How does it defamiliarise its historical setting? The setting of PM is not what one with the knowledge of Japanese history would expect to see according to Napier (2005). PM is set in the 14th century Muromachi period, which is considered to be an apex of Japanese high culture (Napier, 2005, p. 233). This is the period when well-known cultural products…reached their most brilliant form and it was also an era of relative peace (p. 233). However MP takes place in a mythical space, deeply removed from the capital and high culture (p.233). Instead of the peace established by ruling samurai, it offers ‘a vision of cultural dissonance, spiritual loss and environmental apocalypse (p. 232)’. The main protagonists are not those who appear on the usual period films but a diverse and unusual group, the marginals that includes women, outcasts, non-Yamato (non-ethnic Japanese), and kami, the ancient gods (p. 233).
According to Wright (2005), Miyazaki adopted parts of Shinto that is kind of Japanese religion or faith. Wright says “Miyazaki’s films describe an intriguing mixture of earthy spirituality particularly drawn from the Shinto tradition” (Course book, p. 280). However, Miyazaki seems to abandon some negative factors of Shinto, which might ‘lead to the ideology of Tennoism and to Japan’s imperialist expansion program in the nineteenth and twentieth centuries’ (p.281). My opinion is that it is good to see Miyazaki takes the positive factors of Shinto only that focuses on the relationship between human beings and other species of the nature. So his vision is more expansive and global. Miyazaki has certain concerns of the industrialization that he thinks it makes the human beings away from nature and other nature species, further more, it pollutes the nature. So in his films, respecting natural forces and creatures, purification of nature and of the human spirit were abundantly present.
I have an opinion may be provoked again. Miyazaki takes the relationship between human beings and natural forces seriously. He intends to encourage his audiences to respect nature and contact with nature closely. However, ironically, his anime and mango keep the young generation (his mass audiences) away from nature. People who are his audiences mostly live in urban areas and the anime or mango keep them well at home, at cinema or other place but natural grounds. I don’t like anime or mango or video games or computer games too much, because they strongly lure our kids into a fake world. They keep our kids hours and hours out of sun and earth. They jail our kids in a building. How can kids respect or contact closely with nature if they indulge in the anime world?
Also another problem with Miyazaki’s or other’s anime. Miyazaki ‘is adamantly opposed to simplifying the world for children, he says “to make a true children’s is a real daunting challenge and this is because we need to clearly portray the essence of a very complex world.”(p.289-290). See, children has their own unique paths to be mature. You can’t put a complex world on children when they don’t have the ability to understand it. I remember the paper of ‘study of language’ last semester. It says that language acquisition has its own stages. You can’t expect a 3 year old kid to speak with correct grammars. Even you correct him/her many times, he/she still can’t use complex forms like perfect present continue form or perfect past form etc.
Hi Harim and Min Zhang. I agree with your thoughts regarding defamiliarisation of the historical setting Harim. I would like to add that Miyazaki's previous works have predominantly been set in 'international fantasy space' and he departs from this in PM by refusing to sentimentalize the medieval history of Japan, 'preferring to problematise the past'. He ignores the conventional Japanese cultural icons such as the geisha, samurai, tea ceremony, etc, and has a focus on society's marginals as you suggested. Napier (2005) states that 'the film defamiliarizes conventional notions of Japanese history through Miyazaki's decision to set the film during the 14thC Muromachi period'which you explained(p.271).
Min Zhang mentioned the theme of nature and ecological themes coming through in PM and I agree with that. Miyazaki stated his work was 'a wake up call to human beings in a time of environmental and spiritual crisis'(p.273). Other themes include the dangers of militarism and the evils of totalitarianism. The theme of love also features and McCarthy, as cited in Napier, states 'this is a film about love in its many aspects - love of nature, love of family, love between the sexes.(p.273).
q1. The underlying themes of Princess Mononoke in my point of view are the relationship between nature and humans. It is set in the era of medieval Japan and shows struggle between nature and humans implying the importance of preserving the nature. Uneasy picture of demonized animal explicitly convey a very important lesson to people that a consequence of disregarding and disrespecting nature is severe and ghastly. Furthermore, as Napier (2005) stated, “the complex, intriguing and enigmatic character of Eboshi and her association with the proto-industrial Tatara take on pivotal importance” (p.277). She explained several important implications regarding to this point, however, I would like to say this simply through my understanding of the story. Eboshi and Tatara may represent an existing world where the industrialization is rapidly processing. People cannot ignore the convenience and usefulness of the industrialization, but these would ultimately damage nature so badly that subsequent losses of its value and pleasure for human beings are inevitable. So I think Miyazaki attempts to convey these themes through Princess Mononoke.
