p=414}} to immense public anticipation.{{sfn|Yoshioka|2018|p=34}} The film was screened at 260 of the country's 1800 cinemas,<ref>{{harvnb|Kanō|2006|p=211}}, cited in {{harvnb|Yoshioka|2018|p=34}}.</ref> many of which reported people queueing to purchase tickets in previously unseen numbers.{{sfn|Yoshioka|2018|p=34}} The Japanese specialist magazine ''[[Animage]]'', which was published by Tokuma Shoten and had been closely associated with Studio Ghibli since the 1980s, put out special issues for the film's release, as did several other publications.{{sfnm|Denison|2018|1p=5|Yoshioka|2018|2pp=31–32}} Newspapers began to refer to the film's release as the "''Mononoke'' phenomenon",{{sfn|Yoshioka|2018|p=34}} as by the end of its first week, the film had brought in over a million viewers and earned {{JPY|1.5 billion}} at the box office.{{sfn|Kanō|2006|p=212}} Advertising for the film labeled it a blockbuster ({{tlit|ja|daihitto}}) and it increasingly competed with many high-profile films in the Japanese market including Hollywood imports such as ''[[The Lost World: Jurassic Park]]''{{nbsp}}(1997).{{sfnm|McCarthy|2002|1p=185|Denison|2008|2pp=108–109}} By November, it had surpassed {{JPY|9.65 billion}} in [[distribution rental]] sales, breaking the national record previously held by ''[[E.T. the Extra-Terrestrial]]''{{nbsp}}(1982).{{sfn|Kanō|2006|p=212}} 12{{nbsp}}million people, a tenth of Japan's population at the time, had come to see the film in theaters during that period.{{sfn|McCarthy|2002|pp=185–186}} A year after the film's release, it had attracted over 14.2{{nbsp}}million viewers{{sfn|Kanō|2006|p=212}} and earned {{JPY|11.3 billion}} in gross revenue,{{sfn|Yoshioka|2018|p=33}} making it the all-time [[List of highest-grossing films in Japan|highest-grossing film in the country]].{{efn|The film was overturned as the highest-grossing film in Japan shortly afterward by ''[[Titanic (1997 film)|Titanic]]''{{nbsp}}(1997).{{sfn|McCarthy|2002|p=186}} }}

=== English dub and American release ===

[[File:Gaiman, Neil (2007).jpg |thumb |upright=0.7 |[[Neil Gaiman]] ''(pictured in 2007)'', who wrote the English script]]

As part of the Disney–Tokuma deal, the film was handed over to [[Miramax Films]], a Disney subsidiary at the time, to dub and distribute in the United States and other regions.{{sfn|Denison|2018|p=14}} The dub was directed by [[Jack Fletcher (voice actor)|Jack Fletcher]], who had previously worked on the dubs of other Studio Ghibli films such as ''Kiki's Delivery Service'',{{sfn|Kanō|2006|p=215}} and its script was written by the fantasy author [[Neil Gaiman]], who was an unusual choice for anime localizations at the time, according to Denison.{{sfn|Denison|2018|p=15}} In an interview, Gaiman claimed that [[Harvey Weinstein]], who was the head of Miramax at the time, initially offered the role to the film director [[Quentin Tarantino]], who had then recommended Gaiman instead. Gaiman was intending to decline the offer before being impressed by a scene in the film in which a stone wets in the falling rain, saying "I have never seen anything like this. This is real filmmaking."{{sfn|Kelly|2022}} [[Steve Alpert]], an executive at Studio Ghibli, assisted with the translation.{{sfn|Nicholson|2018|p=134}}

Denison wrote that Miramax's approach to the dub "might be termed a project of indigenization" with an intent to form a new identity for the film outside of Japan.{{sfn|Denison|2005|p=2}} The language scholar Jennifer{{nbsp}}E. Nicholson wrote that the differences between the English dub and the original create a product more closely approaching an adaptation than a translation.{{sfn|Nicholson|2018|p=135}} Cultural differences between the United States and Japan, amplified by the film's discussion of specifically Japanese elements, resulted in a script that continually comingled the languages and cultures of the two.{{sfnm|Denison|2005|1p=2|Nicholson|2018|2p=135}} Gaiman inserted dialog for off-screen characters elucidating cultural concepts considered obscure for American audiences.{{sfn|Denison|2018|p=15}} Humor in particular demanded significant alterations; Gaiman approached the issue by searching for an "emotional equivalent" for the lines instead of considering the reason the originals were humorous.<ref>{{harvnb|Biodrowski|2009}}, cited in {{harvnb|Nicholson|2018|p=135}}.</ref> Gaiman recalled in later interviews that although he oversaw the writing process, alterations were sometimes made to the script without his knowledge. Several of the changes cut out terms that identified the setting of the film, such as substituting {{tlit|ja|[[sake]]}} with ''wine'' and removing mentions of Japan and China.<ref>{{harvnb|Biodrowski|2009}}, cited in {{harvnb|Nicholson|2018|p=136}}.</ref> Nicholson felt these decisions to be indicative of Miramax's intent to strip the film of its cultural context and divorce it from history entirely.{{sfn|Nicholson|2018|p=136}} Gaiman also recalled his drafts receiving contradictory corrections from both Miramax and Studio Ghibli, to which he responded by writing two sets of revisions and asking them to "go fight it out amongst [themselves]."<ref>{{harvnb|Townsend|1999}}, cited in {{harvnb|Nicholson|2018|p=136}}.</ref>

The film featured a variety of celebrity voice actors who had developed followings in both traditional acting and voice acting roles.{{sfn|Carter|2018|p=163}} Denison wrote that a collection of American and British accents were chosen in order to further remove elements of Japanese culture and color the film with "the 'American' voice that narrates it."<ref>{{harvnb|Denison|2005|p=12}}, cited in {{harvnb|Carter|2018|p=168}}.</ref> The English-language release was marketed primarily as an art house film,{{sfn|Denison|2018|p=15}} and the media scholar Emma Pett felt that choosing the Miramax label rather than the family film–oriented Buena Vista label helped target the film towards a "middlebrow, culturally sophisticated audience" outside the mainstream.{{sfn|Pett|2018|p=175}} By this time, Weinstein had developed a reputation for importing and cutting films from overseas to appeal to domestic audiences.{{sfn|Kelly|2022}} However, among the terms of the distribution deal were that Studio Ghibli would approve and have ultimate control of the translation, and that the film would not have any time cut.{{sfn|Nicholson|2018|p=134}} Weinstein attempted to convince Miyazaki and Suzuki otherwise but was unsuccessful.{{efn|The potential editing of ''Princess Mononoke'' by [[Miramax Films]] has been the subject of rumor.{{sfn|Pett|2018|p=185}} ''[[The Guardian]]''{{'s}} Xan Brooks reported in 2005 that Miyazaki was rumored to have sent the then–head of Miramax [[Harvey Weinstein]] a samurai sword in the mail with the attached message "No cuts." In response, Miyazaki stated, "Actually, my producer did that." He also claimed he "defeated" Weinstein's attempts to shorten the film's length.{{sfn|Brooks|2005}} The claim has subsequently appeared in other media coverage.<ref>{{harvnb|Collin|2014}}, cited in {{harvnb|Pett|2018|p=185}}.</ref> Emma Pett wrote in 2018 that Miyazaki was "complicit in the construction of his auteur image" and the perpetuation of the rumor by these responses.{{sfn|Pett|2018|p=185}} [[Steve Alpert]] recalled the events in his 2020 memoir, writing that [[Toshio Suzuki]], after procuring a replica sword from a shop in Tokyo, presented it to Weinstein at a meeting in New York. He then "shouted in English and in a loud voice: '<nowiki/>''Mononoke-hime'', no cut!{{'"}}{{sfn|Alpert|2020|p=76}} }} Gaiman said that Miramax subsequently rolled back the planned marketing campaign and opened the film in a very limited number of screens.{{sfn|Kelly|2022}} The English dub was screened for the first time at the [[48th Berlin International Film Festival]] on February 11, 1998,{{sfn|Kanō|2006|p=215}} and officially premiered at the [[Avery Fisher Hall]] in New York City on September 26.{{sfn|Kanō|2006|p=216}} It did not perform well at the American box office, earning only {{USD|2.3 million}}.{{sfn|Kelly|2022}}

=== Home media and other releases ===

In Japan, the film was released on [[VHS]] by [[Walt Disney Studios Home Entertainment|Buena Vista Home Entertainment]] in 1997, as well as by Tokuma Shoten in 1998.{{sfn|Nausicaa.net c}} By 2007, ''Princess Mononoke'' sold 4.4{{nbsp}}million DVD units in Japan.{{sfn|Nakamura|2007}}

The DVD release of ''Princess Mononoke'' in North America was not initially to include the Japanese audio track. Multiple online petitions were opened to retain it,{{sfn|Anime News Network|2000a}} and the original August 2000 release was delayed as a result.{{sfn|Anime News Network|2000b}} Miramax Home Entertainment released the DVD on December 19, 2000, with the original Japanese audio, the English dubbed audio and extras including a trailer and a documentary with interviews from the English dub voice actors.{{sfn|Anime News Network|2000c}}

[[Walt Disney Studios Home Entertainment]] released ''Princess Mononoke'' on [[Blu-ray]] on November 18, 2014. In its first week, it sold 21,860 units; by November 23, 2014, it had grossed {{USD|502,332}}.{{sfn|The Numbers}} It was later included in Disney's "The Collected Works of Hayao Miyazaki" Blu-ray set, released on November 17, 2015.{{sfn|Polo|2015}} [[GKIDS]] re-issued the film on Blu-ray and DVD on October 17, 2017.{{sfn|Giardina|2017}} {{As of|2020|10}}, the film has grossed {{USD|9.2 million}} from Blu-ray sales in the United States.{{sfn|The Numbers}}

