My Neighbor Totoro is a sweet, good tempered animated film that shows the simple joys of life, and the little things we often miss in our busy world. One example of these things we often miss are the feelings of warmth and comfort from our parents. As children grow older they tend to move away from those feelings. Miyazaki helps remind us what those feelings were like. A good example of this is in the scene when Mei stumbles into the magical forest and meets Totoro for the first time. In this scene we see Mei peacefully sleeping on the belly of Totoro while calm music (instrumental version of the epilogue song) is playing in the background. Juxtaposing this scene is a shot of the rice fields as well as a snail to show that time is slowly passing by.
Although this film does express the possibility of Mei and Satsuki losing their mother, the film still presents an optimistic message that everything will be alright in the end. We see signs of assurance during the climax of the film when Mei gets lost trying to visit her sick mother. One example of assurance is when Satuski herself is able to seek Totoro for help. In this scene, Totoro's cheerful expression of wanting to help is a sign of hope and confidence that everything will be fine. What also makes it assuring is the fact that audiences already have a sense of what Totoro is capable of. Another example of assurance is when Totoro summons the catbus. Rather than heading to Mei's location, the catbus changes the destination to "Mei" showing that they will definitely find her. Although not as obvious, there is also a sign of assurance that Mei would be safe when we see Mei sitting down all alone. In this scene, Mei is sitting next to a row of statues. Traditionally, these religious statutes are represented as protectors. The most reassuring scene in the film is probably the epilogue since it does show that the mother is doing fine.
An interesting thing to point out is the use of music. As mentioned earlier, the epilogue song is actually first introduced when Mei first meets Totoro. When we hear the song again in the epilogue, we feel not only a sense of reassurance but we are also reminded of those feelings of warmth and comfort.
Friday, March 5, 2010
Saturday, February 20, 2010
Castle in the Sky
In Castle in the Sky, Miyazaki presents a unique world where flying machines have been became meticulously advance. Through this film, Miyazaki takes us on a grand adventure through his artwork. This film brings light to man's relationship with nature amidst the growing presence of technology. Analyzed in greater depth, his films show us how these conflicts result in war.
After the opening sequence, when Sheeta falls from the airship, Miyazaki introduces a history of the world’s technological advancements during the opening credits. The sequence begins with a shot of clouds and a woman, possibly goddess, blowing a gust of wind from the left side of the screen. The scene then cuts to shot of a man powering a single propeller as the clouds float gently by toward the right side of the screen. In juxtaposition to the previous shot, we can interpret this scene as nature supporting mankind in obtaining wind energy. The woman in the clouds is represented as nature while the man below is represented as mankind. Miyazaki progresses further with this sequence of technological growth by showing more advancement in mankind’s machines. As the camera pans down, we see multiple windmills as well as machines that resemble oilrigs. The scene then cuts to a shot of a miner underground mining for coal. With the scene cutting back to the surface, we see that there are even more oilrigs as well as many chimneys producing large amounts of smoke. Miyazaki now shows us mankind’s move from wind energy to coal energy. He then cuts back into the sky with images of aircrafts, each becoming more advanced with every new shot. The next scene is a close-up shot of a castle top, which zooms outward showing that mankind has become advanced that they have the power to levitate buildings. Miyazaki continues to amazes the audience by showing us shots of multiple castles flying in the sky. He then cuts to a side view of the castles showing us what’s underneath. From what started as a single propeller has now evolved into thousands of propellers. In order to show that mankind’s technology has advanced too far, Miyazaki cuts to a thunderstorm striking the airships, bringing mankind back to the ground. Miyazaki comes full-circle in the opening credits by cutting back to the shot of the goddess blowing a gust of wind, however, instead of a man next to the propeller we see Sheeta and a yak, gazing over the field. Already from the opening credits, Miyazaki presents us with mankind’s past mistakes with technology. By cutting back to the single propeller, he begins the film by making us wonder if the same cycle will happen again.