I agree with all the points of Harim and Renabrab mentioned. Especially, Ebothi’s character defamiliarizes the notions of femininity and of culture, depicting a more complex and ambiguous face of the feminine (p.241). Most standard historical dramas use the main female character as a “vehicle for tradition” however; Eboshi’s character subverts the conventional notion of the traditional female role (p.240). San’s character also defamiliarizes the feminine, and particularly, the conventional view of the feminine and the natural as a form of sanctified Japanese harmony. Even today, modern Japan places a strong emphasis on the woman and nature as symbols of traditional Japanese aesthetics (p.241).
Q1. I agree with Renabrab’s comment that PM is a wakeup call to human beings. I’d like to add that PM challenges or questions long-held beliefs of idealised myth of Japan, harmonious, unproblematic and homogeneous people living peacefully (Napier, 2005). Away from any conventional notions/stereotypes of the characteristics of female, history, the landscaping of forest, peaceful relationship with nature, PM creates a new Japan. It subverts the traditional history, aesthetics, and gender relationships of Japanese society (p. 246). For instance, authoritative guidance comes from a female wolf and the female leader of a weapons manufacturing community instead of male patriarchal rulers (Napier). It also contains a Japanese form of multiculturalism ( p.246) which acknowledges the presence of Others such as women, outcast, non ethnic Japanese, and kami the ancient gods of Japanese people, instead of homogeneous people living in harmony. As Napier claims PM is to disturb or problematize our notion of reality.
Q.6 I cannot clearly figure out the point, but I’d like to try to answer this question from my understanding. According to Cavallaro (2006), technically distinguishable aspects of Mononoke as being a great work of anime is that “The exceptionally high number of cels produced for Mononoke (1440,000, out of which approximately 80,000 were key animation cels) meant that its overall style of motion is substantially more fluid and realistic than one would expect of the average Japanese animation. Computer-generated imagery contributed significantly to this cumulative effect by communicating a sense of solidity and presence comparable to that achieved in live-action cinema.” Furthermore, the ultimate distinctive about the film is Miyazaki’s decisive commitment to the animation of its settings by recourse to an aesthetic that prioritizes the evocation of atmosphere. This is achieved through the consistent juxtaposition of pastoral landscapes and outbreaks of violence endowed with eminently visceral connotations, and through the use of recurring images. The director’s refined sensitivity to the slightest nuances of animal movement also provides a great work of anime (p.299).
Hi Hannah Re Question 6, I agree this is quite a complex question. I think the passage on pp.299-300 is quite interesting. Cavallaro (2006) cites Sugano: 'Mr Miyazaki wanted computer graphics that could be seamlessly integrated into cel animation so we had to begin by developing software that could do that.' The text then says that Microsoft were commissioned to develop software to do this. "Our goal was to make computer graphics images conform to the level of realism you find in cel animation." Use of CGI in PM is described by Cavallaro (2006) as being 'fully synthesized into the overall action'. I feel this is a distinguishing technical factor in PM.
Cavallaro (2006) also suggests that Atsushi Okui, Studio Ghiblis's camera department manager said 'I feel that PM may be the last animation we photograph with conventional film, so we've tried to put all the know-how that we have accumulated into this film." Cavallaro then states that these words were prescient, as Miyazaki's most recent works 'were edited through to entirely digital means'(p.303).
As I was watching PM, one of my interests was to find out how Miyazaki portrayed ‘females’ in the film. I think, as Hannah commented, the female figures are more complex’ compared to works by others and Miyazaki’s previous works, challenging the conventional view of female. However, I think, Miyazaki puts more weight on Ashitaka than the three female characters. Ashitaka is portrayed as physically strong (he killed the boar), emotionally stable (he was not carried away by hatred or anger), responsible and rational. He is perfect while the females are somewhat defective.
