scholarly journals The Spiriting Away of Chihiro: Miyazaki’s Global Heroine

2020 ◽  
Author(s):  
Cari Callis
Keyword(s):  
Coming Of Age ◽  
Hero's Journey ◽  
Spiritual Journey ◽  
Japanese History ◽  
Heroine's Journey ◽  
Animated Film ◽  
Spirit World ◽  
Human World ◽  
The Witch ◽  
Studio Ghibli

From 1963 to present day, Hayao Miyazaki has recounted the Heroine’s Journey of strong girls and young women through his animated films, television series and manga. Theatrically released in 2001 his hand drawn masterpiece Sen to Chihiro no Kamikakushi (Sen and Chihiro’s Spiriting Away) became the highest grossing film in Japanese history. It was dubbed into English and released by Disney in 2002, and went on to win the Academy Award for what is still the only foreign film to have ever won the Best Animated Feature category. Many critics have ranked it as the best animated film ever made. It’s a coming of age fantasy written and directed by Miyazaki and animated by his Studio Ghibli. It’s the Heroine’s Journey of 10-year-old Chihiro Ogina who is on her way to moving to a new home when she’s sidetracked into the Shinto spirit world of folklore. Her parents are transformed into pigs by the witch Yubaba, and Chihiro must find a way, as she works in Yubaba’s bathhouse to free her parents and escape back to the human world. This essay examines and analyzes how Spirited Away follows the 10-stage model that Maureen Murdock describes in her book Heroine’s Journey: Woman’s Quest for Wholeness. Murdock was a student of Campbell’s and came to believe through her work with women in therapy that his model of the Hero’s Journey didn’t acknowledge the psychological-spiritual aspects of a women’s journey. It argues that Miyazaki and his male dominated studio didn’t follow the Joseph Campbell model of The Hero’s Journey by simply telling a Shero’s journey or one that replaces the male protagonist with a female one, but that he celebrates the psycho-spiritual journey of Chihiro that Murdock outlines.

Hayao Miyazaki

2020 ◽  
Author(s):  
Raz Greenberg
Keyword(s):  
Coming Of Age ◽  
Television Series ◽  
Animation Industry ◽  
Japanese Cinema ◽  
The Third ◽  
Animated Film ◽  
Important Position ◽  
Studio Ghibli ◽  
Historical Fantasy ◽  
Hayao Miyazaki

Japanese animator Hayao Miyazaki (b. 1942) is arguably the most admired figure of Japan’s postwar animation industry (commonly known as anime). Deeply moved in his youth by his country’s first color feature-length animated film Hakujaden (Panda and the Magic Serpent, 1958, directed by Taiji Yabushita), Miyazaki decided to seek a career in animation after receiving his BA degree in politics and economy. Most of his output during the first sixteen years of his work as an animator consisted of working on other directors’ films and television shows. Miyazaki made his directorial debut, sharing credit and duties with his colleague Isao Takahata, on the television series Rupan Sansei (Lupin the Third, 1971–1972), an adaptation of a popular manga (comics) series about the exploits of a daring thief. The year 1979 saw the release of Miyazaki’s feature-length debut Rupan Sansei: Kariosuturo no Shiro (Lupin the Third: The Castle of Cagliostro), a spin-off of the television series, which gained attention for its spectacular action sequences. His second feature, Kaze no Tani no Naushika (Nausicaä of the Valley of the Wind, 1984), a theatrical feature adaptation of his own long-running manga series about the quest of a pacifist princess to save a war-torn world destroyed in an environmental apocalypse, hailed for its beautiful animation, design, and environmental subtext. The success of Nausicäa of the Valley of the Wind led to the foundation of Studio Ghibli, under the creative management of Miyazaki and Takahata. A string of critically acclaimed works solidified his position as a leading director in Japan’s animation industry: the Victorian-flavored adventure Tenkū no Shiro Rapyuta (Castle in the Sky, 1986), the nostalgic children’s fantasy Tonari no Totoro (My Neighbor Totoro, 1988), the coming-of-age fantasy Majo no Takkyūbin (Kiki’s Delivery Service, 1989) and the historical comedy-adventure Kurenai no Buta (Porco Rosso, 1992). At the turn of the century, Miyazaki directed the acclaimed historical fantasy Mononoke Hime (Princess Mononoke, 1997) and the modern-day fantasy Sen to Chihiro no Kamikakushi (Spirited Away, 2001), and each became the highest-grossing film in the history of Japanese cinema, an evidence of the important position that Miyazaki has achieved in Japan’s postwar culture. Spirited Away also won the Academy Award for Best Animated Feature in 2002. Miyazaki’s later films in the 21st century met with a more mixed reception. Hauru no Ugoku Shiro (Howl’s Moving Castle, 2004), Gake no Ue no Ponyo (Ponyo, 2008), and Kaze Tachinu (The Wind Rises, 2013) were praised for their visuals, but came under criticism for their narrative qualities. The ongoing debate as to who is going to be Miyazaki’s successor as Japan’s leading animator demonstrates the deep cultural influence that his work continues to have on other animators and filmmakers.

