BTW, y' might notice this week's 'banner' shows not Mononoke but Tales from Earthsea, directed by Miyazaki's son, Horo. May be of interest that this is an adaptation of the Earthsea franchise (remember Wizard of Earthsea, guys??).
Funny history here as Hayao Miyazaki long wanted to adapt AWoE but Ursuala Le Guinn originally refused, so he made Nausicaa instead. There's a little creature that sits on N's shoulder that is based on the Otak in A Wizard of Earthsea, a kind of signature by M of Earthsea's influence on him.
Years later (30 years!) Earthsea was finally made by Studio Ghibli, but by Horo - unfortunately with opposition by his father and some hurtful criticism afterwards; Le Guinn says she regretted it and wished she'd let Miyazaki Sen do it instead! Poor Goro (>_<)
Out of interest, anyone seen Earthsea and care to comment?
Hi my friends According to Napier (2005) "Princess Mononoke problematizes archetypes and icons, ranging from the notion of the emperor's untouchability to the traditional iconization of the feminine, to create a genuinely new vision of a Japan at the crossroads of history"( P. 232).this animation was not based on a historical events and it had connection to some “pivotal myths of Japanese culture and society ( P. 232).Moreover, the film showed "de-familiarizes conventional notions of Japanese history through Miyazaki's decision" (P. 233).Also it was showed that in Samurai's period they respected to nature and wanted to save it. Additionally, “the female characters possess a gender-neutral, characterization compared to traditional female stereotype, and they remain completely outside the misogynistic patriarchal collectively that rapidly became the foundation of pre-modern Japan" (Napier, 2005, P. 240).
Hi again According to (Wright, 2005), Miyazaki as director of Princess Mononoke has included all animistic ontology that references ancient Japanese beliefs, practices and myths. Wright said “Representation Of kami and the natural world in Miyazaki films express an underlying belief of the early Shinto, worldview that is, continuity between humanity and nature. The ancient Japanese did not strictly divide their world into the material and the spiritual, nor between this world and another perfect realm” (P. 5). Moreover Miyazaki states that “I’ve come to the point where I just can’t make a movie without addressing the problem of humanity as part of an ecosystem” (P. 5).
Hi again “The avoidance of stereotypical characterization was one of Miyazaki’s priorities throughout the planning and actual realization of the film. It is for this reason that Mononoke does not really feature what one could in all faith a bad guy “Cavallaro, 2006. P. 124).Firstly, all viewers would think that Eboshi is a 'bad guy', as she unscrupulously depletes the forest. But she also offers shelter and works to both lepers and ex-hookers in iron town.
I just want to discuss further with you Question 1.
What are the underlying thematics of princess Mononoke?
According to Napier (205), one of the underlying thematic of Princess Mononoke is the Japanese loss of her identity, as it is revealed in (p. 232) that Miyazaki’s work deals with the loss of a Japan that existed before the patriarchal system, a Japan in which nature, rather than humans, ruled.
Napier further suggests “the film defamiliarizes two important icons in Japanese culture, which are the myth of the feminine as long–suffering and supportive, and the myth of the Japanese as living in harmony with nature, often expressed through a union of the feminine with the natural.”
How does it 'defamiliarize' its historical setting, according to Napier (2005)?
According to Napier (2005), Princess Mononoke historical setting was in the Muromachi period (1392-1572), when Japan’s natural landscape was being irrevocably altered, by intensifying agriculture and proto-industrialisation.
However, it was also a seminal period in the formation of Japan’s national culture (e.g. Noh theatre, Zen garden, tea ceremony, etc.).
As Miyazaki states in his introduction to a book about the film, “Contrary to the usual period film (jidaigeki), this is a movie in which few samurai, peasants, or feudal lords appear. This is a film in which the main protagonists are those who usually do not appear on the stage of history. Instead, this is the story of marginals of history.”
Hence, in this film’s “marginals,” it comprises a diverse and unusual group that includes women, outcasts, non-Yamoto tribes, and the most unusual is that of the kami, the ancient gods of Japanese people, who either embody or are closely linked to the forces of nature.( Napier, 2005, p.233).