On several occasions, Ashitaka’s help was essential in the film. For example he stopped the fight between San and Eboshi and rescued San. Ashitaka also played important role with San to force Jigo to return the Shishigami’s head.
Therefore I disagree with Napier (2005) who said ‘female characters who exist…independent of any male interlocutor (p. 246)’. This is because Ashitaka plays an important role as a helper and a mediator in PM. I think, after all, the main character is Ashitaka.
anyway, regarding to minzhang's opinion on this quote:
"I don’t like anime or mango or video games or computer games too much, because they strongly lure our kids into a fake world. They keep our kids hours and hours out of sun and earth. They jail our kids in a building."
I have to say I have a different opinon.
I think the most effective way to convey important message to our youth is through what is 'hip and happening".
If manga/video games/ blog/ facebook.myspace.bebo is what interest the youth of today, then the 'adults' should make use of that and start communicating with our youth using the appropriate medium.
We can integrate traditional values or 'save the environment' messages into video games and this will raise the awareness of the youth.
Sure, they may not stop using plastic bags right at this instance because the video game says its bad for the environment but at least they are aware of it and this is a first baby step of trying to convince youth to stop using plastic bags all together. (apply this unto issues such as violence/war etc.)
So, I thought that Miyazaki's work is truly inspiring and I think it is indeed helping the youth to understand the importance of nature better.
I mean, if he doesn't try to convey the importance of nature through manga/anime, then do you expect him to print "Save the Nature" posters/ 10,000words articles on recycled paper and expect the teens to read it?
Well, I'll say it wouldnt work that well.
Sorry, I am trying to be rude, just expressing an opinon.
Another underlying thematic of Princess Mononoke is Feminism: Miyazaki supports the feminist a lot of the heroes in his stories are in fact heroines and are depicted in a way that twists the general stereotype of females depicted in anime and gives them more ‘depth’ as Harim said (i.e. big boobs, short skirts, flirty, no brains) by connecting them with nature and the natural state and gifting them with strength, intelligence, independence, power and in fact: clothing. Considering the power of female characters, in regards to both Q1 and 2, “Mononoke” establishes females that in fact, are not what they should be in the settings they are placed in. The audience is taken aback by the fact that they are the leaders (i.e. Lady Eboshi) and/or warriors (San) that make up the world and men yield to them. But the female characters also become more complex with their ability to connect with the natural environment around them whether it is in a positive way: San’s connection to the wolf tribe and her appreciation of the forest. Or negative way: Lady Eboshi’s fear of the forest and its strengths.
Q6. According to Cavallaro (2006), Studio Ghibli’s camera department manager Atsushi Okui said ‘if digitalization keeps progressing the way it is, eventually the job of the cameraman for animated films may disappear. I feel that Princess Mononoke may be the last animation that we photograph with conventional films, so we’ve tried to put all the know-how that we have accumulated into this film.’ (p303) This by itself shows how distinguishable Mononoke is both in terms of its significance to its producers and in reference to the techniques and effort put into it by the production crew. Not only does Princess Mononoke contain all the ‘know-how’s of traditional animation, like Mr Okui suggested, it is also filled with 21st century digital animation techniques. It utilises techniques such as 3D Rendering, Morphing, Digital Composition, Texture Mapping, Digital Painting and Particle Systems. All of these new techniques help create an anime film more realistic and smooth than ever before. And yet unlike other recent productions by Miyazaki, such as Spirited Away and Howl’s Moving Castle, Mononoke has the essential traditional anime feel and texture. Rather than being cold, hard, perfectly synchronized, the characters in Princess Mononoke are more ‘friendly’ to the eyes of anime fans, yet not lacking the definition and clarity of computer generated characters. In other words, it is the combination of old and new, and the perfect synthesis of the two, that makes Princess Mononoke a great work of anime. It distils the two categories of techniques and soaks up the essence of both. Yet rather than being dominated and defined by the techniques, Mononoke takes the two and successfully creates a separate, distinct identity and style.