The Journey of the Suffering Servant: The Vulnerable Hero, the Feminine Godhead and Spiritual Transformation in Endō Shūsaku’s Deep River

Exchange ◽  
2012 ◽  
Vol 41 (4) ◽  
pp. 320-334
Author(s):  
JinHyok Kim
Keyword(s):  
Spiritual Growth ◽  
Spiritual Transformation ◽  
Hero's Journey ◽  
The Novel ◽  
Christian Belief ◽  
Spiritual Journey ◽  
Basic Pattern ◽  
The Feminine ◽  
Jungian Archetypes ◽  
Suffering Servant

Abstract This study aims to investigate how the Biblical view of the Suffering Servant transforms a basic pattern of the hero’s journey into a narrative of spiritual growth in modern literature. In this article, especially, I will examine the novel Deep River by the 20th-century Japanese Catholic novelist, Endō Shūsaku, paying special attention to his use of Jungian archetypes. Unlike the beautiful and gracious Holy Mother of Christian belief, the image of Endō’s feminine divinity is what we think as ordinary, depressing, shameful, and even ugly. As the very embodiment of this motherly divine Love, the hero of the novel eventually figures out that his journey should be structured analogously to the narrative of the Suffering Servant. This hero helps people discover the mother-like God and invites them into their own spiritual journey in which they accept the vulnerability, ineffectiveness and helplessness of human existence.

scholarly journals The Hero’s Journey: 12 Stages in The Narrative of Animation Boboiboy Movie 2

2021 ◽  
Vol 36 (3) ◽  
pp. 316-325
Author(s):  
Oscar Gordon Wong ◽  
Imelda Ann Achin
Keyword(s):  
Research Method ◽  
Film Industry ◽  
Narrative Structure ◽  
Hero's Journey ◽  
The Other ◽  
International Level ◽  
Animated Films ◽  
Animated Film ◽  
Picture Analysis ◽  
And Function

2019 is a phenomenal year for the development of the Malaysian animated film industry as it has successfully produced two superheroes animated films in total. However, the animated film industry in Malaysia is still not competitive at the international level. This can be seen from the 17 animated films that have been produced from 1998 to 2019, only two superheroes animated films managed to get the attention of the audience. This is due to the lack of knowledge of the concept and function of the hero character in animated films. Therefore, the main objective of this paper aims to demonstrate how the Hero’s Journey narrative structure can be applied in BoBoiBoy Movie 2 (2019). This research method involves the use of video analysis tools namely Kinovea and Motion Picture Analysis Worksheet to explain on how the Hero’s Journey of this film conveys the storytelling. The results of this study found that each semicircle Hero’s narrative structure has an important meaning across from one half-circle to the other half-circle. As a result, it explains the concept of peace and chaos as well as stasis and changes in the narrative structure of superhero animated films. This paper will provide information to researchers on the importance and use of the Hero’s Journey approach to analyze superhero animated films.

