In the history of film development, the definition of the director’s identity and work content have been debated. Compared with the complex functions and the proportion of division of labor that need to be considered in traditional films, the emergence of animation seems to provide the possibility of almost completely independent operation of films. Arguably, animation may be viewed as the most auteurist of film practices in this respect, and its very process, even when at its most collaborative, insists upon the cohesive intervention of an authorial presence. However, since the original audience of animation is children, the audience seems to be more focused on the animation content rather than the animator who created it all, and the animator also appears as the spokesperson image of the animation company and the brand rather than the director. Therefore, it becomes very important to define the identity of the director and apply it to the field of animation. As animation has a variety of production modes, the director’s function content also has different changes. So far, these definitions can be divided into two broad areas: textual and extra-textual.

In my opinion, I think the basis of textual is the key element of defining animation director. As animation production becomes more and more mature, it is not difficult to create animation with novel style and mature technology. What distinguishes animation for me is not the style of the picture but the gist and the message of the film. The unique difference between animation and traditional film is that animation can create different core themes according to audience categories. This is the function of textual, as well as the rationality of using it as the definition of the animation director’s scale.

Miyazaki Hayao is a legend in Japanese animation. He is the first thinker who elevates animation to the humanistic level, and he is also the key spiritual pillar of the three generations of Japanese animation. In his works, the complex conflict is not obvious, but full of dissatisfaction and anger towards the real country, as well as criticism and reflection on modern society. As the social context changed from World War II to the peaceful and hopeful millennium, Miyazaki’s work style gradually dropped the painful self-struggle, and turned to self-identity, growth and love. These animated films with humanistic care, social education significance, and bringing reflection to adults are the characteristics of animation directors who are required of textual:

“ a person who prompts and executes the core themes, techniques and expressive agendas of a film.”

“a figure around whom the key enunciative techniques and meanings of a film accrue and find implied cohesion.”

“a person who offers direct statements and explanations about the artistic and thematic intentions of a film, within an evolving ‘narrative’ about the film-maker from work to work, which constitutes a personal vision.”