Spirited Away (volume 1 of 5)
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Description
Miyazaki's film setting encapsulates his commentary on modern Japanese values and the erosion of cultural heritage. The bathhouse, situated within an abandoned theme park, symbolizes Japan's distorted cultural identity. This once-traditional locale is marred by neon signs and Westernization, exemplifying cultural degradation. Early scenes highlight economic concerns and consumerism. The film's visuals underscore the commercialization of Japanese culture. The failed theme park serves as a metaphor for the unsuccessful fusion of ideologies. The Meiji design of the park is the setting for Chihiro's parents' metamorphosis– the family arrives in an imported Audi car and the father wears a European-styled polo shirt, reassuring Chihiro that he has "credit cards and cash", before morphing into literal consumerist pigs because of their bad habits. [43] Miyazaki has stated:
Miyazaki described Yubaba as the "everyman" type, and were "symbols of modern working people". As for his decision in creating the twin sister Zeniba, "Ultimately , when we were getting down to the wire in the latter half of the production, Masashi Ando, the animation director, begged me not to add new characters. So I created a twin for Yubaba. Of course, in retrospect, it could have been taller, older sister and not just a twin. But either way, it's still really like two faces of the same person. When we're at work like Yubaba, yelling and making a mess and getting people to work, but when we go home we try to be good citizens. This schism is the painful part of being human." Some people who live a calm life like Zeniba at home may treat their subordinates as strict bosses like Zeniba while facing stress at work. Spirited Away 2021 Re-release (Spain)". Box Office Mojo. Archived from the original on 9 July 2021 . Retrieved 30 June 2021. The film was made to please the ten-year-old daughter of Hayao Miyazaki's personal friend, director Seiji Okuda. Okuda's daughter even became the model for the film's protagonist, Chihiro. During the film's planning phase, Miyazaki gathered the daughters of Ghibli's staff in a mountain hut in Shinano Province to hold a training seminar. His experience led him to wanting to make a film for them, since he had never made a movie for girls at the age of 10. While the film featured a climactic flying scene with Haku and Chihiro, Miyazaki was more enamored by the train scenes, but feared adding too many would recall Kenji Miyazawa's Night on the Galactic Railroad. The addition of dialogue explaining or emphasizing certain on-screen elements: for example, when Chihiro reaches a massive, red, steaming building, she comments, "It's a bathhouse." These insertions are mostly used to explain certain aspects of Japanese culture that are foreign in America and many other English-speaking countries.The contract between Yubaba and Chihiro represented an old tradition in Japan where you had no right to refuse someone who really wanted to work. When asked what is No-Face's purpose, Miyazaki responded, "There are No-Faces all around us. Because there's only a paper-thin difference between evil spirits and gods. And on top of that, this film is set in Aburaya, a bathhouse. So once you open the doors, all sorts of things come in." When asked to explain if Miyazaki were referring to the youth of today, he explained, "I didn't make the film with that in mind. No-Face is just a name and a mask, and other than that we don't really know what he's thinking or what he wants to do. We just named him No-Face because his expression almost never changes; that's all. But I do think there are people like him everywhere, people who want to glom on to someone but have no sense of self. The major themes of Spirited Away, heavily influenced by Japanese Shinto- Buddhist folklore, centre on the protagonist, Chihiro, and her liminal journey through the realm of spirits. The central location of the film is a Japanese bathhouse where a great variety of Japanese folklore creatures, including kami, come to bathe. Miyazaki cites the solstice rituals when villagers call forth their local kami and invite them into their baths. [8] Chihiro also encounters kami of animals and plants. Miyazaki says of this: The house where she will be staying belongs to a tiny old lady, who seems perpetually angry and delights in putting people on the wrong foot. For the dubbing, Hayao Miyazaki chose confirmed actors to embody the voice of his characters. The young actress Rumi Hiiragi, aged 13, known in Japan for a morning drama on the NHK channel, was hired while Miyu Irino was given the role of Haku. Their interpretation is marked by accuracy and moderation. Bunta Sugawara, with a 45-year acting career, lends his voice to Kamajī and Mari Natsuki, truly transcends her slim figure and her soft voice to embody an earthy and directive Yubaba. The most surprising thing is to discover that the enormous baby Boh is played by Ryûnosuke Kamiki, a little boy of 4 or 5 years old, considered a little genius in Japan.
When asked why the film centered around Chihiro having to work, Miyazaki explained, "I got the idea from a documentary I saw on the NHK TV channel, about child labor in Peru. I thought that, if I were to make a film for the sake of all the children on earth, it would have to be something that any child could understand, no matter what sort of life they were living. I really didn't want to make a film that only Japanese kids would understand. And besides, the idea that children don't have to work is really very new. My grandfather, for example, went off to work as an apprentice at the age of eight, and as a result he never learned how to read. That's the way things were in Japan until recently. The only reason kids don't have to work today is because Japan experienced a period of high economic growth after the war. In reality, most children in the world still have to work. I'm not saying that's good or bad, just that we need to remember it. In truth, people are social animals, so it's not good for us to live without some sort of connection to society. We have to work. Spirited Away Cinema Comic <12> Bungeishunju
Table of Contents
Haku finds Chihiro and leads her toward the bathhouse. She sees several animals and creatures visiting the bathhouse, as well as No-Face ( 顔無し, Kaonashi ), a masked spirit. Haku instructs her to ask for a job from the bathhouse's boiler-man, Kamaji, a yōkai commanding the susuwatari. Kamaji says that he already has enough susuwatari to help him. After Chihiro tries to help but inadvertently causes some disruption, Kamaji asks a worker named Lin to send Chihiro to Yubaba, the witch who runs the bathhouse. The World of Spirited Away, and the Power of Fantasy", Seidosha, (Interview at Imperial Hotel, Tokyo, dated July 10, 2001) Flying City Plan • Shiki-Jitsu ( Studio Kajino) • Ghost in the Shell 2: Innocence • Nasu: Summer in Andalusia • Nasu: A Migratory Bird with Suitcase • Portable Airport • Red Crow and the Ghost Ship • Space Station No. 9 • The Red Turtle Chikishi responded, "There's a problem with language in Spirited Away, isn't there? Some of the key words for the young heroine are simple, such as when she declares repeatedly, "I'll keep working here". I watching this, thinking that you were trying to tell us how much power words have." Nausicaä of the Valley of the Wind (Video Game) • Jade Cocoon: Story of the Tamamayu • Jade Cocoon 2 • Magic Pengel: The Quest for Color • Ni no Kuni (Series) • Ni no Kuni: Dominion of the Dark Djinn • Ni no Kuni: Wrath of the White Witch • Ni no Kuni II: Revenant Kingdom
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