Myth, Miyazaki, and Folktales
As I mentioned before, I am a *huge* fan of Hiyao Miyazaki, a Japanese directory who specializes in animated films (not really anime, due to stylestic diffrences). His films are decidely mythic, with Spirited Away being one more visibly so. In addition to the general idea of myth, Miyazaki also draws deeply on folklore tradition, both of Japan of other nations, particularly those in northern Europe.
One of his lesser known films (and also one of my favorites) is Castle in the Sky. It is set in an alternate Europe where airships and trains are very common. The year would be roughly equivalent to 1925 if there was no WWI and few planes.
*Warning: Spoilers Ahead*
The thing about this movie is, it plays with both mythic archetypes and the folklore tradition of Europe. As the title suggests, it is set around a Castle in the Sky, a theme which appears in multiple folk tales, particularly of the Scandanavian variety (such as "The Golden Castle that Hung in the Air"). The major character is an orphan boy who meets a princess (in folktales the boy is after then third born, but we are not told whether this is true in the movie) and attempts to save the world.
Where the mythic archetypes are disturbed are with the issue of right versus wrong. Unlike in most Mitazaki films, there is a character who is decidely on the side of evil (Muska). The other 'bad' characters, however, turn out to not be so bad. The pirates, who seem to be the kidnappers and all around bad dudes, are not as evil as the government, which in turn is no where near as evil as Muska (who worked for the government until he got the power).
In addition, the leader of the pirates (and arguably the strongest character in the story) is Dola, a female. She defies almost all female sterotypes/archetypes and is neither nurturing (beyond being the mother of some of the crew), nor deadly (she in fact uses a knockout gas when fighting instead of actual guns).
The hero, Patsu, has no real important lineage, and in fact fits into the story only by accident and luck (chance dropped Sheeta, the princess, onto his head, and luck let them survive until the end). He grows up through the movie and is a true hero by the end, willing to die in order to save the world (though, of course, he lives).
Throughout all this mix-up, however, the story remains criticaly mythic. Good prevails (though your conception of good is not so clear), evil is destroyed, and the hero gets the girl (well, this is more modern convention than mythic). The story is also very powerfully about the earth (as all of Miyazaki's films are, save Porco Rosso and My Neighbor Totoro). Myth is life, and from life is born myth.
One thing I will say about Miyazaki's films that place them all in the realm of the mythic is that they are stories of coming of age. If there is one thing that almost all myth can connect to is the changing of times, whether from youth to adulthood or adulthood to old age, or even old age to death. These are the periods of life when everything changes, the times no one understands but all wish to know about. I think these common theme is what draws me to repeated viewings of Miyazaki's films (I used to watch Princess Mononoke about once a week).
Movies are the new orality, and as such are a powerful tool for teaching old ideas. Miyazaki is one man who understands this and uses it to his (and our) advantage, making films which draw the heart and mind in and, when we leave, we are not the same person, for recognition takes place there.
One of his lesser known films (and also one of my favorites) is Castle in the Sky. It is set in an alternate Europe where airships and trains are very common. The year would be roughly equivalent to 1925 if there was no WWI and few planes.
*Warning: Spoilers Ahead*
The thing about this movie is, it plays with both mythic archetypes and the folklore tradition of Europe. As the title suggests, it is set around a Castle in the Sky, a theme which appears in multiple folk tales, particularly of the Scandanavian variety (such as "The Golden Castle that Hung in the Air"). The major character is an orphan boy who meets a princess (in folktales the boy is after then third born, but we are not told whether this is true in the movie) and attempts to save the world.
Where the mythic archetypes are disturbed are with the issue of right versus wrong. Unlike in most Mitazaki films, there is a character who is decidely on the side of evil (Muska). The other 'bad' characters, however, turn out to not be so bad. The pirates, who seem to be the kidnappers and all around bad dudes, are not as evil as the government, which in turn is no where near as evil as Muska (who worked for the government until he got the power).
In addition, the leader of the pirates (and arguably the strongest character in the story) is Dola, a female. She defies almost all female sterotypes/archetypes and is neither nurturing (beyond being the mother of some of the crew), nor deadly (she in fact uses a knockout gas when fighting instead of actual guns).
The hero, Patsu, has no real important lineage, and in fact fits into the story only by accident and luck (chance dropped Sheeta, the princess, onto his head, and luck let them survive until the end). He grows up through the movie and is a true hero by the end, willing to die in order to save the world (though, of course, he lives).
Throughout all this mix-up, however, the story remains criticaly mythic. Good prevails (though your conception of good is not so clear), evil is destroyed, and the hero gets the girl (well, this is more modern convention than mythic). The story is also very powerfully about the earth (as all of Miyazaki's films are, save Porco Rosso and My Neighbor Totoro). Myth is life, and from life is born myth.
One thing I will say about Miyazaki's films that place them all in the realm of the mythic is that they are stories of coming of age. If there is one thing that almost all myth can connect to is the changing of times, whether from youth to adulthood or adulthood to old age, or even old age to death. These are the periods of life when everything changes, the times no one understands but all wish to know about. I think these common theme is what draws me to repeated viewings of Miyazaki's films (I used to watch Princess Mononoke about once a week).
Movies are the new orality, and as such are a powerful tool for teaching old ideas. Miyazaki is one man who understands this and uses it to his (and our) advantage, making films which draw the heart and mind in and, when we leave, we are not the same person, for recognition takes place there.
posted by J.M.R. Burgard | 4:09 PM
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