It's too late, but I want to say a bit regarding to Min Jhang and Pear Jin's thoughts. I understand Min Jhang's view point on the side effects of those anime, manga, video games, etc. on our kids. Yes, I agree with you, they may keep our kids inside. Our kids need to go out and play on the ground under the sun. And doing so, they will grow. However, Wright (2005) said, "His work can be seen as simultaneously reinventing and subverting cultural myths and exposing the complexity of life's problems, rather than simplifying them (p. 290)". Even if we perceive this point, I think there still remain some concerns to our kids, because of some scenes are drawn quite violently in PM. I felt quite offended by the scenes where arms and other body parts were being amputed. There is a widely accepted perception that anime is for kids. In regards to this perception, parents might just let their kids to watch anime, which involves some offensive and violent pictures, without realising some anime could be violent and ,to some extent, not appropriate for kids.
Even though Pear Jin's point on this can be correct, I think conveying important message, so to say, by putting some violent pictures to our kids could also have a negative impact on kids. (i.e., trying to imitate violent action with friends or drawing offensive pictures themselves) So, as Pear Jin said the 'adults' can communicate through those medium, but I am still worried if the medium involve those voilent and offensive pictures.
I checked IMDB, and Princess Mononoke is rated PG and for those that are 13 and older.
I think every responsible parents will read the rating of a film before letting their children watch it.
Also, if there are 13 years old kids watching PM, I am sure they are old enough to understand amputuating each other's arms may not lead to a very happy day. ;)
I agree that PM may not be neccessary suitable to young children despite it being animated, this film doesn't really contain any childish or rather child-like themes. The complexity of the story may confound them.
I think that Studio Ghibili does not just make films for little kids, and Miyazaki wouldn't have included meaningless violence, as it is not his style. I think the violence in the film serves the purpose of reminding us of the constant conflict between man and nature and how cruel humans can be, which is one of the hardest hitting messages in the film.
Sure, there is a perception that anime is meant for children, but it is not neccessary so. (just check the MPAA rating before assuming)
Also, the violence in Saturday morning cartoon show today are probably as intense as the violence graphic in PM. (e.g: cow and chicken, grim the reaper etc.)
I say, it is unfair to blame Miyazaki's films for planting violence thoughts unto children's mind.
Technology today make it so easy for children to access all kind of materials - appropriate or inappropriate. We cannot control everything they watch (unless we locked all the music video channels on tv/ install parental software on the home pc)but that will be keeping them in a box where they are unaware of what are happening in the real world.
Yes, we need parental guidance for our children but we can't keep them in the dark forever, they need to grow upc. We just need to educate our children to instill good values and moral conscience so that they are able differentiate the good and the bad of the world.
I understand what you are saying and I didn't mean to blame merely Miyazaki's films. Here is how I ended up with previous comment.
When I watched PM, my daughters were there too. When some violent scenes came up, we all felt bit taken aback by them. What came to me personally was that ' oh, this might not be appropriate for some younger people.' Even my daughters who are in their early 20s had the same thought.
I totally agree with your view that Miyajaki is not that kind of person who just puts some violent scenes without any reasonable reasons.
And I also agree that even though those amputation scenes were quite aggressive, they were there to teach us an important lesson.
It was only my personal opinion that just came to me when I watched it. I know that contemporary technology is so wicked that kids expose themselves to all kinds of movies or comics but as a Mum, I always have a hope that these violency stays out of our children at least until they are mature enough to handle it.
I really enjoyed reading your comment Pear Jin, you always bring out interesting point of view.
26 comments:
1. What are the underlying thematics of Princess Mononoke?
2. How does it ‘defamiliarise’ its historical setting, according to Napier (2005)?
3. According to Napier, how does this anime problematise traditional (or conservative) constructions of gender, class and race?
4. How do it and other Miyazaki films address the humanity/nature divide, according to Wright (2005)?
5. Could Miyazaki’s vision be described as in some sense religious (inasmuch as it conveys a sense of the sacred)?
6. Finally, with reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?
How does it defamiliarise its historical setting?