In the United Kingdom, the film's Studio Ghibli anniversary release appeared several times on the annual lists of bestselling [[foreign language film]] on [[home video]].{{sfn|BFI|2020}}

On April 29, 2000, the English version of ''Princess Mononoke'' was released theatrically in Japan.{{sfn|Galbraith|2008|p=414}} The film had earned a total of {{USD|11 million}} outside Japan, bringing its worldwide total to {{USD|159 million}} at the time. The film has been rescreened in several runs around the world, including at the annual [[Studio Ghibli Fest]] organized by [[GKIDS]].{{sfn|Box Office Mojo}} {{As of|2020}}, the film has grossed {{USD|194.3 million}}.{{sfn|Loo|2020}}
<!--#endregion Release-->

== Music ==
<!--#region Music -->
{{Infobox album
| name       = Princess Mononoke Soundtrack
| type       = soundtrack
| artist     = [[Joe Hisaishi]]
| released   = July 2, 1997
| recorded   = 1997
| length     = 65:05
| label      = [[Tokuma Shoten|Tokuma Japan Communications]]
| producer   =
| prev_title = Parasite Eve
| prev_year  = 1997
| next_title = Hana-Bi
| next_year  = 1998
}}

[[File:Joe Hisaishi 2011.jpg |thumb |upright=0.7 |[[Joe Hisaishi]] ''(pictured in 2011)'', the soundtrack composer]]

As with many of Miyazaki's previous films, the film's score was composed by [[Joe Hisaishi]].{{sfn|McCarthy|2002|p=196}} According to McCarthy, the development of the score involved a much closer collaboration between the two than on previous works.{{sfn|McCarthy|2002|p=189}} Hisaishi first composed an [[image album]] – a collection of demos and musical sketches that serve as a precursor to the finished score – which he shared with Miyazaki and Suzuki.{{sfn|McCarthy|2002|p=189}} The unused title ''The Legend of Ashitaka'' appears here as the title of the opening theme.{{sfnm|1a1=Matsumoto|1a2=Hamada|1y=2013|2a1=Miyazaki|2y=2009|2pp=272–274}} With their input, the demos were then worked into the final score, performed by the Tokyo City Philharmonic.<!-- Not to be confused with the Tokyo Philharmonic. -->{{sfnm|McCarthy|2002|1p=189|Caraan|2020}} Tokuma Shoten released the image album in July 1996 and the soundtrack album in July 1997.{{sfn|Hisaishi}} The vocal theme song performed by the [[countertenor]] singer [[Yoshikazu Mera]] was released as a single before the film's release and became popular with Japanese audiences.{{sfn|Denison|2005|p=4}} A third version of the soundtrack, arranged for [[symphony orchestra]] and performed by the [[Czech Philharmonic]], was released in 1998.{{sfn|Caraan|2020}}

The vocal theme was re-recorded for the English dub by the American vocalist [[Sasha Lazard]]. Denison argued that this was a part of Miramax's efforts to remove Japanese elements from the film. However, she also acknowledged that the score deviates substantially from a typical Hollywood-style compositional approach. [[Leitmotif]]s, for example, which are commonly used to represent characters or settings, are instead used in transitional moments between more significant narrative events.{{sfn|Denison|2005|p=4}} McCarthy also wrote that the film complements the scenes featuring music and dialog with a liberal use of silence and ambient sounds to augment the tension of certain moments, a significant departure from American scoring approaches.{{sfn|McCarthy|2002|pp=189–190}} Hisaishi also uses [[Japanese musical scales|Japanese pentatonic scales]] in conjunction with Western tonalities.{{sfn|McCarthy|2002|p=189}}

{| class="wikitable plain-row-headers sortable"
|+ Music releases for ''Princess Mononoke''{{hairspace}}{{sfnm|1a1=Hisaishi|2a1=Kanō|2y=2006|2p=209|3a1=Mera|3y=1997}}
! scope="col" | Release&nbsp;date
! scope="col" | English title
! scope="col" | Japanese title 
! scope="col" | Estimated units
|-
| {{dts|July 22, 1996}}
! scope="row" | ''Princess Mononoke Image Album''
| {{lang|ja|もののけ姫 イメージアルバム}}
| style="text-align: right" | {{nts|75000}}
|-
| {{dts|June 25, 1997}}
! scope="row" | {{sort|Princess Mononoke|"''Princess Mononoke''"}}{{efn|Released as a single by [[Yoshikazu Mera]] featuring the film's vocal theme song.{{sfn|Mera|1997}} }}
| {{lang|ja|もののけ姫}}
| style="text-align: right" | {{nts|605000}}
|-
| {{dts|July 2, 1997}}
! scope="row" | ''Princess Mononoke Soundtrack''
| {{lang|ja|もののけ姫 サウンドトラック}}
| style="text-align: right" | {{nts|500000}}
|-
| {{dts|July 8, 1998}}
! scope="row" | ''Princess Mononoke Symphonic Suite''
| {{lang|ja|交響組曲 もののけ姫}}
| style="text-align: right" | {{nts|80000}}
|}
<!--#endregion Music -->

== Reception ==
<!--#region Reception-->

=== Critical response ===

The film was generally well received by critics in Japan, and Kanō described a "flurry of praise" in the Japanese media following its box office success.{{sfn|Kanō|2006|p=217–218}} ''[[The Asahi Shimbun]]''{{'s}} Noboru Akiyama felt that the work displayed a "strong artistic quality" and a number of reviews in animation magazines highlighted its visual fidelity.<ref>Cited in {{harvnb|Kanō|2006|p=217–218}}.</ref> Several publications featured articles from critics and academics covering several aspects of the film's production as well as interviews with key staff.{{sfn|Yoshioka|2018|pp=31–32}} According to Yoshioka, a variety of academics were attracted to write about the film due to themes such as Japanese cultural history being relatively "easy topics" to cover, but also in response to Miyazaki's growing status as a [[public intellectual]] ({{tlit|ja|bunkajin}}) within Japanese society.{{sfn|Yoshioka|2018|p=32}} Some scholars speculated on the factors that contributed to the film's success; a number commented on the reactions of younger audience members, who found the film's themes relatable to their personal struggles and empathized with its motifs of hope.{{sfn|Yoshioka|2018|pp=34–35}} Napier also wrote that the film's themes of conflict and coexistence with nature and the spirit world resonated strongly with viewers in Japan.{{sfn|Napier|2018|p=177}} Very few reviews directed criticism at the film, and among them Kanō found many of the comments to be "highly questionable".{{sfn|Kanō|2006|p=218}} Horii Kenichiro of the ''[[Shūkan Bunshun]]'' felt that the text was difficult to parse, and others were disappointed by the fantasy that Miyazaki had constructed. A few critics also faulted the female characters' lack of sex appeal.<ref>Cited in {{harvnb|Kanō|2006|p=218}}.</ref>

Despite its poor performance in the American box office, the film received widespread praise from critics in the United States.{{sfnm|Kanō|2006|1p=216|Pett|2018|2p=176}} On the [[review aggregator]] website [[Metacritic]], the film has a [[weighted average]] score of 76 out of 100 based on 29 reviews, indicating "generally favorable reviews".{{sfn|Metacritic}} On [[Rotten Tomatoes]], 93% of the 117 critic reviews are positive, with an average rating of 8.1 out of 10. The website's consensus reads, "With its epic story and breathtaking visuals, ''Princess Mononoke'' is a landmark in the world of animation."{{sfn|Rotten Tomatoes}} In 2018, Pett conducted a [[meta-analysis]] of 1065 critical reviews published in the United States and the United Kingdom.{{sfn|Pett|2018|p=173}} Initial reviews often discussed the cultural differences that the film would exhibit and the alterations that Miramax had made to the presentation; [[Ty Burr]] of ''[[Entertainment Weekly]]'' was generally appreciative but felt "very curious to see if American audiences can handle it."<ref>{{harvnb|Burr|1999}}, cited in {{harvnb|Pett|2018|pp=175–176}}.</ref> [[Janet Maslin]] of ''[[The New York Times]]'', however, felt that the film had been "effectively translated{{nbsp}}[...] without losing its Japanese essence".<ref>{{harvnb|Maslin|1999}}, cited in {{harvnb|Pett|2018|p=175}}.</ref> Many critics compared the film with the family-oriented works, primarily produced by Disney, which defined audience expectations for animations in the United States.{{sfn|Pett|2018|p=178}} ''[[Variety (magazine)|Variety]]''{{'s}} Leonard Klady wrote that the film "[flies] in the face of popular Western animation" by eschewing musical numbers or narratives written to appeal to children.<ref>{{harvnb|Klady|1998}}, cited in {{harvnb|Pett|2018|p=178}}.</ref> Critics also highlighted the violence and mature themes as aspects inappropriate for children.{{sfn|Pett|2018|p=179}} Burr and others also favorably compared the film's fantasy elements with those of ''[[Star Wars: Episode I – The Phantom Menace]]''{{nbsp}}(1999) – which had released a few months prior – and novels such as ''[[The Lord of the Rings]]''{{nbsp}}(1954–1955) and ''[[The Chronicles of Narnia]]''{{nbsp}}(1950–1956).{{sfn|Pett|2018|pp=181–182}} [[Roger Ebert]] of the ''[[Chicago Sun-Times]]'' concluded that the film was the greatest of Miyazaki's works and recommended it for a nomination at the [[Academy Awards]].<ref>{{harvnb|Ebert|1999a}}, cited in {{harvnb|Pett|2018|pp=183–184}}.</ref> In the United Kingdom, however, the film received a very limited number of reviews and was largely panned by critics. Pett and Andrew Osmond of ''[[The Guardian]]'' ascribed this to a general negative perception of anime in British society at the time, rooted in controversies caused by certain violent and sexually explicit animations.<ref>{{harvnb|Osmond|2000}}, cited in {{harvnb|Pett|2018|pp=176–177}}.</ref>