According to Napier (2005 p.233), ‘The [Muromachi] period is usually considered to be an apex of Japanese high culture, when well-known cultural products like the tea ceremony, Noh theater, and Zen-inspired landscape gardens reached their most brilliant form. It was also an era of relative peace.’ However, ‘In Miyazaki’s view, the fourteenth century is a period of significant historical transition from a world that was still in close contact with both natural and supernatural forces to a world that would become increasingly oriented toward the human. As he says, “It was in this period that people changed their value system from gods to money.” Since the period is one of transition, its variability also holds attractions for him as a time when “life and death were sharply delineated. People lied, loved., hated worked, and died. Life was not ambiguous. Even in the midst of hatred and slaughter there were still things that made life worth living. Marvelous encounters and beautiful things could still exist”’ (Napier 2005, p.237). Then, Princess Mononoke attempts to evoke this complex and dangerous world (Napier 2005).
I’d like to add to your answer for Question 3 in your first comment.
According to Napier (2005) the most important aspect related to Question 3 is the film’s defamiliarizing of conventional female characterization. ‘Turning to his female characters, it is evident that in Princess Mononoke Miyazaki not only undermines a plethora of female stereotypes from conventional Japanese culture and from the anime world itself but also away from his own previous female creations’ (Napier 2005, pp.237-238) who ‘tend to have conventionally female gendered aspects like sweetness and cuteness’ (Napier 2005, p.238). Although ‘most standard historical dramas use the main female character as a “vehicle of the tradition”’ (Napier 2005, p.240), the female characters in Princess Mononoke remain completely outside the patriarchal collectivity (Napier 2005). Especially, ‘Eboshi’s character subverts the conventional notion of the traditional female role (Napier 2005, p.240).
Wright (2005 p.12) concludes ‘how aspects of the pre-modern spiritualism have been transformed and manifested visually’ in Miyazaki’s films. ‘The removal of pollution to restore the essentially pure state of nature, and of the human sprite, were abundantly present in Naushika. Through the princess’ actions and those of the Ohmu, the irradiated and polluted state of the Toxic Jungle were gradually reversed and the tsumi was expunged’ (Wright 2005, p.12). ‘In Laputa, this was manifested through the heavy burden of lineage that Sheeta must bear – her ancestors were both incredibly powerful, yet had the capacity for great violence. Totoro took a gentler approach and suggested that we are spiritually descended from the natural world as apparent in the kinship the little girls feel for the forest spirit Totoro’ (Wright 2005, p.12).
‘What is most remarkable about the use of CGI in Mononoke is that it never exhibits the dubious quality’ (Cavallaro 2006, pp.126-127). ‘The film makes judicious use of CGI, ensuring that this complements the hand-drawn elements instead if overwhelming them, and that it is employed where it is most effective (e.g. in subtly moving backgrounds that can be more smoothly animated with computers). Thus the overall style maintains an artistic, hand-crafted feel even as it keeps up with the times’ (Cavallaro 2006, p.127).
I agree with your answer for Question 1. But I find Miyazaki’s words in Cavallaro’s Princess Mononoke which mention the theme of the film, so I post them.
“When you talk about plants, or an ecological system or forest, things are very easy if you decide that bad people ruined it. But that’s not what humans have been doing. It’s not bad people who are destroying forests… Hand-working people have been doing it. [… However,] it is exactly the problem of the environmental destruction we are facing on a global scale. This is the complexity in the relationship between humans and nature. And since this is a big theme of this film” (Miyazaki 1997a) (Cavallaro 2006, p.124).
16 comments:
Hi guys (^_^)/
Here're some questions about Princess Mononoke, which we view Thursday. Hope y' enjoy!
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) Japanese 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?
Any other thoughts?? 8)
BTW, y' might notice this week's 'banner' shows not Mononoke but Tales from Earthsea, directed by Miyazaki's son, Horo. May be of interest that this is an adaptation of the Earthsea franchise (remember Wizard of Earthsea, guys??).