Another thing I found interesting is the way Miyazaki portrayed the robot as highly destructive and technologically advanced, but at the same time as a caring nature-loving creature. A good example is the scene when Sheeta is held captive in the fortress. In this scene, as Colonel Muska confronts Sheeta about the powers of the stone, Miyazaki cross-cuts to close-up shots of the robot’s arm and leg. In the first close-up shot we see the robot moving its fingers, giving us the idea that it is human-like. In the next close-up shot, we see the wires from inside its broken leg, which resemble human muscles due to its red color and organic movements. Although the robot appears to have human-like qualities, it is still something to be feared. Even with a missing arm and leg, the robot proves capable of wreaking havoc upon the military with a single laser beam, all while trying to protect Sheeta. In this sequence, Miyazaki goes to the extreme of showing us what is it like to have an enormous amount of power. The result of seeing highly advanced technology at work tells us that there are things that mankind isn’t ready to handle.
After having witnessed the robot’s destructive capabilities, we begin to question whether it is more like a human or truly a monster. However, as the fortress begins to collapse, the robot decides to move Sheeta to a safe place, right before being destroyed by the airship Goliath. The robot, in its last moments, makes the sacrifice of protecting Sheeta from harm. The scene ends with us believing that there is more to this robot than just being a weapon for war.
After the opening sequence, when Sheeta falls from the airship, Miyazaki introduces a history of the world’s technological advancements during the opening credits. The sequence begins with a shot of clouds and a woman, possibly goddess, blowing a gust of wind from the left side of the screen. The scene then cuts to shot of a man powering a single propeller as the clouds float gently by toward the right side of the screen. In juxtaposition to the previous shot, we can interpret this scene as nature supporting mankind in obtaining wind energy. The woman in the clouds is represented as nature while the man below is represented as mankind. Miyazaki progresses further with this sequence of technological growth by showing more advancement in mankind’s machines. As the camera pans down, we see multiple windmills as well as machines that resemble oilrigs. The scene then cuts to a shot of a miner underground mining for coal. With the scene cutting back to the surface, we see that there are even more oilrigs as well as many chimneys producing large amounts of smoke. Miyazaki now shows us mankind’s move from wind energy to coal energy. He then cuts back into the sky with images of aircrafts, each becoming more advanced with every new shot. The next scene is a close-up shot of a castle top, which zooms outward showing that mankind has become advanced that they have the power to levitate buildings. Miyazaki continues to amazes the audience by showing us shots of multiple castles flying in the sky. He then cuts to a side view of the castles showing us what’s underneath. From what started as a single propeller has now evolved into thousands of propellers. In order to show that mankind’s technology has advanced too far, Miyazaki cuts to a thunderstorm striking the airships, bringing mankind back to the ground. Miyazaki comes full-circle in the opening credits by cutting back to the shot of the goddess blowing a gust of wind, however, instead of a man next to the propeller we see Sheeta and a yak, gazing over the field. Already from the opening credits, Miyazaki presents us with mankind’s past mistakes with technology. By cutting back to the single propeller, he begins the film by making us wonder if the same cycle will happen again.
Another thing I found interesting is the way Miyazaki portrayed the robot as highly destructive and technologically advanced, but at the same time as a caring nature-loving creature. A good example is the scene when Sheeta is held captive in the fortress. In this scene, as Colonel Muska confronts Sheeta about the powers of the stone, Miyazaki cross-cuts to close-up shots of the robot’s arm and leg. In the first close-up shot we see the robot moving its fingers, giving us the idea that it is human-like. In the next close-up shot, we see the wires from inside its broken leg, which resemble human muscles due to its red color and organic movements. Although the robot appears to have human-like qualities, it is still something to be feared. Even with a missing arm and leg, the robot proves capable of wreaking havoc upon the military with a single laser beam, all while trying to protect Sheeta. In this sequence, Miyazaki goes to the extreme of showing us what is it like to have an enormous amount of power. The result of seeing highly advanced technology at work tells us that there are things that mankind isn’t ready to handle.