Several publications have featured the film in their lists of best films; ''Animage'' ranked ''Princess Mononoke'' 47th in their list of the 100 best anime in 2001.{{sfn|Anime News Network|2001}} It ranked 488th on ''[[Empire (film magazine)|Empire]]''{{'s}} list of the 500 greatest films,{{sfn|''Empire''}} 26th on [[Time Out (company)|Time Out]]'s 50 greatest animated films,{{sfn|Time Out}} and 26th on ''[[Total Film]]''{{'s}} 50 greatest animated films.{{sfn|''Total Film''}}

=== Accolades ===

''Princess Mononoke'' was [[List of Japanese submissions for the Academy Award for Best Foreign Language Film|submitted by Japan]] to be nominated for [[Academy Award for Best Foreign Language Film|Best Foreign Language Film]] at the [[70th Academy Awards]] but was ultimately unsuccessful.{{sfn|Academy of Motion Picture Arts and Sciences|1997}}

{| class="wikitable sortable plain-row-headers"
|-
! scope="col" | Award / Publication
! scope="col" | Year
! scope="col" | Category
! scope="col" | Recipient
! scope="col" | Result
! scope="col" class="unsortable" | {{Refh}}
|-
! scope="rowgroup" rowspan="3" | ''[[Kinema Junpo]]''
| rowspan="15" style="text-align:center;" | {{dts|1997}}
| Best Ten (Critics' Choice)
| rowspan="2" | ''Princess Mononoke''
| {{won}}
| rowspan="3" style="text-align:center;" | {{sfn|Nausicaa.net b}}
|-
| Best Ten (Readers' Choice)
| {{Runner up}}
|-
| Best Director (Readers' Choice)
| {{sort|Miyazaki, Hayao|[[Hayao Miyazaki]]}}
| {{won}}
|-
! scope="rowgroup" rowspan="3" | 52nd [[Mainichi Film Award]]s
| [[Mainichi Film Award for Best Film|Best Film]]
| rowspan="3" | ''Princess Mononoke''
| {{won}}
| rowspan="3" style="text-align:center;" | {{sfn|''Mainichi Shimbun''}}
|-
| [[Mainichi Film Award for Best Animation Film|Best Animation Film]]
| {{won}}
|-
| Japanese Movie Fans' Choice
| {{won}}
|-
! scope="rowgroup" rowspan="2" | 10th [[Nikkan Sports Film Award]]s
| [[Nikkan Sports Film Award for Best Director|Best Director]]
| {{sort|Miyazaki, Hayao|[[Hayao Miyazaki]]}}
| {{won}}
| rowspan="2" style="text-align:center;" | {{sfn|Nikkan Sports}}
|-
| [[Nikkan Sports Film Award for Yūjirō Ishihara Award|Yūjirō Ishihara Award]]
| rowspan="4" | ''Princess Mononoke''
| {{won}}
|-
! scope="row" | 1st [[Japan Media Arts Festival]]
| Grand Prize in Animation
| {{won}}
| rowspan="3" style="text-align:center;" | {{sfn|Nausicaa.net b}}
|-
! scope="row" | 7th [[Tokyo Sports Film Award]]
| [[Tokyo Sports Film Award for Best Director|Best Director]]
| {{won}}
|-
! scope="row" | [[Osaka Film Festival]]
| Special Award
| {{won}}
|-
! scope="row" | 21st {{ill|Fumiko Yamaji Award|ja|山路ふみ子映画賞}}
| Cultural Award
| {{sort|Suzuki, Toshio|[[Toshio Suzuki (producer)|Toshio Suzuki]]}}
| {{won}}
| style="text-align:center;" | {{sfn|Fumiko Yamaji Cultural Foundation}}
|-
! scope="row" | 15th {{ill|Golden Gross Award|ja|ゴールデングロス賞}}
| Gold Award
| ''Princess Mononoke''
| {{won}}
| style="text-align:center;" | {{sfn|Japan Association of Theater Owners}}
|-
! scope="rowgroup" rowspan="2" | [[39th Japan Record Awards]]
| Composition Award
| {{sort|Hisaishi, Joe|[[Joe Hisaishi]]}}
| {{won}}
| style="text-align:center;" rowspan="2" | {{sfn|Japan Composer's Association}}
|-
| Best Album Production
| Music of ''Princess Mononoke''
| {{won}}
|-
! scope="rowgroup" rowspan="2" | 21st [[Japan Academy Film Prize]]
| rowspan="6" style="text-align:center;" | {{dts|1998}}
| [[Japan Academy Film Prize for Picture of the Year|Picture of the Year]]
| ''Princess Mononoke''
| {{won}}{{efn|name=JAFP|text=''Princess Mononoke'' was the first animated film to be nominated for, and receive, this award.{{sfn|Odell|Le Blanc|2009|p=112}} }}
| rowspan="2" style="text-align:center;" | {{sfn|Japan Academy Film Prize}}
|-
| Special Award
| {{sort|Mera, Yoshikazu|[[Yoshikazu Mera]]}}
| {{won}}
|-
! scope="row" | 40th [[Blue Ribbon Awards]]
| [[Blue Ribbon Awards for Special Award|Special Award]]
| rowspan="2" | ''Princess Mononoke''
| {{won}}
| style="text-align:center;" | {{sfn|Nausicaa.net b}}
|-
! scope="row" | 22nd [[Hochi Film Award]]s
| Special Award
| {{won}}
| style="text-align:center;" | {{sfn|''Sports Hochi''}}
|-
! scope="row" | 12th {{ill|Takasaki Film Festival|ja|高崎映画祭}}
| Best Director
| {{sort|Miyazaki, Hayao|[[Hayao Miyazaki]]}}
| {{won}}
| style="text-align:center;" | {{sfn|Takasaki Film Festival}}
|-
! scope="row" | [[Elan d'or Awards]]
| [[Elan d'or Award Special Prize|Special Prize]]
| ''Princess Mononoke''
| {{won}}
| style="text-align:center;" | {{sfn|Nausicaa.net b}}
|-
! scope="row" | [[28th Annie Awards]]
| rowspan="2" style="text-align:center;" | {{dts|2000}}
| Outstanding Individual Achievement for Directing in an Animated Feature Production
| {{sort|Miyazaki, Hayao|[[Hayao Miyazaki]]}}
| {{nom}}{{efn|name=Annie|text=Awarded for the English-language version of the film.{{sfn|Annie Awards}} }}
| style="text-align:center;" | {{sfn|Annie Awards}}
|-
! scope="row" | [[4th Golden Satellite Awards]]
| [[Satellite Award for Best Animated or Mixed Media Feature|Best Animated or Mixed Media Film]]
| rowspan="3" | ''Princess Mononoke''
| {{nom}}
| style="text-align:center;" | {{sfn|International Press Academy}}
|-
! scope="row" | [[27th Saturn Awards]]
| rowspan="2" style="text-align:center;" | {{dts|2001}}
| Best Home Video Release
| {{won}}
| style="text-align:center;" | {{sfn|Saturn Awards}}
|-
! scope="row" | 36th [[Nebula Award]]s
| [[Nebula Award for Best Script|Best Script]]
| {{nom}}
| style="text-align:center;" | {{sfn|Science Fiction and Fantasy Writers of America}}
|}
<!--#endregion Reception-->

== Legacy ==
<!--#region Legacy-->

[[File:James Cameron by Gage Skidmore.jpg|thumb|upright=0.7|[[James Cameron]] ''(pictured in 2016)'' cited ''Princess Mononoke'' as an influence on his science fiction film ''[[Avatar (2009 film)|Avatar]]''{{nbsp}}(2009).{{sfn|Ito|2009}}]]

According to Napier, the film is commonly considered to be the most significant of Miyazaki's feature films.{{sfn|Napier|2018|p=182}} She wrote that the film marked a "new chapter" in his filmography on account of its nuanced and intermingled themes and the unprecedented scope of its production.{{sfn|Napier|2018|pp=176–177}} The film was longer and more expensive to produce than any Studio Ghibli film up to that point, which Napier reported induced a high level of stress and demanded "almost superhuman efforts" from the entire staff, Miyazaki included. Some senior employees, worn out from the film's production, left Studio Ghibli in its aftermath, with Miyazaki himself increasingly withdrawing from public relations.{{sfn|Napier|2018|p=178}} Suzuki recounted that Miyazaki was overtaxed from supervising the storyboards, music, and vocal recordings, and had "given his body and soul" to the making of the film.<ref>{{harvnb|Suzuki|2016|pp=100, 105}}, cited in {{harvnb|Napier|2018|p=178}}.</ref> In an interview before the film's release, Miyazaki said that "Physically, I just can't go on."<ref>Cited in {{harvnb|McCarthy|2002|p=189}}.</ref> He retired in 1998, but returned shortly after to direct ''[[Spirited Away]]''{{nbsp}}(2001) following the untimely death of [[Yoshifumi Kondō]], who was intended to be Miyazaki's successor at Studio Ghibli.{{sfn|Napier|2018|p=195}}