scholarly journals Stuck in a Labyrinth (or a Tower) with the Minotaur and trying to get out: Princess Aurora and Imperator Furiosa as the heroes of the Multimyth

2020 ◽  
Author(s):  
Gitanjali Kapila
Keyword(s):  
Narrative Structure ◽  
Sleeping Beauty ◽  
Hero's Journey ◽  
Personal Agency ◽  
Joseph Campbell ◽  
New Methods ◽  
Heroine's Journey ◽  
Interpretive Model ◽  
Vladimir Propp ◽  
Made In

In The Hero with a Thousand Faces Joseph Campbell begins his thesis of the Monomyth with a recounting of the story of the Minotaur. His purpose is straightforward: the initiation and cycling of the hero’s journey is predicated on an origin of evil narrative which the story of the Minotaur quintessentially is. It is interesting to note, however, that differently gendered expressions of narrative evil give rise to distinct and gendered vectors of protagonist action. In Sleeping Beauty, for example, Maleficent, a female/mother variant of the tyrant-monster, gives rise to a protagonist, Princess Aurora, who is never the conscious agent of the action she takes. On the other hand, in Mad Max: Fury Road, Furiosa literally drives the narrative action which is initiated by the tyrant-father, Immortan Joe. Though it’s clear that Furiosa’s journey adheres to a more manifest expression of empowered action than Princess Aurora’s, this paper will argue that neither protagonist nor the implied origin of evil story setting each character’s journey in motion suffices to define the heroine’s journey. Rather, the fairytale princess and the female action-hero require a new interpretive model in order to describe both their conflicting and, surprisingly, common relationship to personal agency. Drawing on the methodology of Vladimir Propp, I intend to offer an alternative framework for understanding the attributes of the heroine’s journey which circumvents completely the essentializing gesture that is necessarily made in positing an expression of the hero-task which would be unique to a female protagonist. Rather, I offer the Multimyth, an interpretive framework which 1) applies the model of the hero’s journey to Sleeping Beauty and Mad Max: Fury Road in order to define, reveal, and interrogate the functioning of each film’s narrative structure foregrounding the roles of Princess Aurora and Furiosa, respectively; and, then 2) uses the aggregate conclusions of the application of Campbell’s model to each text to counter-interrogate the model itself. In doing so, I intend to expose the assumptions, omissions and limitations of the Monomyth as a narrative heuristic and at the same time elucidate the Multimyth as an interpretive model which honors Campbell’s conception of the hero-task and proffers new methods for the application of the hero’s journey which will result in a richer and more complex understanding of narrative structure.

scholarly journals Destabilizing Journeys: The Chicago Feminist Film Festival and The Fits

2020 ◽  
Author(s):  
Michelle Yates ◽  
Susan Kerns
Keyword(s):  
White Male ◽  
Hero's Journey ◽  
Male Gaze ◽  
Main Character ◽  
Film Festival ◽  
Male Characters ◽  
Black Girlhood ◽  
Heroine's Journey ◽  
The World ◽  
Feminist Film

The Chicago Feminist Film Festival aims to decenter and destabilize Hollywood norms, including Hollywood’s tendency to place cis-gendered white male protagonists at the center of films structured according to the hero’s journey. Thus, The Fits (2016) was a natural opener to the inaugural festival, embodying many of the festival’s values in destabilizing what constitutes “normal” ways of seeing the world. In particular, in centering black girlhood, The Fits subverts the white and male gaze. Main character Toni takes on the active gaze usually reserved for white and/or male characters, subverting the objectified status generally prescribed to female characters. The Fits also unsettles the heroine’s journey by troubling Toni’s transformative return. While it may seem that through “the fits” Toni is assimilated into normative gender relations, it is also possible to read Toni’s transformation in the film as form of insubordination, a resistance to this assimilation.

