#7

Princess Mononoke is an intriguing character from multiple perspectives. From the scene introducing her character to Ashitaka, she is an untraditional heroin for Miyazaki. There is little feminine charm in her and any sign of the tender femininity at most comes out awkwardly and unwillingly. San keeps this anti-human perspective pretty intact through the film's entirety. Even though she warms up to Ashitaka, she still retains her "savage" nature and keeps away from human society. In such a way, it can be said that she was not domesticated in the course of the film. In most Hollywood films and lesser so in Japanese cinema, the anti-feminine heroin is domesticated into the "ideal and obeying woman" by the end of the film. It is interesting how in cinema, perhaps because it has been predominantly a male-controlled industry, that most endings have the women serving the man.

However, this film had San keep her independence and original character. I wonder why this is, not particularly limited to Princess Mononoke but on a grander scale of Japanese cinema in general. Even though in Japanese culture as well, there is the traditional image of the obeying woman at home, this idea is less present in cinema. This may be the difference in the Japanese attitude towards this image compared to its American counterpart. While Americans have a high level of independence, self-identity, and entrepeneurship, Japan has less need to assert itself. Therefore, this submission, is less something against the woman's will. Also, as a Japanese audience watching the film, there is I think a certain attractiveness to San's solid recognition of self. Most women, especially in present day do not have this and thus it is refreshing and thrilling as though watching a foreigner.

#6

In viewing Porco Rosso, the two things that come to mind most is Marco's voice actor and the music of the film.

First, the actor playing Marco's voice is so distinct with his deep baratone resonance. This gives Marco a 渋い characteristic which totally fits. One thing that I have found interesting in Japanese animation is that the voice actors tend to look like or at least have an aura similar to that of their on-screen counterparts. This man also starred in the Japanese film "Shall we ダンス？” as the main heroine's father. Even in the flesh, he had the same sort of unique presence. Another example is the woman who plays the voice for Ayanami in Evangelion. She too has an aura like her anime character. But perhaps the voice actor with the most resemblance to his screen image is that of Lupin III. The actor has the same bean-like features. I wonder whether it is that the characters come to look like the actor, or the actor to the character.

On another note, I think I enjoy this film's soundtrack more than any other of Miyazaki's work.

I think this may be due to the wide variety and depth. The upbeat march-ike songs are enjoyable as well as the quiet melancholy of the scenes with Gina. Songs such as ”セリビアの写真”, I love so much that I repeat this 40 second clip many times when listening to the soundtrack. Compared to his other works, I wonder if this film could be seen as "more hollywood" than his others. I don't know, but it seems there is something different about this film, 紅の豚。

#5

There has always been one thing that has made me sad watching Kiki.

Jiji loses his voice halfway through the film and even though he comes back to Kiki, we never hear him speak again. There is something irreversibly lost even whilst gaining what seems to be a maturing for Kiki and a place for her within this town. This could be seen as the integration of the country aesthetic into the city life. Both Kiki and Jiji are influenced and pulled to the city. We see the city life as harsh at first but soft and likeable later on. This harshness is heightened most of all with the granddaughter of the pie woman. It is interesting that in the end credits, while all the other city kids are with Kiki, this girl alone is not present.

Miyazaki's love of flight shows very much in this film, with both Kiki and Tombo striving for a better flight. The name Tombo is interesting as well as it means dragonfly in japanese. This gives a Japanese sensibility and softness to the western Tombo. There is a sensibility in Japan of children capturing dragonflies during the end of summer. Therefore, there is a sense of nostalgia and common history to the name Tombo that will perhaps bring him closer to the hearts of Japanese audiences.

Also, the fact that the music used in the film, "やさしさに包まれて”and "ルージュの伝言" by Yumi Arai is used is a nice touch. Even though they are songs made before the film, their lyrics resonate well with the scene.