''Princess Mononoke'' was the first film in which Miyazaki directly referenced scholarly writing, which strongly contributed to his status in Japanese society as a {{tlit|ja|bunkajin}} and marked his works out for further academic inquiry.{{sfn|Yoshioka|2018|pp=25, 35–36}} Alongside ''Neon Genesis Evangelion'', the film also laid the foundation for anime as a whole to become the subject of study by academics and critics.{{sfn|Yoshioka|2018|p=26}} Yoshioka suggested that Miyazaki's growing reputation may have constrained his later creations – as he never wrote a feature film in the style of his earlier action-adventure works after ''Princess Mononoke'' – and motivated him to retire from the public eye.{{sfn|Yoshioka|2018|p=36}} McCarthy, however, felt that the film provides a novel view of femininity that allows the female characters to express themselves without needing comparison to the men, but writes that Miyazaki "opened the gates of this marvelous possibility" only to revert to traditional storytelling and character archetypes in his subsequent films.{{sfn|McCarthy|2018|p=110–111}}

Yoshioka also felt the film's widespread success turned Miyazaki into an "icon of contemporary Japanese cinema" on the international stage and primed many of his subsequent works to become commercial successes in turn.{{sfn|Yoshioka|2018|pp=26, 36}} It has since become a [[cult film]] due to itssustained popularity among fans,{{sfn|Denison|2018|p=17}} and Pett wrote that the film is now an "established cultural touchstone", identifying multiple other works which it had influenced.{{sfn|Pett|2018|p=185–186}} [[James Cameron]], for example, cited the film as an influence on his science fiction film ''[[Avatar (2009 film)|Avatar]]''{{nbsp}}(2009).{{sfn|Ito|2009}} Critics have also named a number of video games that take influence from the film, including ''[[Ori and the Blind Forest]]''{{nbsp}}(2015){{sfn|Myers|2020}} and ''[[The Legend of Zelda: Breath of the Wild]]''{{nbsp}}(2017).{{sfn|Rowe|2023}} Pett identified a shift in critical writings that reinterpreted San as a feminist figure.{{sfn|Pett|2018|p=188}} In April 2013, Studio Ghibli partnered with the English production company Whole Hog Theatre to create a stage adaptation of the film.{{sfn|Tanaka|2013}} It premiered at the [[New Diorama Theatre]] in London after selling out a year ahead of time,{{sfn|Lussier|2012}} and moved to [[Tokyo]] later that year.{{sfn|Tanaka|2013}}
<!--#endregion Legacy-->

== Notes ==

{{notelist}}

== References ==

=== Citations ===

{{reflist|30em}}

=== Book and journal sources ===

{{refbegin|30em}}
* <!-- Alpert 2020 --> {{cite book |last1=Alpert |first1=Steve |author-link=Steve Alpert |title=Sharing a House with the Never-Ending Man: 15 Years at Studio Ghibli |date=2020 |publisher=[[Stone Bridge Press]] |isbn=978-1-6117-2057-0}}
* <!-- Chan 2015 --> {{cite book |last=Chan |first=Melanie |chapter=Environmentalism and the animated landscape in ''Nausicaä of the Valley of the Wind'' and ''Princess Mononoke'' |editor-last=Pallant |editor-first=Chris |editor-link=Chris Pallant |title=Animated Landscapes: History, Form, and Function |year=2015 |publisher=[[Bloomsbury Academic]] |isbn=978-1-6289-2349-0 |url=https://archive.org/details/animated-landscapes-history-form-and-function |url-access=registration}}
* <!-- Clements 2013 --> {{cite book |last=Clements |first=Jonathan |author-link=Jonathan Clements |title=Anime: A History |publisher=[[British Film Institute]] |date=2013 |isbn=978-1-84457-390-5}}
* <!-- Clements & McCarthy 2015 --> {{cite encyclopedia |last1=Clements |first1=Jonathan |author-link1=Jonathan Clements |last2=McCarthy |first2=Helen |author-link2=Helen McCarthy |title=The Anime Encyclopedia: A Century of Japanese Animation |edition=3rd |year=2015 |orig-year=2006 |publisher=[[Stone Bridge Press]] |isbn=978-1-6117-2018-1 |title-link=The Anime Encyclopedia}}
* <!-- Denison 2005 --> {{cite journal |last=Denison |first=Rayna |author-link=Rayna Denison |date=November 2005 |title=Disembodied stars and the cultural meanings of ''Princess Mononoke''{{'s}} soundscape |work=Scope |issue=3 |url=https://www.nottingham.ac.uk/scope/documents/2005/october-2005/denison.pdf |issn=1465-9166 |access-date=November 14, 2024 |archive-date=March 8, 2024 |archive-url=https://web.archive.org/web/20240308043718/https://www.nottingham.ac.uk/scope/documents/2005/october-2005/denison.pdf |url-status=live }}
* <!-- Denison 2008 --> {{cite book |last=Denison |first=Rayna |author-link=Rayna Denison |chapter=The language of the blockbuster: promotion, ''Princess Mononoke'', and the ''daihitto'' in Japanese film culture |editor-last1=Hunt |editor-first1=Leon |editor-last2=Wing-Fai |editor-first2=Leung |title=East Asian Cinemas: Exploring Transnational Connections on Film |publisher=[[I.B. Tauris]] |date=2008 |isbn=978-1-84511-615-6}}
* <!-- Denison 2018 --> {{Cite book |title=Princess Mononoke: Understanding Studio Ghibli's Monster Princess |publisher=[[Bloomsbury Academic]] |year=2018 |isbn=978-1-5013-2976-0 |editor-last=Denison |editor-first=Rayna |editor-link=Rayna Denison |url=https://www.bloomsburycollections.com/monograph?docid=b-9781501329753 |access-date=<!-- No --> |archive-date=<!-- No --> |archive-url=<!-- No --> |url-status=<!-- No --> }}
** {{harvc |last=Denison |first=Rayna |author-link=Rayna Denison |c=Introducing Studio Ghibli's monster princess: from ''Mononokehime'' to ''Princess Mononoke'' |in=Denison |year=2018 |pages=1–20 |nb=yes |id=Denison intro |url=https://www.bloomsburycollections.com/monograph-detail?docid=b-9781501329753&pdfid=9781501329753-005.pdf&tocid=b-9781501329753-0000097}}
** {{harvc |last=Yoshioka |first=Shiro |author-link=Shiro Yoshioka |c=''Princess Mononoke'': a game changer |in=Denison |year=2018 |pages=25–40 |nb=yes |url=https://www.bloomsburycollections.com/monograph-detail?docid=b-9781501329753&pdfid=9781501329753.ch-001.pdf&tocid=b-9781501329753-chapter1}}
** {{harvc |last=Niskanen |first=Eija |c=Deer gods, nativism, and history: mythical and archeological layers in ''Princess Mononoke'' |in=Denison |year=2018 |pages=41–56 |nb=yes |url=https://www.bloomsburycollections.com/monograph-detail?docid=b-9781501329753&pdfid=9781501329753.ch-002.pdf&tocid=b-9781501329753-chapter2}}
** {{harvc |last1=Daniels-Lerberg |first1=Tracey |last2=Lerberg |first2=Matthew |c=To 'see with eyes unclouded by hate': ''Princess Mononoke'' and the quest for environmental balance |in=Denison |year=2018 |pages=57–73 |nb=yes |url=https://www.bloomsburycollections.com/monograph-detail?docid=b-9781501329753&pdfid=9781501329753.ch-003.pdf&tocid=b-9781501329753-chapter3}}
** {{harvc |last=McCarthy |first=Helen |author-link=Helen McCarthy |c=Teenage wildlife: ''Princess Mononoke'' and Hayao Miyazaki's theory of the feminine |in=Denison |year=2018 |pages=97–114 |nb=yes |url=https://www.bloomsburycollections.com/monograph-detail?docid=b-9781501329753&pdfid=9781501329753.ch-005.pdf&tocid=b-9781501329753-chapter5}}
** {{harvc |last=Nicholson |first=Jennifer E |c=The translation and adaptation of Miyazaki's spirit princess in the West |in=Denison |year=2018 |pages=133–150 |nb=yes |url=https://www.bloomsburycollections.com/monograph-detail?docid=b-9781501329753&pdfid=9781501329753.ch-007.pdf&tocid=b-9781501329753-chapter7}}
** {{harvc |last=Carter |first=Laz |c=Marketing ''Mononoke'': the ''daihitto'' becoming Disney |in=Denison |year=2018 |pages=151–172 |nb=yes |url=https://www.bloomsburycollections.com/monograph-detail?docid=b-9781501329753&pdfid=9781501329753.ch-007.pdf&tocid=b-9781501329753-chapter8}}
** {{harvc |last=Pett |first=Emma |c=Homer, Ovid, Disney, and ''Star Wars'': the critical reception and transcultural popularity of ''Princess Mononoke'' |in=Denison |year=2018 |pages=173–192 |nb=yes |url=https://www.bloomsburycollections.com/monograph-detail?docid=b-9781501329753&pdfid=9781501329753.ch-009.pdf&tocid=b-9781501329753-chapter9}}
* <!-- Denison 2023 --> {{cite book |last=Denison |first=Rayna |author-link=Rayna Denison |date=2023 |title=Studio Ghibli: An Industrial History |publisher=[[Palgrave Macmillan]] |isbn=978-3-031-16843-7}}
* <!-- Galbraith 2008 --> {{cite book |last=Galbraith |first=Stuart IV |title=The Toho Studios Story: A History and Complete Filmography |year=2008 |publisher=[[Scarecrow Press]] |isbn=978-1-4616-7374-3}}
* <!-- Greenberg 2018 --> {{Cite book |title=Hayao Miyazaki: Exploring the Early Work of Japan's Greatest Animator |last=Greenberg |first=Raz |author-link=Raz Greenberg |publisher=[[Bloomsbury Academic]] |year=2018 |isbn=978-1-5013-3594-5 |url=https://www.bloomsburycollections.com/monograph?docid=b-9781501335976&st=hayao+miyazaki |access-date=<!-- No --> |archive-date=<!-- No --> |archive-url=<!-- No --> |url-status=<!-- No --> }}
* <!-- Kanō 2006 --> {{Cite book |script-title=ja:宮崎駿全書 |title-link=Hayao Miyazaki bibliography#The Complete Hayao Miyazaki |last=Kanō |first=Seiji |author-link=Seiji Kanō |publisher=Film Art |year=2006 |language=ja |trans-title=The Complete Hayao Miyazaki |isbn=978-4-8459-0687-1}}
* <!-- McCarthy 2002 --> {{cite book |last=McCarthy |first=Helen |author-link=Helen McCarthy |year=2002 |orig-year=1999 |title=Hayao Miyazaki: Master of Japanese Animation |title-link=Hayao Miyazaki: Master of Japanese Animation |publisher=[[Stone Bridge Press]] |isbn=978-1-8806-5641-9}}
* <!-- Miyazaki 1999 --> {{Cite book |title=Princess Mononoke: The Art and Making of Japan's Most Popular Film of All Time |last=Miyazaki |first=Hayao |translator-last1=Schilling |translator-first1=Mark |publisher=[[Hachette Books|Hyperion]] |year=1999 |orig-year=1997 |isbn=978-0-7868-6609-0 |author-link=Hayao Miyazaki |translator-link1=Mark Schilling |url=https://archive.org/details/princessmononoke0000unse_x4x2 |url-access=registration}}
** {{harvc |last=Schilling |first=Mark |author-link=Mark Schilling |c=Introduction |in=Miyazaki |year=1999 |nb=yes |pp=3–8}}
* <!-- Miyazaki 2002 --> {{cite book |last=Miyazaki |first=Hayao |author-link=Hayao Miyazaki |script-title=ja:風の帰る場所ナウシカから千尋までの軌跡 |title-link=The Place Where the Wind Changes: The Path from Nausicaä to Chihiro |trans-title=The Place Where the Wind Changes: The Path from Nausicaä to Chihiro |language=ja |year=2002 |publisher=Rockin' On |isbn=978-4-8605-2007-6}}
* <!-- Miyazaki 2009 --> {{Cite book |last=Miyazaki |first=Hayao |author-link=Hayao Miyazaki |title=Starting Point: 1979–1996 |title-link=Starting Point: 1979–1996 |publisher=[[Viz Media]] |year=2009 |orig-year=1996 |translator-last1=Cary |translator-first1=Beth |translator-last2=Schodt |translator-first2=Frederik L. |translator-link2=Frederik L. Schodt |isbn=978-1-4215-6104-2}}
* <!-- Miyazaki 2014 --> {{cite book |last=Miyazaki |first=Hayao |author-link=Hayao Miyazaki |title=Turning Point: 1997–2008 |title-link=Turning Point: 1997–2008 |publisher=[[Viz Media]] |year=2014 |orig-year=2008 |translator-last1=Cary |translator-first1=Beth |translator-last2=Schodt |translator-first2=Frederik L. |translator-link2=Frederik L. Schodt |isbn=978-1-9747-2450-5}}
* <!-- Napier 2005 --> {{Cite book |last=Napier |first=Susan J. |author-link=Susan J. Napier |title=Anime from Akira to Howl's Moving Castle: Experiencing Contemporary Japanese Animation |year=2005 |publisher=[[Palgrave Macmillan]] |isbn=978-1-4039-7051-0 |orig-year=2001 |title-link=Anime from Akira to Princess Mononoke}}
* <!-- Napier 2018 --> {{Cite book |title=Miyazakiworld: A Life in Art |title-link=Miyazakiworld |last=Napier |first=Susan J. |author-link=Susan J. Napier |publisher=[[Yale University Press]] |year=2018 |isbn=978-0-3002-2685-0}}
* <!-- Odell & Le Blanc 2009 --> {{Cite book |title=Studio Ghibli: The Films of Hayao Miyazaki and Isao Takahata |title-link=Studio Ghibli: The Films of Hayao Miyazaki and Isao Takahata |last1=Odell |first1=Colin |last2=Le Blanc |first2=Michelle |publisher=Kamera |year=2009 |isbn=978-1-84243-279-2}}
* <!-- Oshii & Ueno 2004 --> {{cite book |last1=Oshii |first1=Mamoru |author-link1=Mamoru Oshii |last2=Ueno |first2=Toshiya |author-link2=Toshiya Ueno |year=2004 |script-chapter=ja:宮崎駿の功罪 |trans-chapter=The good and the bad of Hayao Miyazaki |script-title=ja:宮崎駿の世界 |trans-title=The World of Hayao Miyazaki |publisher=[[Takeshobo]] |isbn=978-4-8124-1943-4}}
* <!-- Suzuki 2005 --> {{cite book |last=Suzuki |first=Toshio |author-link=Toshio Suzuki |script-title=ja:映画道楽 |trans-title=My Film Hobby |language=ja |publisher=[[Pia Corporation]] |year=2005 |isbn=978-4-8356-1540-0}}
* <!-- Suzuki 2016 --> {{cite book |last=Suzuki |first=Toshio |author-link=Toshio Suzuki |script-title=ja:ジブリの仲間たち |trans-title=Friends of Ghibli |language=ja |date=2016 |publisher=[[Shinchosha]] |isbn=978-4-1061-0674-3}}
* <!-- Thevenin 2013 --> {{cite journal |last1=Thevenin |first1=Benjamin |title=''Princess Mononoke'' and beyond: new nature narratives for children |journal=Interactions: Studies in Communication and Culture |date=October 1, 2013 |volume=4 |issue=2 |pages=147–170 |doi=10.1386/iscc.4.2.147_1}}
{{refend}}