The setting of PM is not what one with the knowledge of Japanese history would expect to see according to Napier (2005). PM is set in the 14th century Muromachi period, which is considered to be an apex of Japanese high culture (Napier, 2005, p. 233). This is the period when well-known cultural products…reached their most brilliant form and it was also an era of relative peace (p. 233). However MP takes place in a mythical space, deeply removed from the capital and high culture (p.233). Instead of the peace established by ruling samurai, it offers ‘a vision of cultural dissonance, spiritual loss and environmental apocalypse (p. 232)’. The main protagonists are not those who appear on the usual period films but a diverse and unusual group, the marginals that includes women, outcasts, non-Yamato (non-ethnic Japanese), and kami, the ancient gods (p. 233).
According to Wright (2005), Miyazaki adopted parts of Shinto that is kind of Japanese religion or faith. Wright says “Miyazaki’s films describe an intriguing mixture of earthy spirituality particularly drawn from the Shinto tradition” (Course book, p. 280). However, Miyazaki seems to abandon some negative factors of Shinto, which might ‘lead to the ideology of Tennoism and to Japan’s imperialist expansion program in the nineteenth and twentieth centuries’ (p.281). My opinion is that it is good to see Miyazaki takes the positive factors of Shinto only that focuses on the relationship between human beings and other species of the nature. So his vision is more expansive and global. Miyazaki has certain concerns of the industrialization that he thinks it makes the human beings away from nature and other nature species, further more, it pollutes the nature. So in his films, respecting natural forces and creatures, purification of nature and of the human spirit were abundantly present.
I have an opinion may be provoked again. Miyazaki takes the relationship between human beings and natural forces seriously. He intends to encourage his audiences to respect nature and contact with nature closely. However, ironically, his anime and mango keep the young generation (his mass audiences) away from nature. People who are his audiences mostly live in urban areas and the anime or mango keep them well at home, at cinema or other place but natural grounds. I don’t like anime or mango or video games or computer games too much, because they strongly lure our kids into a fake world. They keep our kids hours and hours out of sun and earth. They jail our kids in a building. How can kids respect or contact closely with nature if they indulge in the anime world?
Also another problem with Miyazaki’s or other’s anime. Miyazaki ‘is adamantly opposed to simplifying the world for children, he says “to make a true children’s is a real daunting challenge and this is because we need to clearly portray the essence of a very complex world.”(p.289-290). See, children has their own unique paths to be mature. You can’t put a complex world on children when they don’t have the ability to understand it. I remember the paper of ‘study of language’ last semester. It says that language acquisition has its own stages. You can’t expect a 3 year old kid to speak with correct grammars. Even you correct him/her many times, he/she still can’t use complex forms like perfect present continue form or perfect past form etc.
Hi Harim and Min Zhang. I agree with your thoughts regarding defamiliarisation of the historical setting Harim. I would like to add that Miyazaki's previous works have predominantly been set in 'international fantasy space' and he departs from this in PM by refusing to sentimentalize the medieval history of Japan, 'preferring to problematise the past'. He ignores the conventional Japanese cultural icons such as the geisha, samurai, tea ceremony, etc, and has a focus on society's marginals as you suggested. Napier (2005) states that 'the film defamiliarizes conventional notions of Japanese history through Miyazaki's decision to set the film during the 14thC Muromachi period'which you explained(p.271).
Min Zhang mentioned the theme of nature and ecological themes coming through in PM and I agree with that. Miyazaki stated his work was 'a wake up call to human beings in a time of environmental and spiritual crisis'(p.273). Other themes include the dangers of militarism and the evils of totalitarianism. The theme of love also features and McCarthy, as cited in Napier, states 'this is a film about love in its many aspects - love of nature, love of family, love between the sexes.(p.273).
q1. The underlying themes of Princess Mononoke in my point of view are the relationship between nature and humans. It is set in the era of medieval Japan and shows struggle between nature and humans implying the importance of preserving the nature. Uneasy picture of demonized animal explicitly convey a very important lesson to people that a consequence of disregarding and disrespecting nature is severe and ghastly. Furthermore, as Napier (2005) stated, “the complex, intriguing and enigmatic character of Eboshi and her association with the proto-industrial Tatara take on pivotal importance” (p.277). She explained several important implications regarding to this point, however, I would like to say this simply through my understanding of the story. Eboshi and Tatara may represent an existing world where the industrialization is rapidly processing. People cannot ignore the convenience and usefulness of the industrialization, but these would ultimately damage nature so badly that subsequent losses of its value and pleasure for human beings are inevitable. So I think Miyazaki attempts to convey these themes through Princess Mononoke.
