#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.