=== Magazine and news sources ===

{{refbegin|30em}}
* <!-- Biodrowski 2009 --> {{cite magazine |last=Biodrowski |first=Steve |title=Changing ''sake'' into wine – Neil Gaiman on adapting ''Princess Mononoke'' for America |date=2009-02-05 |work=[[Cinefantastique]] |access-date=2024-10-25 |url=http://blog.cinefantastiqueonline.com/wordpress/changing-sake-into-wine-neil-gaiman-on-adapting-princess-mononke-for-america/ |archive-date=February 21, 2024 |archive-url=https://web.archive.org/web/20240221153724/http://blog.cinefantastiqueonline.com/wordpress/changing-sake-into-wine-neil-gaiman-on-adapting-princess-mononke-for-america/ |url-status=live }}
* <!-- Brooks 2005 --> {{cite news |url=http://film.guardian.co.uk/interview/interviewpages/0,6737,1569689,00.html |title=A god among animators |newspaper=[[The Guardian]] |date=September 14, 2005 |first=Xan |last=Brooks |access-date=May 22, 2010 |archive-date=June 25, 2008 |archive-url=https://web.archive.org/web/20080625111513/http://film.guardian.co.uk/interview/interviewpages/0,6737,1569689,00.html |url-status=live }}
* <!-- Burr 1999 --> {{cite news |last=Burr |first=Ty |author-link=Ty Burr |title=Here's the next ''Star Wars''–like epic |date=1999-11-03 |work=[[Entertainment Weekly]] |url=https://ew.com/article/1999/11/03/heres-next-star-wars-epic/ |access-date=2024-12-18 |archive-url=https://web.archive.org/web/20220722103138/https://ew.com/article/1999/11/03/heres-next-star-wars-epic/ |archive-date=2022-07-22 |url-status=live }}
* <!-- Caraan 2020 --> {{cite news |url=https://hypebeast.com/2020/4/princess-mononoke-soundtracks-vinyl-release-studio-ghibli |title=''Princess Mononoke'' soundtrack to receive first ever vinyl release |last=Caraan |first=Sophie |publisher=[[Hypebeast (company)|Hypebeast]] |date=April 16, 2020 |access-date=February 4, 2024 |archive-date=January 28, 2022 |archive-url=https://web.archive.org/web/20220128210521/https://hypebeast.com/2020/4/princess-mononoke-soundtracks-vinyl-release-studio-ghibli |url-status=live }}
* <!-- Collin 2014 --> {{cite news |last=Collin |first=Robbie |title=Goodbye Studio Ghibli, your genius will endure |work=[[The Daily Telegraph]] |date=2014-08-04 |url=https://www.telegraph.co.uk/culture/film/film-news/11009842/Goodbye-Studio-Ghibli-your-genius-will-endure.html |access-date=2024-10-27 |archive-date=April 9, 2018 |archive-url=https://web.archive.org/web/20180409125705/https://www.telegraph.co.uk/culture/film/film-news/11009842/Goodbye-Studio-Ghibli-your-genius-will-endure.html |url-status=live }}
* <!-- Ebert 1999a --> {{cite news |last=Ebert |first=Roger |author-link=Roger Ebert |title=Director Miyazaki draws American attention |work=[[Chicago Sun-Times]] |date=October 24, 1999a |url=http://www.industrycentral.net/director_interviews/HM01.HTM |access-date=August 27, 2009 |archive-url=https://web.archive.org/web/20180131080957/http://www.industrycentral.net/director_interviews/HM01.HTM |archive-date=January 31, 2018 |url-status=dead |via=Industry Central }}
* <!-- Ebert 1999b --> {{cite web |url=https://www.rogerebert.com/reviews/princess-mononoke-1999 |title=''Princess Mononoke'' |last=Ebert |first=Roger |author-link=Roger Ebert |publisher=Rogerebert.com |date=October 29, 1999b |access-date=January 29, 2016 |archive-date=March 6, 2016 |archive-url=https://web.archive.org/web/20160306121035/http://www.rogerebert.com/reviews/princess-mononoke-1999 |url-status=live }}
* <!-- ''Empire'' --> {{cite magazine |url=https://www.empireonline.com/500/3.asp |title=The 500 greatest movies of all time |magazine=[[Empire (film magazine)|Empire]] |access-date=June 14, 2010 |archive-date=November 20, 2011 |archive-url=https://web.archive.org/web/20111120231503/http://www.empireonline.com/500/3.asp |url-status=dead |ref={{harvid|Empire}} }}
* <!-- Giardina 2017 --> {{cite web |url=https://www.hollywoodreporter.com/behind-screen/gkids-studio-ghibli-ink-home-entertainment-deal-1021746 |title=GKIDS, Studio Ghibli ink home entertainment deal |last=Giardina |first=Carolyn |work=[[The Hollywood Reporter]] |date=July 17, 2017 |access-date=July 17, 2017 |archive-date=August 3, 2017 |archive-url=https://web.archive.org/web/20170803090028/http://www.hollywoodreporter.com/behind-screen/gkids-studio-ghibli-ink-home-entertainment-deal-1021746 |url-status=live }}
* <!-- Green 2014 --> {{Cite news |title=Viz to release Hayao Miyazaki's ''Princess Mononoke: The First Story'' |url=https://www.crunchyroll.com/news/latest/2014/3/7/viz-to-release-hayao-miyazakis-princess-mononoke-the-first-story |last=Green |first=Scott |date=March 14, 2014 |access-date=December 25, 2023 |publisher=[[Crunchyroll]] |archive-date=December 30, 2023 |archive-url=https://web.archive.org/web/20231230005301/https://www.crunchyroll.com/news/latest/2014/3/7/viz-to-release-hayao-miyazakis-princess-mononoke-the-first-story |url-status=live }}
* <!-- Ito 2009 --> {{cite web |url=http://sankei.jp.mstn.com/entertainments/entertainers/091225/tnr0912250750004-n2.htm |archive-url=https://web.archive.org/web/20091228082425/http://sankei.jp.msn.com/entertainments/entertainers/091225/tnr0912250750004-n2.htm |archive-date=December 28, 2009 |script-title=ja:新作「アバター」宮崎アニメにオマージュ Ｊ・キャメロン監督 |trans-title=New film ''Avatar'' pays homage to Miyazaki's animated film: J. Cameron |access-date=March 10, 2010 |last=Ito |first=Norihiro |date=December 25, 2009 |work=[[Sankei Shimbun]] |language=ja |url-status=dead}}
* <!-- Kelly 2022 --> {{Cite web |last=Kelly |first=Stephen |date=2022-07-13 |title=''Princess Mononoke'': the masterpiece that flummoxed the US |url=https://www.bbc.com/culture/article/20220713-princess-mononoke-the-masterpiece-that-flummoxed-the-us |access-date=August 22, 2023 |publisher=[[BBC]] |archive-date=August 22, 2023 |archive-url=https://web.archive.org/web/20230822101308/https://www.bbc.com/culture/article/20220713-princess-mononoke-the-masterpiece-that-flummoxed-the-us |url-status=live }}
* <!-- Klady 1998 --> {{cite magazine |url=https://www.variety.com/review/VE1117467127 |title=''Princess Mononoke'' |last=Klady |first=Leonard |magazine=[[Variety (magazine)|Variety]] |date=January 29, 1998 |access-date=September 14, 2012 |archive-date=October 20, 2012 |archive-url=https://web.archive.org/web/20121020125832/http://www.variety.com/review/VE1117467127/ |url-status=live }}
* <!-- Komatsu 1997 --> {{cite magazine |last=Komatsu |first=Kazuhiko |script-title=ja:森の神殺しとその呪い |trans-title=The killing of the Forest Spirit and its curse |date=August 1997 |magazine=[[Eureka (Japanese magazine)|Eureka]] |volume=29 |issue=11 |issn=1342-5641}}
* <!-- Lussier 2012 --> {{cite web |last=Lussier |first=Germain |title=Official stage adaptation of ''Princess Mononoke'' coming to London; sold out almost a year in advance |url=https://www.slashfilm.com/official-stage-adaptation-of-princess-mononoke-coming-to-london-sold-out-almost-a-year-in-advance/ |work=[[:/Film]] |access-date=March 11, 2013 |date=September 24, 2012 |archive-date=March 30, 2013 |archive-url=https://web.archive.org/web/20130330155929/http://www.slashfilm.com/official-stage-adaptation-of-princess-mononoke-coming-to-london-sold-out-almost-a-year-in-advance/ |url-status=live}}
* <!-- ''Mainichi Shimbun'' --> {{cite news |title=52nd Mainichi Film Awards Winners |newspaper=[[Mainichi Shimbun]] |url=http://mainichi.jp/mfa/history/052.html |url-status=live |access-date=January 28, 2024 |archive-url=https://web.archive.org/web/20191028075209/http://mainichi.jp/enta/cinema/mfa/etc/history/52.html |archive-date=October 28, 2019 |ref={{harvid|Mainichi Shimbun}} }}
* <!-- Maslin 1999 --> {{cite news |last=Maslin |first=Janet |author-link=Janet Maslin |title=Waging a mythic battle to preserve a pristine forest |date=1999-09-27 |work=[[The New York Times]] |p=E1 |url=https://www.nytimes.com/1999/09/27/movies/film-review-waging-a-mythic-battle-to-preserve-a-pristine-forest.html |access-date=<!-- No -->}}
* <!-- Myers 2020 --> {{cite web |last=Myers |first=Maddy |title=Studio Ghibli's influence on game designers is extensive and expanding |website=[[Polygon (website)|Polygon]] |date=2020-05-28 |url=https://www.polygon.com/gaming/2020/5/28/21272451/studio-ghibli-movies-inspired-games-ori-battle-chef-brigade-mutazione-totoro-spirited-away |access-date=2024-11-24 |archive-url=https://web.archive.org/web/20241116030448/https://www.polygon.com/gaming/2020/5/28/21272451/studio-ghibli-movies-inspired-games-ori-battle-chef-brigade-mutazione-totoro-spirited-away |archive-date=2024-11-16 |url-status=live}}
* <!-- Osmond 2000 --> {{cite news |last=Osmond |first=Andrew |title=Beauty and the beastly |work=[[The Guardian]] |date=2000-04-14 |url=https://www.theguardian.com/film/2000/apr/14/1 |access-date=2024-12-19 |archive-url=https://web.archive.org/web/20210919041828/https://www.theguardian.com/film/2000/apr/14/1 |archive-date=2021-09-19 |url-status=live }}
* <!-- Polo 2015 --> {{cite web |title=The complete Hayao Miyazaki collection is pretty enough to spirit you away |url=http://www.polygon.com/2015/7/30/9075583/complete-hayao-miyazaki-collection |last=Polo |first=Susana |date=July 30, 2015 |website=[[Polygon (website)|Polygon]] |access-date=April 30, 2015 |archive-date=July 31, 2015 |archive-url=https://web.archive.org/web/20150731214407/http://www.polygon.com/2015/7/30/9075583/complete-hayao-miyazaki-collection |url-status=live }}
* <!-- Rowe 2023 --> {{Cite news |title=''Tears of the Kingdom'' doubles down on ''Breath of the Wild''{{'s}} best inspiration |url=https://www.inverse.com/gaming/zelda-tears-kingdom-studio-ghibli |last=Rowe |first=Willa |date=May 16, 2023 |access-date=August 9, 2023 |work=[[Inverse (website)|Inverse]] |archive-url=https://web.archive.org/web/20230810225124/https://www.inverse.com/gaming/zelda-tears-kingdom-studio-ghibli |archive-date=August 10, 2023 |url-status=live }}
* <!-- Shimamura & Sugano 1997 --> {{cite magazine |last1=Shimamura |first1=Tomio |last2=Sugano |first2=Yoshinori |script-title=ja:本格的デジタル化に医とんだ「もののけ姫」のＣＧ現場から |trans-title=From the site of ''Princess Mononoke''{{'s}} CG standard digitization |lang=ja |date=September 1997 |magazine=[[Kinema Junpo]] |issue=1233 |pages=74–82 |issn=1342-5412}}
* <!-- Tanaka 2013 --> {{cite news |last=Tanaka |first=Nobuko |title=U.K. stage group to rework ''Mononoke'' magic |work=[[The Japan Times]] |date=2013-04-19 |url=https://www.japantimes.co.jp/culture/2013/04/19/stage/u-k-stage-group-to-rework-mononoke-magic/ |access-date=2024-10-21 |archive-url=https://web.archive.org/web/20130419193557/https://www.japantimes.co.jp/culture/2013/04/19/stage/u-k-stage-group-to-rework-mononoke-magic/#.UXGcosfP1qY |archive-date=2013-04-19 |url-status=live}}
* <!-- Yanagihara 2018 --> {{Cite news |last=Yanagihara |first=Hanya |author-link=Hanya Yanagihara |date=May 17, 2018 |title=A real-life enchanted forest |language=en-US |work=[[The New York Times]] |url=https://www.nytimes.com/2018/05/17/t-magazine/yakushima-japan-hayao-miyazaki-princess-mononoke.html |access-date=November 19, 2023 |archive-date=February 22, 2021 |archive-url=https://web.archive.org/web/20210222165442/https://www.nytimes.com/2018/05/17/t-magazine/yakushima-japan-hayao-miyazaki-princess-mononoke.html |url-status=live }}
{{refend}}