I agree with all the points of Harim and Renabrab mentioned. Especially, Ebothi’s character defamiliarizes the notions of femininity and of culture, depicting a more complex and ambiguous face of the feminine (p.241). Most standard historical dramas use the main female character as a “vehicle for tradition” however; Eboshi’s character subverts the conventional notion of the traditional female role (p.240). San’s character also defamiliarizes the feminine, and particularly, the conventional view of the feminine and the natural as a form of sanctified Japanese harmony. Even today, modern Japan places a strong emphasis on the woman and nature as symbols of traditional Japanese aesthetics (p.241).
Q1. I agree with Renabrab’s comment that PM is a wakeup call to human beings. I’d like to add that PM challenges or questions long-held beliefs of idealised myth of Japan, harmonious, unproblematic and homogeneous people living peacefully (Napier, 2005). Away from any conventional notions/stereotypes of the characteristics of female, history, the landscaping of forest, peaceful relationship with nature, PM creates a new Japan. It subverts the traditional history, aesthetics, and gender relationships of Japanese society (p. 246). For instance, authoritative guidance comes from a female wolf and the female leader of a weapons manufacturing community instead of male patriarchal rulers (Napier). It also contains a Japanese form of multiculturalism ( p.246) which acknowledges the presence of Others such as women, outcast, non ethnic Japanese, and kami the ancient gods of Japanese people, instead of homogeneous people living in harmony. As Napier claims PM is to disturb or problematize our notion of reality.
Q.6 I cannot clearly figure out the point, but I’d like to try to answer this question from my understanding. According to Cavallaro (2006), technically distinguishable aspects of Mononoke as being a great work of anime is that “The exceptionally high number of cels produced for Mononoke (1440,000, out of which approximately 80,000 were key animation cels) meant that its overall style of motion is substantially more fluid and realistic than one would expect of the average Japanese animation. Computer-generated imagery contributed significantly to this cumulative effect by communicating a sense of solidity and presence comparable to that achieved in live-action cinema.” Furthermore, the ultimate distinctive about the film is Miyazaki’s decisive commitment to the animation of its settings by recourse to an aesthetic that prioritizes the evocation of atmosphere. This is achieved through the consistent juxtaposition of pastoral landscapes and outbreaks of violence endowed with eminently visceral connotations, and through the use of recurring images. The director’s refined sensitivity to the slightest nuances of animal movement also provides a great work of anime (p.299).
Hi Hannah
Re Question 6, I agree this is quite a complex question. I think the passage on pp.299-300 is quite interesting. Cavallaro (2006) cites Sugano: 'Mr Miyazaki wanted computer graphics that could be seamlessly integrated into cel animation so we had to begin by developing software that could do that.' The text then says that Microsoft were commissioned to develop software to do this. "Our goal was to make computer graphics images conform to the level of realism you find in cel animation."
Use of CGI in PM is described by Cavallaro (2006) as being 'fully synthesized into the overall action'. I feel this is a distinguishing technical factor in PM.
Cavallaro (2006) also suggests that Atsushi Okui, Studio Ghiblis's camera department manager said 'I feel that PM may be the last animation we photograph with conventional film, so we've tried to put all the know-how that we have accumulated into this film." Cavallaro then states that these words were prescient, as Miyazaki's most recent works 'were edited through to entirely digital means'(p.303).
Thank you Renabrab. Yes, I feel clearer for that.
As I was watching PM, one of my interests was to find out how Miyazaki portrayed ‘females’ in the film. I think, as Hannah commented, the female figures are more complex’ compared to works by others and Miyazaki’s previous works, challenging the conventional view of female. However, I think, Miyazaki puts more weight on Ashitaka than the three female characters. Ashitaka is portrayed as physically strong (he killed the boar), emotionally stable (he was not carried away by hatred or anger), responsible and rational. He is perfect while the females are somewhat defective.