Funny history here as Hayao Miyazaki long wanted to adapt AWoE but Ursuala Le Guinn originally refused, so he made Nausicaa instead. There's a little creature that sits on N's shoulder that is based on the Otak in A Wizard of Earthsea, a kind of signature by M of Earthsea's influence on him.
Years later (30 years!) Earthsea was finally made by Studio Ghibli, but by Horo - unfortunately with opposition by his father and some hurtful criticism afterwards; Le Guinn says she regretted it and wished she'd let Miyazaki Sen do it instead! Poor Goro (>_<)
Out of interest, anyone seen Earthsea and care to comment?
Hi my friends
According to Napier (2005) "Princess Mononoke problematizes archetypes and icons, ranging from the notion of the emperor's untouchability to the traditional iconization of the feminine, to create a genuinely new vision of a Japan at the crossroads of history"( P. 232).this animation was not based on a historical events and it had connection to some “pivotal myths of Japanese culture and society ( P. 232).Moreover, the film showed "de-familiarizes conventional notions of Japanese history through Miyazaki's decision" (P. 233).Also it was showed that in Samurai's period they respected to nature and wanted to save it. Additionally, “the female characters possess a gender-neutral, characterization compared to traditional female stereotype, and they remain completely outside the misogynistic patriarchal collectively that rapidly became the foundation of pre-modern Japan" (Napier, 2005, P. 240).
Hi again
According to (Wright, 2005), Miyazaki as director of Princess Mononoke has included all animistic ontology that references ancient Japanese beliefs, practices and myths. Wright said “Representation Of kami and the natural world in Miyazaki films express an underlying belief of the early Shinto, worldview that is, continuity between humanity and nature. The ancient Japanese did not strictly divide their world into the material and the spiritual, nor between this world and another perfect realm” (P. 5). Moreover Miyazaki states that “I’ve come to the point where I just can’t make a movie without addressing the problem of humanity as part of an ecosystem” (P. 5).
Hi again
“The avoidance of stereotypical characterization was one of Miyazaki’s priorities throughout the planning and actual realization of the film. It is for this reason that Mononoke does not really feature what one could in all faith a bad guy “Cavallaro, 2006. P. 124).Firstly, all viewers would think that Eboshi is a 'bad guy', as she unscrupulously depletes the forest. But she also offers shelter and works to both lepers and ex-hookers in iron town.
Hi Bahram!
I just want to discuss further with you Question 1.
What are the underlying thematics of princess Mononoke?
According to Napier (205), one of the underlying thematic of Princess Mononoke is the Japanese loss of her identity, as it is revealed in (p. 232) that Miyazaki’s work deals with the loss of a Japan that existed before the patriarchal system, a Japan in which nature, rather than humans, ruled.
Napier further suggests “the film defamiliarizes two important icons in Japanese culture, which are the myth of the feminine as long–suffering and supportive, and the myth of the Japanese as living in harmony with nature, often expressed through a union of the feminine with the natural.”
See you later!
Hi again bloggers!
This is for Question 2.
How does it 'defamiliarize' its historical setting, according to Napier (2005)?
According to Napier (2005), Princess Mononoke historical setting was in the Muromachi period (1392-1572), when Japan’s natural landscape was being irrevocably altered, by intensifying agriculture and proto-industrialisation.
However, it was also a seminal period in the formation of Japan’s national culture (e.g. Noh theatre, Zen garden, tea ceremony, etc.).
As Miyazaki states in his introduction to a book about the film, “Contrary to the usual period film (jidaigeki), this is a movie in which few samurai, peasants, or feudal lords appear. This is a film in which the main protagonists are those who usually do not appear on the stage of history. Instead, this is the story of marginals of history.”
Hence, in this film’s “marginals,” it comprises a diverse and unusual group that includes women, outcasts, non-Yamoto tribes, and the most unusual is that of the kami, the ancient gods of Japanese people, who either embody or are closely linked to the forces of nature.( Napier, 2005, p.233).
