Editing Princess Mononoke (section)

== Release ==

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

=== Marketing and Japanese release ===

The promotional strategy was spearheaded by 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{{nbsp}}– as opposed to previous works that were labeled primarily as Miyazaki films{{nbsp}}– 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''{{hair space}}{{efn|[[Japanese language|Japanese]]: {{lang|ja|アシタカせっ記}}, [[Hepburn romanization|Hepburn]]: {{tlit|ja|Hepburn|Ashitaka 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}},{{efn|Equivalent to {{JPY|{{Format price|{{Inflation|JP|2600000000|1997}}}}}} in {{Inflation/year|JP}}{{sfn|''Rateinflation.com''}} }} even higher than the production budget, making it the largest film advertisement campaign in Japan at the time.{{sfn|Kanō|2006|p=209}} Yoshioka argued that it was essential for ''Princess Mononoke'' to be a commercial success to make up for 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]] {{lang|ja-Latn|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 marketing|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>

After [[Walt Disney Studios (division)|Walt Disney Studios]] and Studio Ghibli's then–parent company, [[Tokuma Shoten]], secured their distribution deal 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 president 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 marketing campaign's scale revealed the studio's ultimate aim to achieve a commercial success;{{sfn|Denison|2008|p=107}} she interpreted this approach 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]], and [[Dentsu]], and released by [[Toho]] in Japan on July 12, 1997.{{sfnm|Galbraith|2008|1pp=399, 414|Miyazaki|1999|2p=217}} It was the subject of immense public anticipation, and it 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 audiences 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, released special issues on the film, 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}}{{efn|Equivalent to {{JPY|{{Format price|{{Inflation|JP|1500000000|1997}}}}}} in {{Inflation/year|JP}}{{sfn|''Rateinflation.com''}} }} at the box office.{{sfn|Kanō|2006|p=212}} Advertising for the film labeled it a blockbuster ({{lang|ja-Latn|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}}{{efn|Equivalent to {{JPY|{{Format price|{{Inflation|JP|2650000000|1997}}}}}} in {{Inflation/year|JP}}{{sfn|''Rateinflation.com''}} }} in [[distribution rental]] sales, breaking the national record previously held by ''[[E.T. the Extra-Terrestrial]]''{{nbsp}}(1982).{{sfn|Kanō|2006|p=212}} During that period, 12{{nbsp}}million people, a tenth of Japan's population at the time, saw the film in theaters.{{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}}{{efn|Equivalent to {{JPY|{{Format price|{{Inflation|JP|11300000000|1997}}}}}} in {{Inflation/year|JP}}{{sfn|''Rateinflation.com''}} }} 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]].{{sfn|McCarthy|2002|p=186}}{{efn|The film was overtaken 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]] ''(2007 photograph)'', 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}} 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 had intended to decline the offer before being impressed by a scene 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 English dub's changes more closely approach 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 co-mingled the two languages and cultures.{{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 later recalled that although he oversaw the writing process, some script alterations were made without his knowledge. Several of the changes removed terms that identified the setting, such as substituting {{lang|ja-Latn|[[sake]]}} with ''wine'' and removing mentions of Japan and China.<ref>{{harvnb|Biodrowski|2009}}, cited in {{harvnb|Nicholson|2018|p=136}}.</ref> Nicholson found these decisions 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 various American and British accents were chosen 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 international films 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 rolled back the planned marketing campaign and opened the film in a very limited number of screens.{{sfn|Kelly|2022}} The English dub was first screened at the [[48th Berlin International Film Festival]] on February 11, 1998,{{sfn|Kanō|2006|p=215}} and premiered at the [[Avery Fisher Hall]] in New York City on September 26, 1999.{{sfn|Kanō|2006|p=216}} It underperformed at the American box office, earning only {{USD|2.3 million}}.{{sfn|Kelly|2022}}

=== Home media and other releases ===

The film was released on [[VHS]] in Japan by [[Buena Vista Home Entertainment]] in 1997 and on [[LaserDisc]] by Tokuma Shoten in 1998.{{sfn|''Nausicaa.net'' d}} Several related books have been published, including a manga series derived from the film's cels, art books with early sketches and storyboards, and [[reference work]]s written by various academics.{{sfn|''Nausicaa.net'' a}} The English dub was released theatrically in Japan on April 29, 2000, with Japanese-language subtitles. A documentary titled ''Mononoke-hime in U.S.A.'' was released concurrently.{{sfn|Galbraith|2008|p=414}} These and other screenings internationally brought the English dub's total earnings to {{USD|159 million}} at the time.{{sfn|''Box Office Mojo''}} The film has also been released on home media in various European and Asian regions.{{sfn|''Nausicaa.net'' a}}

The DVD release in North America was not initially set to include the Japanese audio track. Online petitions were opened to retain it,{{sfn|''Anime News Network''|2000a}} and the planned August 2000 release was consequently delayed.{{sfn|''Anime News Network''|2000b}} Miramax released the DVD on December 19, 2000, featuring the original Japanese audio, the English dub audio, and extras including a trailer and a documentary.{{sfn|''Anime News Network''|2000c}} ''[[Nikkei Business]]'' reported that 4.4{{nbsp}}million [[DVD]] units were sold in Japan {{As of|2007|lc=y}}.{{sfn|Nakamura|2007}}

[[Walt Disney Studios Home Entertainment]] released the film on [[Blu-ray]] in 2014, and it was included in a collection of Miyazaki's films in 2015.{{sfn|Polo|2015}} [[GKIDS]] re-issued it on DVD and Blu-ray in 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''}} It has since received multiple worldwide theatrical re-releases, including at the annual [[Studio Ghibli Fest]] organized by GKIDS.{{sfn|''Box Office Mojo''}}

GKIDS released the film in [[IMAX]] theaters in March 2025, featuring a remastered version in [[4K resolution]]. {{ill|Atsushi Okui|ja|奥井敦}}, the vice president of Studio Ghibli, said that the original [[Negative (photography)|negatives]] had been preserved and rescanned in 4K over 10 years prior.{{sfn|Pulliam-Moore|2025}} The remaster has grossed {{USD|6 million}} in the North American box office {{As of|2025|04|06|lc=yes|df=us}},{{sfn|''Box Office Mojo''}} bringing the film's cumulative worldwide total to {{USD|212.2 million}}.{{sfn|''The Numbers''}}