Regarding the understanding of the plot of the movie, we can think that the plot is the connection point for the smooth progress of the plot. It consists of a series of specific events between people and people, people and objects, and people and the environment. The combination of different plots determines the film plot. The direction of development reflects a dynamic process.
In Miyazaki Hayao 's animated films, whether it is the subversion of the protagonist's daily life space, or the plot settings such as being cursed and completing a rescue mission, the movie is more appealing and expressive, and it is easier to mobilize the audience to watch the movie. Empathy in the process.
Take this, let's take a look at the meaning of these three common details in Hayao Miyazaki's animation films? The subversion of
's living space promotes growth and awakening
The growth theme in Hayao Miyazaki's animation films, whether it is the struggle against cruel reality or the pursuit of self-identity, is essentially the self-growth in the budding stage of young individual consciousness.
In some films, the theme of growth is often manifested by the way the characters encounter setbacks and overcome them, while Hayao Miyazaki's animated films show the obvious characteristics of geographical migration in which the space of daily life is subverted. In this way, the protagonist can complete the construction of the core of the theme of personal growth in the established story and environment.
Living space is "the range of space formed by the activities that people take to maintain their daily lives". Within the scope of this activity, people carry out the most basic daily life behaviors such as living, socializing, leisure, shopping, and traveling.
"The subversion of living space" refers to the subversive changes in the daily places of the protagonists in Hayao Miyazaki's animation films, in order to express the growth path of youth.
" Totoro " (1988) begins with the background account of Satsuki's family moving from the town to the countryside. This scene is the subversion of the living space. They leave their familiar place of residence to an unfamiliar place, meet local villagers and elves, gradually adapt to village life with the help of their neighbors, make new friends, and overcome difficulties with the help of others.
Qiqi in " Delivery Service " (1989), left her parents to live in a seaside city alone, experienced the loss of magic disappearing, and finally grew up and rescued her friends; in "Spirited Away" (2001) The Chihiro strayed into another world, saw all kinds of gods and monsters, strengthened himself in the temptation, and completed the redemption of others.
For the characters in the film, the subversion of the living space is the feng shui ridge of their growth trajectory.
Curse sets metaphors against war and ecological thinking
Curse connects characters that were originally unrelated, making the curser and the cursed intersect and lead to a story. In Miyazaki's animated films, the "curse" plot setting is one of its features.
In his animations, the "curse" is always imposed on the protagonist (or other important people) by a mysterious force in an obvious or subtle way, becoming an important artistic means for Hayao Miyazaki to insinuate reality and express his thoughts.
Polluk in " Red Pig " (1992) was originally a highly skilled Air Force pilot who lost his friends in the hail of war and saw his life tumble but could not do anything about it. However, it is the state that starts the war, and he cannot forgive such a state ideology or system that justifies war by militarism and fascism.
after seeing this reality, he willingly cursed himself to become an alien with a pig's head, becoming an aerial bounty hunter in the Adriatic Sea; the young warrior in " Mononoke " (1997) Ashitaka shot and killed Zhu Chongmo, who had become a demon, to protect the villagers. However, when Zhu Chongmo, who represented nature, was dying, he cursed Asidaka, who represented human beings, because his life was threatened. Embark on a journey to find a cure for the curse.
Finally, symbolizing the naturalThe unicorn beast lifted the curse on Ashitaka; in " Spirited Away " (2001), Chihiro's parents were cursed to become pigs to be slaughtered because of their gluttony for the delicacy of the gods. Strive to achieve self-growth, and finally broke the curse and saved the parents. In
" Howl's Moving Castle " (2004), Sophie is a timid hat shop owner. A chance encounter with the magician Howl aroused the attention of 's wild witch , and , the witch of Sue Fei casts a curse, forcing her to leave the hat shop to find a way to remove the magic.
also completed self-identification and redemption after helping Hal defeat his opponent, lifted the curse and turned back into a young man; the plane designed by the hero Horikoshi Jiro in " Winds Up " (2013) became a weapon on the battlefield. As the movie says, "The plane is a cursed dream", and Jiro Horikoshi became the dreamer who was saddled with the curse. The end result of
is the death of his beloved wife, the destruction of the plane designed by sleepless nights, and the loss of his country in the war.
In the animation movies analyzed above, some of these curses originate from oneself, and some come from others. But no matter what the reason is, the curse is Miyazaki's indictment of the harsh living conditions and environment in the real world, and a punishment for the endless desires of human beings.
In pursuit of power and interests, people launch endless wars and unrestrained grabbing of nature, resulting in various pollution and disease problems, and the proud "winners" show off with arrogance and clamor, but pay for it Turn a blind eye to the huge cost of war: war turns people into pigs, people's ideals are broken, and uncontrolled development and destruction naturally alienate living beings.
In the end, human beings dig their own graves, and the price of this outweighing the gain is the curse of the "winner". And Hayao Miyazaki's hopeful ending of the movie is a sustenance for real life and a hope for a better future.
Gender Reversal Salvation highlights feminism
Hayao Miyazaki attempts to give people spiritual cleansing and soul salvation through his deeply meaningful animation works. His film focuses on praising the act of salvation and the moving process brought about by the process. . Therefore, in Hayao Miyazaki's films, we can often see plots such as saving ourselves, saving the environment, and saving mankind.
Miyazaki reinforces the connection between women and "salvation", often giving them a "savior"-like identity. Miyazaki exemplifies feminism through the "Salvation of Women" of the episode "Salvation", which is one of the values Miyazaki embodies in his animated films.
Feminism (Feminism), also known as feminism or feminism, its central idea is to advocate equal political rights for men and women, this term first appeared in Western countries in the 1880s. So far, the meaning of feminism has been constantly changing and developing, and the definition of its relevant authority has been widely debated.
The average person tends to see feminism as an effort to end women's subordination in social life. Professor Qiu Renzong strives to emphasize its comprehensive nature at the height of epistemology, and believes that "Feminism" is the theory and practice of fighting for equal rights between men and women.
Hayao Miyazaki pinned his hopes on women and successfully created female heroes who were different from male heroes. These female heroes break the confinement of the female image from the male perspective.
" Nausicaa " (1984) Nausica pacified the anger of the king insect army by sacrificing herself, saving everyone from peril, resolving the conflict between humans and the Zerg, and finally restoring the relationship between man and nature. Harmonious coexistence; Xida of " Sky City " (1986) chanted the spell to destroy Laputa, which has an advanced civilization, for world peace, ending the terrifying military rule of the villain Muska in advance and saving the world Peace.
In the process, Shan plays the role of saving nature. Tiezhen's Huan Ji is bold and fearless, and wants to break through the so-called prison and provide shelter for the women and the weak in the town; in "Spirited Away" (2001), Qianxun takes in the faceless man who is lonely in the rainy night, while has no face The male lost himself in the greed of human nature, and Chihiro completed the spiritual rescue of the faceless man in the process of self-growth.
Hayao Miyazaki's animated films have grand themes, and these female figures largely express and carry the ideological connotation he wants to convey. Hayao Miyazaki's admiration for women's culture is also reflected in the weakening of patriarchal power. The self-reliant female image successfully deconstructs the great male image in the patriarchal society.
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