scholarly journals Nilai-Nilai Shintoisme pada Perbedaan Warna dan Bentuk Gerbang Dunia Dewa di Awal dan Akhir Film Spirited Away Karya Studio Ghibli

2021 ◽  
pp. 37-56
Author(s):  
Maugina Havier
Keyword(s):  
Qualitative Study ◽  
Visual Examination ◽  
Examination Method ◽  
Significant Difference ◽  
Spirit World ◽  
Academy Award ◽  
Studio Ghibli ◽  
In The Beginning ◽  
Japanese Architecture ◽  
Hayao Miyazaki

Spirited Away is an animation made by Ghibli Studio on 2001 under Hayao Miyazaki direction. This movie awarded as The Best Animation by The 75th Academy Award. This movie tells about the journey of Chihiro, the protagonist who’s been “spirited away” to the spirit world. There’s a significant difference on the visual and surounding of the scene when Chihiro went inside the spirit world through the gate in the beginning of the movie and when she’s back from that world at the ending. Even it’s pretty clear that it is the same place, but the gate, the colors, material, and the environment seems to be different. This visual generate a long controversy, include of how excactly the story end. Question arise of the significant distinction on the visual of the gate between the scenes, like why on the beginning the color of the gate is red with some characteristic of Shinto’s Temple architectural, but then the gate at the ending is white and made from stone piles. Hayao Miyazaki as creator of the movie has never explicitely answer the question on this matter. This qualitative study using visual examination method on colors and material of the gates, from the perspective of Shinto’s and Japanese architecture, to know the reason behind the importance of differentiating the visual of the gates in the beginning and the ending of the movie.

scholarly journals To Lose My Mind And Find My Soul.1 The Masculine and Feminine in Films Set in the Forest

2020 ◽  
Author(s):  
Josef Steiff
Keyword(s):  
Science Fiction ◽  
Hero's Journey ◽  
Classical Literature ◽  
Female Characters ◽  
Television Series ◽  
The Past ◽  
Leave No Trace ◽  
Heroine's Journey ◽  
The World ◽  
A Site

In the past few years, there has been a proliferation of films and television series around the world that are set in forests. These stories’ structures often differ depending on the gender of the protagonist: If the protagonists are men, the forest is usually a site of horror, but when the protagonists are women, the forests become sites of transformation. Looking at Maureen Murdock’s The Heroine’s Journey, Joseph Campbell’s The Hero’s Journey, and Catherine Addison’s model for how the forest is represented in classical literature, this paper considers how the internal journey of female characters is reflected in or resonates with the woods. Films discussed range across multiple genres (drama, survival, crime, horror, science fiction) and include Leave No Trace, Deliverance, The Grey, Destroyer, Zone Blanche, The Ritual, The Hallow, Without Name, Dans la foret, The Blair Witch Project, The Forest, Mad Max: Fury Road, Annihilation, and Aeon Flux. The temptation to talk about these films in dichotomies, such as Hero/Heroine, Masculine/Feminine, illustrates our need for new terminology to reflect even newer ways of thinking about the complexity of gendered protagonists in stories.

Sheroes of the Sea: A Comparative Reading of the Girl-Centred Films Moana and Whale Rider

2019 ◽  
Vol 7 (1) ◽  
Author(s):  
Belinda Du Plooy
Keyword(s):  
Rites Of Passage ◽  
Female Leadership ◽  
Hero's Journey ◽  
Pacific Island ◽  
Young Girls ◽  
Subsequent Transformation ◽  
Sea Narratives ◽  
Short Novel ◽  
Animated Film ◽  
Island Communities

