宮崎駿的經典動畫電影《幽靈公主》（もののけ姫，Princess Mononoke），自1997年上映至今已28年，於2025年5月1日首次在中國大陸正式上映。當年原先的票房預期僅為20億日圓，卻最終突破200億日圓，成為當時日本影史上的票房冠軍，也奠定宮崎駿作為動畫大師的地位。然而，這部在日本和全球都廣受讚譽的動畫，卻遲遲未能在中國大陸上映，這背後涉及多重歷史與文化因素。

1990年代的中國對於外國影視作品引進有嚴格審查制度，尤其在動畫領域，尚未開放如今日這般多元與國際化。彼時的審查機構對於描繪神祕主義、宗教元素、自然崇拜與暴力畫面的作品尤其敏感，而《幽靈公主》恰恰觸及這些議題。片中大量出現山神、獸神、詛咒與妖怪等元素，這些在中國當時的文化政策中被視為不符合主流價值觀。此外，電影所強調的人與自然衝突、對工業化社會的批判、女性領袖與群體自由意志等內容，也可能被認為與當時社會主義現實主義的文藝方針有所抵觸。因此，即便這部作品在國際上風靡一時，也未能如《千與千尋》那樣進入中國市場(18年後才獲准上映)。

然而，之所以能在將近三十年後仍然令人動容，是因為它所講述的故事超越時代與國界，直指人類與自然、文明與野性、仇恨與和解等永恆的主題。故事描述年輕的蝦夷族村落的阿席達卡王子為了解除自己受到妖怪詛咒的命運，踏上旅程，進入人類與自然界衝突的核心地帶。在那裡，他遇見被山犬族撫養長大的少女小桑——幽靈公主。小桑站在人類與動物神祇之間，為守護森林與家人，與開發森林的鐵工廠領袖黑帽大人對抗。而黑帽大人雖然是工業文明的象徵，卻同時也是拯救被社會遺棄者的庇護者。宮崎駿拒絕將任何角色簡化為「好人」或「壞人」，而是讓每一方都有其動機與人性，使觀眾難以做出簡單的道德判斷。

這種對人性與現實的誠實描寫，使《幽靈公主》成為既奇幻又真實的作品。觀眾不僅被電影中的壯麗森林、神獸與戰鬥場面所震撼，更被它所傳遞的情感與價值觀深深打動。宮崎駿在片中不斷探問一個問題：人類是否能與自然共存？而當現代社會面對氣候變遷、生態破壞等現實議題時，這樣的反思變得更為迫切與真實。電影最終並未給出一個理想化的結局，而是留下希望與遺憾共存的餘韻，這種不說教、不包裝的敘事方式，正是它歷久彌新的原因。

對於中國大陸觀眾而言，《幽靈公主》的正式上映不僅是補上一段歷史空白，更象徵著文化視野的開放與成熟。許多觀眾早已透過網絡與非正式渠道欣賞過這部作品，能在大銀幕上觀賞修復版，將是一次情感與視覺的雙重洗禮。這也代表中國觀影市場對深度與藝術性的動畫作品愈發重視，逐步擁抱全球經典。

總而言之，這不只是關於神與人的奇幻史詩，更是一則講述文明衝突、自然反撲與人類選擇的寓言。它的上映與流傳，是對宮崎駿創作精神的致敬，也是中國觀眾心中延續28年的遲到感動。

Hayao Miyazaki’s classic animated film Princess Mononoke (もののけ姫, Mononoke Hime) was first released in 1997, and after 28 years, it finally saw its official debut in mainland China on May 1, 2025. Originally expected to earn around 2 billion yen at the box office, the film far exceeded expectations, ultimately grossing over 20 billion yen. It became the highest-grossing film in Japanese history at the time, firmly establishing Miyazaki as a master of animation. Despite its critical acclaim both in Japan and internationally, Princess Mononoke was long absent from Chinese theaters due to a combination of historical and cultural factors.

In the 1990s, China maintained strict censorship over the importation of foreign films, particularly animated works, which had not yet been embraced with the diversity and international openness seen today. Regulatory authorities at the time were especially cautious about content involving mysticism, religious symbolism, nature worship, and depictions of violence—all of which are central elements in Princess Mononoke. The film features gods of the mountains and beasts, curses, and mythical creatures, themes considered incompatible with the dominant cultural policies in China during that era. Furthermore, its emphasis on the conflict between humanity and nature, critiques of industrialization, and depictions of female leadership and communal free will may have clashed with the socialist-realist artistic directives then prevalent. As a result, even though the film achieved worldwide success, it was not permitted into the Chinese market—unlike Spirited Away, which was approved for release 18 years after its original debut.

Yet the reason Princess Mononoke remains moving nearly three decades later is because its story transcends time and borders, addressing universal themes such as the relationship between humanity and nature, the tension between civilization and the wild, and the complexities of hatred and reconciliation. The narrative follows Ashitaka, a young prince from an Emishi tribe, who embarks on a journey to find a cure for a curse inflicted by a demon. His quest leads him into the heart of the conflict between humans and the natural world. There, he encounters San—a girl raised by the wolf gods of the forest, known as the titular “Mononoke Hime” or “Princess Mononoke.” San stands at the intersection between humanity and the gods of nature, defending her forest home and family against the ironworks led by Lady Eboshi.

Lady Eboshi, while a symbol of industrial progress, is also portrayed as a protector of society’s outcasts, including lepers and former prostitutes. Miyazaki resists categorizing his characters as purely good or evil; instead, he grants them complex motivations and human dimensions, making moral judgments difficult for the viewer. This nuanced portrayal of human nature and social conflict imbues the film with a sense of realism amidst its fantastical setting.

Audiences are not only captivated by the film’s sweeping landscapes, mythical creatures, and dynamic battle scenes but also deeply moved by its emotional and philosophical undercurrents. One of Miyazaki’s core questions throughout the film is whether humanity can coexist with nature—a question that resonates even more urgently today, in an era marked by climate change and ecological destruction. The film refrains from offering a neatly resolved conclusion, instead leaving viewers with a poignant sense of coexisting hope and sorrow. This refusal to moralize or simplify is part of what makes Princess Mononoke timeless.

For audiences in mainland China, the official release of Princess Mononoke is not merely a long-overdue cinematic experience—it marks the closing of a cultural gap and reflects a growing openness and maturity in the nation’s cinematic landscape. Many fans have already seen the film through unofficial channels, but now, watching a restored version on the big screen provides both an emotional and visual renewal. It also indicates a growing appreciation for animated works with artistic depth and philosophical weight, and a broader embrace of global classics.

In sum, Princess Mononoke is far more than a fantastical tale of gods and humans—it is an allegory about the clash of civilizations, nature’s resistance, and the choices humanity must make. Its release and enduring legacy serve not only as a tribute to Miyazaki’s artistic vision, but also as a long-awaited moment of emotional resonance for Chinese audiences who have waited 28 years to welcome it home.

照片:產品官網