After having witnessed the robot’s destructive capabilities, we begin to question whether it is more like a human or truly a monster. However, as the fortress begins to collapse, the robot decides to move Sheeta to a safe place, right before being destroyed by the airship Goliath. The robot, in its last moments, makes the sacrifice of protecting Sheeta from harm. The scene ends with us believing that there is more to this robot than just being a weapon for war.
Saturday, February 6, 2010
Nausicaa of the Valley of the Wind
Nausicaa of the Valley of the Wind is actually one of the later Miyazaki films I have watched, which is a little ironic since it was one of Miyazaki's earlier works. After watching the film for the first time, I was very impressed by all the detail that Miyazaki had put into his film. I am beginning to see why so many people consider this film as one of their favorites.
What I found most impressive in the film is the main character, Nausicaa. Compared to all of Miyazaki's other films, Nausicaa proves to be the ideal shojo character. Nausicaa is a scientist and a fighter, which shows that not only does she have brains but she also has brawn. These kinds of characteristics are normally seen in male protagonists. Although she is a princess and shows feminine qualities such as giggling, she is nowhere near being a damsel in distress type character. Throughout the film we can clearly see that can take care of herself.
While watching Nausicaa progress in the film, I felt at times that maybe she was a little too perfect or unreal. However, it wasn't until I saw the fight sequence where Nausicaa defeats the soldiers that killed her father that I realized she is not perfect. She is human just like everyone else. In this scene, Nausicaa is blinded by rage but comes to a stop after realizing that she has wounded her uncle. This scene proves to be of great significance because we see that there are moments when she is vulnerable. Throughout the rest of the film, we also see that she chooses to save lives rather than take them. One example is in the scene Nausicaa is escaping from a burning airship. In this scene, Nausicaa decides rescue Lady Kushana even though she knows full well that Kushana is an enemy.
Another scene that I felt was very powerful is the scene when Nausicaa tries to prevent the baby Ohmu from crossing the lake. In this scene, we see Nausicaa's ankles getting burned by the acid and then falling in pain as she tries to push the baby ohmu back. I was impressed by her strong willpower to save the baby ohmu. Nausicaa is willing to save anyone regardless of how hideous they may be.
After watching this film, I hope to analyze Miyazaki's later female protagonist in comparison to Nausicaa. Hopefully I will be able to find interesting similarities and differences in his next films.
What I found most impressive in the film is the main character, Nausicaa. Compared to all of Miyazaki's other films, Nausicaa proves to be the ideal shojo character. Nausicaa is a scientist and a fighter, which shows that not only does she have brains but she also has brawn. These kinds of characteristics are normally seen in male protagonists. Although she is a princess and shows feminine qualities such as giggling, she is nowhere near being a damsel in distress type character. Throughout the film we can clearly see that can take care of herself.
While watching Nausicaa progress in the film, I felt at times that maybe she was a little too perfect or unreal. However, it wasn't until I saw the fight sequence where Nausicaa defeats the soldiers that killed her father that I realized she is not perfect. She is human just like everyone else. In this scene, Nausicaa is blinded by rage but comes to a stop after realizing that she has wounded her uncle. This scene proves to be of great significance because we see that there are moments when she is vulnerable. Throughout the rest of the film, we also see that she chooses to save lives rather than take them. One example is in the scene Nausicaa is escaping from a burning airship. In this scene, Nausicaa decides rescue Lady Kushana even though she knows full well that Kushana is an enemy.
Another scene that I felt was very powerful is the scene when Nausicaa tries to prevent the baby Ohmu from crossing the lake. In this scene, we see Nausicaa's ankles getting burned by the acid and then falling in pain as she tries to push the baby ohmu back. I was impressed by her strong willpower to save the baby ohmu. Nausicaa is willing to save anyone regardless of how hideous they may be.
After watching this film, I hope to analyze Miyazaki's later female protagonist in comparison to Nausicaa. Hopefully I will be able to find interesting similarities and differences in his next films.
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