This thesis examines the processes and outcomes of Studio Ghibli’s adaptations of Western literary works. Through a range of theoretical frameworks, including adaptation studies and translation theory, feminist theory and transnationalism, I initially explore the history of European influences on Ghibli’s earlier animations before discussing their approach to directly adapting Western texts. The analysis spans key films and series such as Howl’s Moving Castle (Miyazaki, 2004), Tales from Earthsea (Miyazaki, 2006), Ponyo (Miyazaki, 2008), Arrietty (Yonebayashi, 2010), When Marnie Was There (Yonebayashi, 2014), Ronja, The Robber’s Daughter (Miyazaki, 2014-15), and Earwig and the Witch (Miyazaki, 2020). By contrasting these texts with their source material across cultural, historical, and geographical contexts, I offer fresh interpretations of their transformations. In doing so, I highlight recurring themes such as Ghibli’s adaptation of Western narratives into transnational texts, their feminist (re)interpretation of female-centric stories, and the studio’s success in recontextualising these works for a global audience. I also highlight the diversity present within the studio’s artistry, providing comparative analyses of various directors as a route into understanding Ghibli beyond its founding filmmakers alone.