On several occasions, Ashitaka’s help was essential in the film. For example he stopped the fight between San and Eboshi and rescued San. Ashitaka also played important role with San to force Jigo to return the Shishigami’s head.
Therefore I disagree with Napier (2005) who said ‘female characters who exist…independent of any male interlocutor (p. 246)’. This is because Ashitaka plays an important role as a helper and a mediator in PM. I think, after all, the main character is Ashitaka.
hello, group #2,
i was m.i.a for a while,did you miss me?
anyway, regarding to minzhang's opinion on this quote:
"I don’t like anime or mango or video games or computer games too much, because they strongly lure our kids into a fake world. They keep our kids hours and hours out of sun and earth. They jail our kids in a building."
I have to say I have a different opinon.
I think the most effective way to convey important message to our youth is through what is 'hip and happening".
If manga/video games/ blog/ facebook.myspace.bebo is what interest the youth of today, then the 'adults' should make use of that and start communicating with our youth using the appropriate medium.
We can integrate traditional values or 'save the environment' messages into video games and this will raise the awareness of the youth.
Sure, they may not stop using plastic bags right at this instance because the video game says its bad for the environment but at least they are aware of it and this is a first baby step of trying to convince youth to stop using plastic bags all together. (apply this unto issues such as violence/war etc.)
So, I thought that Miyazaki's work is truly inspiring and I think it is indeed helping the youth to understand the importance of nature better.
I mean, if he doesn't try to convey the importance of nature through manga/anime, then do you expect him to print "Save the Nature" posters/ 10,000words articles on recycled paper and expect the teens to read it?
Well, I'll say it wouldnt work that well.
Sorry, I am trying to be rude, just expressing an opinon.
xo
oh damn,
i mean i am NOT trying to be rude.
*knocks head onto keyboard*
Another underlying thematic of Princess Mononoke is Feminism: Miyazaki supports the feminist a lot of the heroes in his stories are in fact heroines and are depicted in a way that twists the general stereotype of females depicted in anime and gives them more ‘depth’ as Harim said (i.e. big boobs, short skirts, flirty, no brains) by connecting them with nature and the natural state and gifting them with strength, intelligence, independence, power and in fact: clothing. Considering the power of female characters, in regards to both Q1 and 2, “Mononoke” establishes females that in fact, are not what they should be in the settings they are placed in. The audience is taken aback by the fact that they are the leaders (i.e. Lady Eboshi) and/or warriors (San) that make up the world and men yield to them. But the female characters also become more complex with their ability to connect with the natural environment around them whether it is in a positive way: San’s connection to the wolf tribe and her appreciation of the forest. Or negative way: Lady Eboshi’s fear of the forest and its strengths.
Q6. According to Cavallaro (2006), Studio Ghibli’s camera department manager Atsushi Okui said ‘if digitalization keeps progressing the way it is, eventually the job of the cameraman for animated films may disappear. I feel that Princess Mononoke may be the last animation that we photograph with conventional films, so we’ve tried to put all the know-how that we have accumulated into this film.’ (p303) This by itself shows how distinguishable Mononoke is both in terms of its significance to its producers and in reference to the techniques and effort put into it by the production crew. Not only does Princess Mononoke contain all the ‘know-how’s of traditional animation, like Mr Okui suggested, it is also filled with 21st century digital animation techniques. It utilises techniques such as 3D Rendering, Morphing, Digital Composition, Texture Mapping, Digital Painting and Particle Systems. All of these new techniques help create an anime film more realistic and smooth than ever before. And yet unlike other recent productions by Miyazaki, such as Spirited Away and Howl’s Moving Castle, Mononoke has the essential traditional anime feel and texture. Rather than being cold, hard, perfectly synchronized, the characters in Princess Mononoke are more ‘friendly’ to the eyes of anime fans, yet not lacking the definition and clarity of computer generated characters. In other words, it is the combination of old and new, and the perfect synthesis of the two, that makes Princess Mononoke a great work of anime. It distils the two categories of techniques and soaks up the essence of both. Yet rather than being dominated and defined by the techniques, Mononoke takes the two and successfully creates a separate, distinct identity and style.