=== Online and other sources ===

{{refbegin|30em}}
* <!-- Academy of Motion Picture Arts and Sciences 1997 --> {{cite press release |title=44 Countries Hoping for Oscar Nominations |publisher=[[Academy of Motion Picture Arts and Sciences]] |date=November 24, 1997 |url=http://www.oscars.org/pressreleases/97.11.24.html |access-date=December 7, 2008 |archive-url=https://web.archive.org/web/19980213090309/http://www.oscars.org/pressreleases/97.11.24.html |archive-date=February 13, 1998 |url-status=dead |ref={{harvid|Academy of Motion Picture Arts and Sciences|1997}} }}
* <!-- Anime News Network 2000a --> {{cite news |url=https://www.animenewsnetwork.com/news/2000-07-03/new-petition-for-mononoke |title=New petition for ''Mononoke'' |publisher=[[Anime News Network]] |date=July 3, 2000 |access-date=September 15, 2012 |archive-date=September 1, 2013 |archive-url=https://web.archive.org/web/20130901072519/http://www.animenewsnetwork.com/news/2000-07-03/new-petition-for-mononoke |url-status=live |ref={{harvid|Anime News Network|2000a}} }}
* <!-- Anime News Network 2000b --> {{cite news |url=https://www.animenewsnetwork.com/news/2000-08-01/disney-blinks |title=Disney blinks |publisher=[[Anime News Network]] |date=August 1, 2000 |access-date=September 15, 2012 |archive-date=December 17, 2013 |archive-url=https://web.archive.org/web/20131217093633/http://www.animenewsnetwork.com/news/2000-08-01/disney-blinks |url-status=live |ref={{harvid|Anime News Network|2000b}} }}
* <!-- Anime News Netowork 2000c --> {{cite news |url=https://www.animenewsnetwork.com/news/2000-10-11/princess-mononoke-dvd-confirmed |title=''Princess Mononoke'' DVD confirmed |publisher=[[Anime News Network]] |date=October 11, 2000 |access-date=September 15, 2012 |archive-date=December 17, 2013 |archive-url=https://web.archive.org/web/20131217093638/http://www.animenewsnetwork.com/news/2000-10-11/princess-mononoke-dvd-confirmed |url-status=live |ref={{harvid|Anime News Network|2000c}} }}
* <!-- Anime News Network 2001 --> {{cite web |url=http://www.animenewsnetwork.com/news/2001-01-15/animage-top-100-anime-listing |title=''Animage'' top 100 anime listing |date=January 15, 2001 |publisher=[[Anime News Network]] |access-date=March 10, 2013 |archive-date=April 15, 2019 |archive-url=https://web.archive.org/web/20190415220509/https://www.animenewsnetwork.com/news/2001-01-15/animage-top-100-anime-listing |url-status=live |ref={{harvid|Anime News Network|2001}} }}
* <!-- Annie Awards --> {{cite web |title=28th Annual Annie Awards |url=http://annieawards.org/28th-annie-awards |publisher=[[Annie Awards]] |url-status=dead |archive-url=https://web.archive.org/web/20150630112936/http://annieawards.org/28th-annie-awards |archive-date=June 30, 2015 |access-date=May 2, 2015 |ref={{harvid|Annie Awards}} }}
* <!-- BFI 2020 --> {{Cite book |url=https://www.bfi.org.uk/industry-data-insights/statistical-yearbook |title=BFI Statistical Yearbook 2020 |publisher=[[British Film Institute]] |year=2020 |location=United Kingdom |pages=94 |access-date=April 26, 2022 |archive-date=April 27, 2022 |archive-url=https://web.archive.org/web/20220427095000/https://core-cms.bfi.org.uk/media/12815/download |url-status=live |ref={{harvid|BFI|2020}} }}
* <!-- Box Office Mojo --> {{cite web |url=https://www.boxofficemojo.com/title/tt0119698/ |title=''Princess Mononoke'' |publisher=[[Box Office Mojo]] |access-date=2024-11-10 |ref={{harvid|Box Office Mojo}} |archive-date=August 10, 2021 |archive-url=https://web.archive.org/web/20210810155320/https://www.boxofficemojo.com/title/tt0119698/ |url-status=live }}
* <!-- Fumiko Yamaji Cultural Foundation --> {{cite web |url=http://www.yamaji-fumiko.org/movieaward/prizelist.html |title=映画賞 受賞者一覧 |trans-title=List of film award winners |language=ja |publisher=Fumiko Yamaji Cultural Foundation |access-date=January 28, 2024 |ref={{harvid|Fumiko Yamaji Cultural Foundation}} |archive-date=February 2, 2018 |archive-url=https://web.archive.org/web/20180202071954/http://www.yamaji-fumiko.org/movieaward/prizelist.html |url-status=live }}
* <!-- Hisaishi --> {{cite web |last=Hisaishi |first=Joe |author-link=Joe Hisaishi |title=Discography |url=http://joehisaishi.com/discography.php |website=Joe Hisaishi Official Site |access-date=March 11, 2023 |archive-date=June 4, 2010 |archive-url=https://web.archive.org/web/20100604184310/http://joehisaishi.com/discography.php?cat=soundtrack |url-status=dead |language=ja }}
* <!-- International Press Academy --> {{Cite web |title=International Press Academy: Satellite Awards |url=https://pressacademy.com/satawards/awards2000.shtml |archive-url=https://web.archive.org/web/20100106221121/http://pressacademy.com/satawards/awards2000.shtml |access-date=January 28, 2024 |archive-date=January 6, 2010 |publisher=[[International Press Academy]] |url-status=dead |ref={{harvid|International Press Academy}} }}
* <!-- Japan Academy Film Prize --> {{cite web |url=http://www.japan-academy-prize.jp/prizes/?t=21 |title=21st Japan Academy Film Prize Winners |publisher=[[Japan Academy Film Prize]] |access-date=May 1, 2015 |archive-date=September 3, 2017 |archive-url=https://web.archive.org/web/20170903222412/http://www.japan-academy-prize.jp/prizes/?t=21 |url-status=live |ref={{harvid|Japan Academy Film Prize}} }}
* <!-- Japan Association of Theater Owners --> {{cite web |url=https://www.zenkoren.or.jp/zenkoren/goldengross/15_goldengross |title=第15回ゴールデングロス賞受賞作品 |trans-title=15th Golden Gross Award Winners |language=ja |publisher=Japan Association of Theater Owners |access-date=January 28, 2024 |ref={{harvid|Japan Association of Theater Owners}} |archive-date=June 4, 2023 |archive-url=https://web.archive.org/web/20230604174126/https://www.zenkoren.or.jp/zenkoren/goldengross/15_goldengross/ |url-status=live }}
* <!-- Japan Composer's Association --> {{cite web |url=http://www.jacompa.or.jp/record/39.php |title=第39回日本レコード大賞 |trans-title=39th Japan Record Awards |language=ja |publisher=[[Japan Composer's Association]] |access-date=January 28, 2024 |ref={{harvid|Japan Composer's Association}} |archive-date=January 5, 2024 |archive-url=https://web.archive.org/web/20240105224959/https://jacompa.or.jp/record/39.php |url-status=live }}
* <!-- Loo 2020 --> {{cite news |last=Loo |first=Egan |title=''Spirited Away'', 3 other Ghibli films' box office totals rose due to this year's revival screenings |url=https://www.animenewsnetwork.com/news/2020-12-15/spirited-away-3-other-ghibli-films-box-office-totals-rose-due-to-this-year-revival-screenings/.167459 |access-date=2024-11-12 |publisher=[[Anime News Network]] |date=2020-12-15 |archive-date=July 27, 2021 |archive-url=https://web.archive.org/web/20210727062431/https://www.animenewsnetwork.com/news/2020-12-15/spirited-away-3-other-ghibli-films-box-office-totals-rose-due-to-this-year-revival-screenings/.167459 |url-status=live }}