Have a nice holiday!
Hi Group:
This is my answer for Question 2.
According to Napier (2005 p.233), ‘The [Muromachi] period is usually considered to be an apex of Japanese high culture, when well-known cultural products like the tea ceremony, Noh theater, and Zen-inspired landscape gardens reached their most brilliant form. It was also an era of relative peace.’ However, ‘In Miyazaki’s view, the fourteenth century is a period of significant historical transition from a world that was still in close contact with both natural and supernatural forces to a world that would become increasingly oriented toward the human. As he says, “It was in this period that people changed their value system from gods to money.” Since the period is one of transition, its variability also holds attractions for him as a time when “life and death were sharply delineated. People lied, loved., hated worked, and died. Life was not ambiguous. Even in the midst of hatred and slaughter there were still things that made life worth living. Marvelous encounters and beautiful things could still exist”’ (Napier 2005, p.237). Then, Princess Mononoke attempts to evoke this complex and dangerous world (Napier 2005).
Hi, Bahram:
I’d like to add to your answer for Question 3 in your first comment.
According to Napier (2005) the most important aspect related to Question 3 is the film’s defamiliarizing of conventional female characterization. ‘Turning to his female characters, it is evident that in Princess Mononoke Miyazaki not only undermines a plethora of female stereotypes from conventional Japanese culture and from the anime world itself but also away from his own previous female creations’ (Napier 2005, pp.237-238) who ‘tend to have conventionally female gendered aspects like sweetness and cuteness’ (Napier 2005, p.238). Although ‘most standard historical dramas use the main female character as a “vehicle of the tradition”’ (Napier 2005, p.240), the female characters in Princess Mononoke remain completely outside the patriarchal collectivity (Napier 2005). Especially, ‘Eboshi’s character subverts the conventional notion of the traditional female role (Napier 2005, p.240).
Hi, Group:
This is my answer for Question 4.
Wright (2005 p.12) concludes ‘how aspects of the pre-modern spiritualism have been transformed and manifested visually’ in Miyazaki’s films. ‘The removal of pollution to restore the essentially pure state of nature, and of the human sprite, were abundantly present in Naushika. Through the princess’ actions and those of the Ohmu, the irradiated and polluted state of the Toxic Jungle were gradually reversed and the tsumi was expunged’ (Wright 2005, p.12). ‘In Laputa, this was manifested through the heavy burden of lineage that Sheeta must bear – her ancestors were both incredibly powerful, yet had the capacity for great violence. Totoro took a gentler approach and suggested that we are spiritually descended from the natural world as apparent in the kinship the little girls feel for the forest spirit Totoro’ (Wright 2005, p.12).
Hi, Bahram:
I agree with your answer for Question 5 in your second posting.
Hi, Group:
This is my answer for Question 6.
‘What is most remarkable about the use of CGI in Mononoke is that it never exhibits the dubious quality’ (Cavallaro 2006, pp.126-127). ‘The film makes judicious use of CGI, ensuring that this complements the hand-drawn elements instead if overwhelming them, and that it is employed where it is most effective (e.g. in subtly moving backgrounds that can be more smoothly animated with computers). Thus the overall style maintains an artistic, hand-crafted feel even as it keeps up with the times’ (Cavallaro 2006, p.127).
Hi Poe:
I agree with your answer for Question 1. But I find Miyazaki’s words in Cavallaro’s Princess Mononoke which mention the theme of the film, so I post them.
“When you talk about plants, or an ecological system or forest, things are very easy if you decide that bad people ruined it. But that’s not what humans have been doing. It’s not bad people who are destroying forests… Hand-working people have been doing it. [… However,] it is exactly the problem of the environmental destruction we are facing on a global scale. This is the complexity in the relationship between humans and nature. And since this is a big theme of this film” (Miyazaki 1997a) (Cavallaro 2006, p.124).
Hi, Bahram:
I’m sorry. I’m not sure the meaning of your third posting. For which question did you intend to answer? Please explain for me…
Post a Comment