It's too late, but I want to say a bit regarding to Min Jhang and Pear Jin's thoughts. I understand Min Jhang's view point on the side effects of those anime, manga, video games, etc. on our kids. Yes, I agree with you, they may keep our kids inside. Our kids need to go out and play on the ground under the sun. And doing so, they will grow. However, Wright (2005) said, "His work can be seen as simultaneously reinventing and subverting cultural myths and exposing the complexity of life's problems, rather than simplifying them (p. 290)". Even if we perceive this point, I think there still remain some concerns to our kids, because of some scenes are drawn quite violently in PM. I felt quite offended by the scenes where arms and other body parts were being amputed. There is a widely accepted perception that anime is for kids. In regards to this perception, parents might just let their kids to watch anime, which involves some offensive and violent pictures, without realising some anime could be violent and ,to some extent, not appropriate for kids.
Even though Pear Jin's point on this can be correct, I think conveying important message, so to say, by putting some violent pictures to our kids could also have a negative impact on kids. (i.e., trying to imitate violent action with friends or drawing offensive pictures themselves) So, as Pear Jin said the 'adults' can communicate through those medium, but I am still worried if the medium involve those voilent and offensive pictures.
Hannah:
I checked IMDB, and Princess Mononoke is rated PG and for those that are 13 and older.
I think every responsible parents will read the rating of a film before letting their children watch it.
Also, if there are 13 years old kids watching PM, I am sure they are old enough to understand amputuating each other's arms may not lead to a very happy day. ;)
I agree that PM may not be neccessary suitable to young children despite it being animated, this film doesn't really contain any childish or rather child-like themes. The complexity of the story may confound them.
I think that Studio Ghibili does not just make films for little kids, and Miyazaki wouldn't have included meaningless violence, as it is not his style. I think the violence in the film serves the purpose of reminding us of the constant conflict between man and nature and how cruel humans can be, which is one of the hardest hitting messages in the film.
Sure, there is a perception that anime is meant for children, but it is not neccessary so. (just check the MPAA rating before assuming)
Also, the violence in Saturday morning cartoon show today are probably as intense as the violence graphic in PM. (e.g: cow and chicken, grim the reaper etc.)
I say, it is unfair to blame Miyazaki's films for planting violence thoughts unto children's mind.
Technology today make it so easy for children to access all kind of materials - appropriate or inappropriate. We cannot control everything they watch (unless we locked all the music video channels on tv/ install parental software on the home pc)but that will be keeping them in a box where they are unaware of what are happening in the real world.
Yes, we need parental guidance for our children but we can't keep them in the dark forever, they need to grow upc. We just need to educate our children to instill good values and moral conscience so that they are able differentiate the good and the bad of the world.
Hi Pear Jin,
I understand what you are saying and I didn't mean to blame merely Miyazaki's films. Here is how I ended up with previous comment.
When I watched PM, my daughters were there too. When some violent scenes came up, we all felt bit taken aback by them. What came to me personally was that ' oh, this might not be appropriate for some younger people.' Even my daughters who are in their early 20s had the same thought.
I totally agree with your view that Miyajaki is not that kind of person who just puts some violent scenes without any reasonable reasons.
And I also agree that even though those amputation scenes were quite aggressive, they were there to teach us an important lesson.
It was only my personal opinion that just came to me when I watched it. I know that contemporary technology is so wicked that kids expose themselves to all kinds of movies or comics but as a Mum, I always have a hope that these violency stays out of our children at least until they are mature enough to handle it.
I really enjoyed reading your comment Pear Jin, you always bring out interesting point of view.
Hannah:
Thank you. :)
I totally understand that you being a mother, you must be very concerned of the media's contents consumed by your children.
After all, I, myself, are very much taken aback when I went home in the winter and found my 9 y/o sister singing to Green Day. =_="
Have a great weekend.
Pear Jin,
Thank you here too!!
You too, have a nice weekend.
p.s. If you know the web address of 'delicious' something, would you please leave it here? because I think I got wrong one. Thanks :)
http://del.icio.us./pmountfo
there you go.
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