This article considers two contemporary films in which youthful female leadership has been depicted as sea narratives. These are New Zealand director Niki Caro’s 2003 film Whale Rider, based on the 1987 short novel of the same name by Maori author Witi Ihimaera, and Disney’s 2016 animated film, Moana. There are clear similarities in the narratives and, in fact, the directors of Moana cited Caro’s Whale Rider as inspiration for their film. Both texts present the stories of young girls from Pacific Island communities and their individual and communal crises of existence and rites of passage. The classic hero’s journey merges with the iconic trope of the sea journey (both traditionally male genres) and both are presented as the personal existential quests of young girls and their subsequent transformation of the communities they eventually will lead. Both films participate in the contemporary critical pedagogical revisioning task, by providing female equivalents or parallels to previously male-dominated mythologies and narratives of heroic journeying and quest, thereby contributing to a contemporary tradition of female sheroics.

scholarly journals THE COMPARISON OF HEROINE’S JOURNEY IN BRAVE MOVIE (2012) AND MOANA MOVIE (2016)

CALL ◽  
2020 ◽  
Vol 2 (2) ◽  
Author(s):  
Gita Mutiara Ramadhanty
Keyword(s):  
Comparative Literature ◽  
Literary Criticism ◽  
Hero's Journey ◽  
Heroine's Journey ◽  
Literature Theory

AbstractThe aim of this research is to discuss the comparison of the heroine’s journey in Brave movie (2012) and Moana movie (2016). To analyze both of them, the researcher uses the theory of hero’s journey by Christopher Vogler. Hero’s or heroine’s journey is a stage about growth and passage each stage of journey must be passed successfully then could be called as a hero or heroine. Not only analyze the hero’s journey, but also compare it by using comparative literature theory. This research is designed as a literary criticism. The method used in this research is comparative literature method. The results of the research indicate that the heroine in Brave and Moana movie, both of the heroine have gone through several stages in Heroine's Journey. There is one difference in the two movies when viewed from the heroine's journey. From twelve hero’s journey by Vogler, the heroine in Brave movie goes through 9 stages of hero’s journey. Meanwhile the heroine in Moana movie passed 10 stages of the hero’s journey.Keywords: Comparative Literature, Movie, Hero’s Journey.

scholarly journals ‘IT SOUNDED SO UNLIKE INDIA’: AUDITORY PERCEPTION IN ‘THE SECRET GARDEN’ BY F. H. BURNETT

2021 ◽  
Vol 13 (2) ◽  
pp. 104-110
Author(s):  
Olga Yu. Orlova ◽  
Keyword(s):  
Auditory Perception ◽  
Coming Of Age ◽  
Point Of View ◽  
Auditory Imagery ◽  
The Novel ◽  
Spiritual Journey ◽  
British India ◽  
Circular Structure ◽  
The Secret Garden ◽  
Sensory Imagery

Children’s literature has traditionally employed images of different sensory modalities to make the experience of the main characters more accessible to young readers. We believe that auditory imagery is an integral part of the sensory imagery repertoire of any text written for children, and auditory perception in a literary text reflects the way of interaction between the characters and the world around them at various stages of their spiritual journey. Being a traditional coming-of-age novel, The Secret Garden by F. H. Burnett shows a specific connection between auditory imagery and the plot of the novel since it reveals the changes in the main heroine’s character and highlights her growing need to accept another point of view. Eventually, Mary Lennox, the main character of the novel, becomes ready to hear other people: her initial indifference towards the surrounding is gradually being replaced by her sincere wish to listen to the Yorkshire dialect, speak her native tongue, and believe in the curing effect of the word. With the change of the spatial imagery of the text (from British India in the first chapters to the restricted space of the garden in the Yorkshire estate Misselthwaite Manor in the second part of the book), the heroine’s inner growth becomes more obvious, and the foregrounding of the sensory imagery (including auditory) grows more vivid. The spiritual transformation experienced by Mary Lennox affects other characters of the story and even leads to overshadowing of her role at the end of the novel. From the perspective of auditory imagery, Burnett creates a circular structure, making her heroine go from a lack of audio perception – through unhackneyed auditory sketches and quotations from classic novels – to a total silencing of the main heroine at the end of the novel.

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