* <!-- Mastumoto & Hamada 2013 --> {{Cite episode |script-title=ja:鈴木 敏夫 |trans-title=Toshio Suzuki |series=100秒博士アカデミー |last1=Matsumoto |first1=Hitoshi |author-link1=Hitoshi Matsumoto |last2=Hamada |first2=Masatoshi |author-link2=Masatoshi Hamada |station=[[TBS Television (Japan)|TBS Television]] |network=[[RCC Broadcasting]] |language=ja |airdate=November 26, 2013}}
* <!-- Mera 1997 --> {{cite AV media |last=Mera |first=Yoshikazu |author-link=Yoshikazu Mera |script-title=ja:もののけ姫 |trans-title=Princess Mononoke |date=1997-06-25 |type=CD |language=ja |location=Japan |publisher=[[Tokuma Shoten|Tokuma]] |id=TKDA-71167}}
* <!-- Metacritic --> {{cite web |url=https://www.metacritic.com/movie/princess-mononoke |title=''Princess Mononoke'' |publisher=[[Metacritic]] |access-date=June 19, 2023 |archive-date=April 26, 2022 |archive-url=https://web.archive.org/web/20220426130147/https://www.metacritic.com/movie/princess-mononoke |url-status=live |ref={{harvid|Metacritic}} }}
* <!-- Nakamura 2007 --> {{cite news |last=Nakamura |first=Hitoshi |title=110万冊無料配布。"ゲドを読む。"の狙いを読む 宮崎吾朗監督作品「ゲド戦記」DVDのユニークなプロモーション |url=https://business.nikkeibp.co.jp/article/manage/20070521/125248/ |publisher=[[Nikkei Business Publications|Nikkei Business]] |date=May 23, 2007 |language=ja |access-date=August 16, 2018 |archive-url=https://web.archive.org/web/20180816194818/https://business.nikkeibp.co.jp/article/manage/20070521/125248/ |archive-date=August 16, 2018 |url-status=dead }}
* <!-- Nausicaa.net a --> {{Cite web |url=http://www.nausicaa.net/miyazaki/mh/credits.html |title=''Princess Mononoke'' – credits |access-date=December 28, 2023 |publisher=[[Nausicaa.net]] |ref={{harvid|Nausicaa.net a}} |archive-date=June 12, 2010 |archive-url=https://web.archive.org/web/20100612093154/http://www.nausicaa.net/miyazaki/mh/credits.html |url-status=live }}
* <!-- Nausicaa.net b --> {{cite web |url=http://www.nausicaa.net/miyazaki/mh/filminfo.html |title=''Princess Mononoke'' – film information |publisher=[[Nausicaa.net]] |access-date=August 7, 2024 |ref={{harvid|Nausicaa.net b}} |archive-url=https://web.archive.org/web/20230108053349/http://www.nausicaa.net/miyazaki/mh/filminfo.html |archive-date=January 8, 2023 |url-status=live }}
* <!-- Nausicaa.net c --> {{cite web |url=http://www.nausicaa.net/miyazaki/video/mh |title=''Princess Mononoke'' – video list |access-date=January 22, 2024 |publisher=[[Nausicaa.net]] |ref={{harvid|Nausicaa.net c}} |archive-date=June 7, 2009 |archive-url=https://web.archive.org/web/20090607023737/http://www.nausicaa.net/miyazaki/video/mh/ |url-status=live }}
* <!-- Nikkan Sports --> {{cite web |url=https://www.nikkansports.com/entertainment/award/ns-cinema/history/index.html |title=日刊スポーツ映画大賞 – 歴代受賞者・作品 |trans-title=Nikkan Sports Film Award – Past winners and works |publisher=[[Nikkan Sports]] |access-date=January 22, 2024 |ref={{harvid|Nikkan Sports}} |archive-date=September 3, 2017 |archive-url=https://web.archive.org/web/20170903171200/https://www.nikkansports.com/entertainment/award/ns-cinema/history/index.html |url-status=live }}
* <!-- The Numbers --> {{cite web |title=''Mononoke-hime'' (1999) – Video sales |url=https://www.the-numbers.com/movie/Mononoke-hime#tab=video-sales |url-status=live |access-date=April 26, 2022 |website=[[The Numbers (website)|The Numbers]] |archive-date=August 4, 2021 |archive-url=https://web.archive.org/web/20210804022301/https://www.the-numbers.com/movie/Mononoke-hime#tab=video-sales |ref={{harvid|The Numbers}} }}
* <!-- Rotten Tomatoes --> {{cite web |url=https://www.rottentomatoes.com/m/princess_mononoke_1999/ |title=Princess Mononoke (Mononoke-hime) |publisher=[[Rotten Tomatoes]] |access-date=October 5, 2023 |archive-date=July 21, 2023 |archive-url=https://web.archive.org/web/20230721075259/http://www.rottentomatoes.com/m/princess_mononoke_1999/ |url-status=live |ref={{harvid|Rotten Tomatoes}} }}
* <!-- Saturn Awards --> {{cite web |url=http://www.saturnawards.org/past.html |title=Past Saturn Awards |publisher=[[Saturn Awards]] |access-date=January 30, 2024 |archive-url=https://web.archive.org/web/20110927071657/http://www.saturnawards.org/past.html#homevideo |archive-date=September 27, 2011 |url-status=dead |ref={{harvid|Saturn Awards}} }}
* <!-- Science Fiction and Fantasy Writers of America --> {{cite web |url=https://nebulas.sfwa.org/award-year/2000/ |title=2000 Nebula Awards |access-date=January 29, 2024 |publisher=[[Science Fiction and Fantasy Writers of America]] |ref={{harvid|Science Fiction and Fantasy Writers of America}} |archive-date=January 29, 2022 |archive-url=https://web.archive.org/web/20220129042431/https://nebulas.sfwa.org/award-year/2000/ |url-status=live }}
* <!-- Sports Hochi --> {{cite web |url=https://www.hochi.co.jp/html/db/geinou/hochimovie.htm |title=報知映画賞 受賞作品・受賞者 |trans-title=Hochi Film Award winning works |language=ja |website=[[Sports Hochi]] |access-date=January 27, 2024 |archive-url=https://web.archive.org/web/20051214224355/https://www.hochi.co.jp/html/db/geinou/hochimovie.htm |archive-date=December 14, 2005 |url-status=dead |ref={{harvid|Sports Hochi}} }}
* <!-- Takasaki Film Festival --> {{cite web |url=https://takasakifilmfes.jp/awards/405/ |script-title=ja:第12回高崎映画祭 受賞者・受賞作品 |trans-title=12th Takasaki Film Festival winning works |language=ja |publisher=[[Takasaki Film Festival]] |access-date=January 28, 2024 |ref={{harvid|Takasaki Film Festival}} |archive-date=May 30, 2023 |archive-url=https://web.archive.org/web/20230530082623/https://takasakifilmfes.jp/awards/405/ |url-status=live }}
* <!-- Time Out --> {{cite web |url=https://www.timeout.com/film/features/show-feature/8838/ |title=Time Out's 50 greatest animated films: Part 3 |publisher=[[Time Out (company)|Time Out]] |access-date=September 15, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20091008102752/http://www.timeout.com/film/features/show-feature/8838/ |archive-date=October 8, 2009 |ref={{harvid|Time Out}} }}
* <!-- Townsend 1999 --> {{cite web |last=Townsend |first=Emru |title=Neil Gaiman: the ''Sandman'' scribe on anime and Miyazaki |url=http://purpleplanetmedia.com/eye/inte/ngaiman.php|date=1999-11-08 |work=The Critical Eye |access-date=2024-11-13 |archive-url=https://web.archive.org/web/20171113020430/http://purpleplanetmedia.com/eye/inte/ngaiman.php |archive-date=2017-11-13 |url-status=dead}}
* <!-- Toyama --> {{Cite web |last=Toyama |first=Ryoko |title=''Princess Mononoke'' – frequently asked questions |url=http://www.nausicaa.net/miyazaki/mh/faq.html |url-status=live |access-date=July 30, 2021 |publisher=[[Nausicaa.net]] |archive-date=February 13, 2017 |archive-url=https://web.archive.org/web/20170213124627/http://www.nausicaa.net/miyazaki/mh/faq.html |ref={{harvid|Toyama}} }}
* <!-- ''Total Film'' --> {{cite web |last=Kinnear |first=Simon |url=http://www.totalfilm.com/features/50-greatest-animated-movies |title=50 Greatest Animated Movies |website=[[Total Film]] |access-date=December 18, 2012 |archive-date=May 23, 2014 |archive-url=https://web.archive.org/web/20140523152706/http://www.totalfilm.com/features/50-greatest-animated-movies |url-status=live |ref={{harvid|Total Film}} }}
{{refend}}

== Further reading ==

* <!-- Cheng 2019 --> {{cite journal |last1=Cheng |first1=Catherine |date=June 2019 |title=Nature and the Smiths in Hayao Miyazaki's ''Princess Mononoke'' |url=https://www.academia.edu/40841904 |journal=Tamkang Review |volume=49 |issue=2 |pages=27–48 |doi=10.6184/TKR.201906_49(2).0002 |format=PDF |ref=none}}
* <!-- Morgan 2015 -->{{Cite journal |last=Morgan |first=Gwendolyn |year=2015 |title=Creatures in Crisis: Apocalyptic Environmental Visions in Miyazaki's ''Nausicaä of the Valley of the Wind'' and ''Princess Mononoke'' |journal=Resilience: A Journal of the Environmental Humanities |volume=2 |issue=3 |pages=172–183 |doi=10.5250/resilience.2.3.0172 |jstor=10.5250/resilience.2.3.0172 |s2cid=156400474 |doi-access=free}}
* <!-- Sierra et al. 2015 --> {{Cite journal |last1=Sierra |first1=Wendi |last2=Berwald |first2=Alysah |last3=Guck |first3=Melissa |last4=Maeder |first4=Erica |date=January 1, 2015 |title=Nature, Technology, and Ruined Women: ''Ecofeminism and Princess Mononoke'' |url=http://digitalcommons.brockport.edu/sfd/vol1/iss1/5/ |journal=The Seneca Falls Dialogues Journal |language=en |volume=1 |issue=1 |access-date=February 7, 2017 |archive-date=February 13, 2019 |archive-url=https://web.archive.org/web/20190213183625/https://digitalcommons.brockport.edu/sfd/vol1/iss1/5/ |url-status=live |ref={{harvid|Sierra et al.|2015}} }}
* <!-- Smith & Parsons 2012 --> {{Cite journal |last1=Smith |first1=Michelle J. |last2=Parsons |first2=Elizabeth |title=Animating child activism: Environmentalism and class politics in Ghibli's ''Princess Mononoke'' (1997) and Fox's ''Fern Gully'' (1992) |journal=Continuum: Journal of Media & Cultural Studies |publisher=Routledge |volume=26 |issue=1 |pages=25–37 |date=February 2012 |doi=10.1080/10304312.2012.630138 |s2cid=144411247}}

== External links ==

{{Sister project links
 |1=''Princess Mononoke'' |display= |auto= |collapsible= |position= |style=
 |wikt=no |c=yes |n=no |q=yes |s=no |b=no |v=no
 |voy=no |species=no |d=Q186572 |m=no |mw=no
}}
* {{Official website|https://www.ghibli.jp/works/mononoke}} (in Japanese)
* {{IMDb title|0119698}}
* {{mojo title|princessmononoke}}
* {{anime News Network|movie|197}}

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