There is an early moment kidnapped This is still stuck in my mind after countless views and many years. Brave 10-year-old ponytail hero Chihiro collapses by a river after losing her parents – and the human world she admits – in a spirit bath. “It’s just a dream, a stupid dream,” Chihiro scolds herself as she cries. “Go away, disappear! Disappear!” Looking down, she gasps for a moment of clarity her ability to self-actualize: her fingertips begin to fade to nothing.
“It plays into our very strong fears of being abandoned, lost, and not knowing what to do or what to do next,” Dr. Susan Napier, author Miyazaki’s World: A Life in Art And a professor at Tufts University, talks about the film’s opening sequence. “I think it’s definitely a universal story.”
kidnapped, which celebrated its 20th anniversary with widespread release in the United States on September 20, continues to be a cornerstone of animated storytelling. The accurate and dream-like movie set a record 2001 premiere In Japan, but the international recognition of director Hayao Miyazaki made the rising director a star. Dr Shiro Yoshioka, a professor at Newcastle University and one of the first PhD candidates to complete a PhD at Miyazaki describes, kidnapped (Along with the previous film, the 1997 film Environmentalists Prince Mononoke) as the “peak” of Miyazaki’s career.
“He established his position as [Japan’s] Yoshioka explains. “The film’s global success added even more importance to its standing within Japan, further increasing its separation and films from other anime and their creators.”
Lusty for the states
The American appetite for consuming and learning from Miyazaki’s illuminating works is immense – also one they probably wouldn’t exist without kidnappedThe mainstream US offering. It’s hard to overstate the role played by Disney Pixar veteran John Lasseter in the film’s distribution and reception in the US market. Lasseter first met Miyazaki in 1981, when Miyazaki was an animator with TMS in Tokyo and Lasseter was a rookie CEO fed up with the children’s monotony at Disney. Miyazaki showed Team Lasseter a part of Miyazaki’s first movie, Kalyustro Castle– Lassiter He said He was “stunned” by what he saw.
“It had a very strong effect on me because I felt that this was the first animated feature film I had seen that had a vision to entertain for all ages,” Lasseter said during a 2014 speech at the Tokyo Film Festival. “It made me feel that I was not alone in the world.”
Lasseter played a key role in bringing Spirited Away to a U.S. wide release in 2002 (Lasseter left Disney in 2018 amidst allegations of Sexual misconduct.) At the time, Miyazaki was wary of foreign distribution of his films, after the US release Nausicaä: Valley of the Wind The distributor saw a 22-minute cut from the original and announced the film as Warriors of the Wind. After snafu, Miyazaki’s producer then sent Miramax chief Harvey Weinstein (who dealt with Prince MononokeSeveral years later) katana beside words”no discounts. “
Acknowledging ‘blood, pain, dread and death’
Although Miyazaki has gained recognition in both Japan and the United States Prince MononokeYoshioka explains that this movie got less traction due to the heavy screening of art houses. kidnappedWith extra eyes trained for its wide release and sweeping Academy Awards campaign, it reached a global audience like never before in anime. Before kidnappedMiyazaki was a cult author with a dedicated Japanese fan base – later, in Yoshioka, Miyazaki was promoted in international ranks alongside top Japanese masters such as Akira Kurosawa. kidnapped It was the first non-English language film to win Best Animated Feature, and it still is hand drawn movie only Let’s do it. Miyazaki got a Lifetime Achievement Oscar in 2014.
Miyazaki’s wonderfully enlightening and perceptive world is relatively safe for children (good conquers evil and love conquers all, though it is always important to ultimately reward honesty, courage, and personal integrity), but also acknowledges blood, pain, dread, and death in ways that films do not dare. Other Animation,” Tasha Robinson wrote in 2001 reconsidering from movie AV . Club.
This review seems very wise now, given the recent push in children’s media Visualization of “realistic” content In order to highlight the children. The order holds merit, but it hasn’t always embodied a “vision of entertainment for all ages”. These desires reveal an ultra-realistic view of the media purged of confusion kidnapped Captures well. At the same time that witch Yubaba, feeling like a passionate grandmother, turns into a terrifying overlord – Chihiro’s mother and father turn on a dime from distracted parents to possessed pigs. The film makes its young protagonist’s fears inherently fanciful and starkly realistic – exactly what most fears feel at the age of ten. Suffice it to say that every fictional elementary school does not need Threat shooting to depict the awe poignantlyor anxiety or uncertainty.
A ‘more complex and amorphous’ world
Two decades later, the animation so far On major broadcast shows like HBO Max (ironically, one of the hubs of live broadcasts where today’s English-dubbed Studio Ghibli work lives on.) But at the time, Miyazaki animators were known to spend nearly one month They make 1 minute of hand-drawn photos. Today, CGI animators in family-friendly blockbusters describe a Tighter schedule.
Napier laments how this leads to a more “straight, formulaic” approach, citing Pixar inside outside As a more complex version of Miyazaki’s creation. “It’s cut and very, very dry, while the world has become more complex and amorphous in it,” says Napier. kidnapped. “
It is no coincidence that, due to the poor landscape of painstaking animation like Miyazaki, his masterpiece is increasingly appreciated. Yoshioka asserts that Miyazaki’s career has experienced a gradual decline in the wake of kidnapped– Under the eyes of the global audience on him, his vision became blurry. Although it was teasing a return for YearsMiyazaki hasn’t released a new movie since 2013 that’s too personal the wind rises.
“Because of the growing fame and pressure he felt as a creator that he had to deal with political, social and environmental issues around the world, he seems to keep sweating about what and how to shoot,” Yoshioka says.
Even though Yoshioka himself doesn’t watch the English dub kidnappedNapier cites the central difference between the dubbing and the original, which she says speaks to the American film industry’s struggle to “trust the audience.” American viewers’ desire for emotional spoon-feeding is most evident in the film’s final moments (and brings to mind that infamous katana). In the English dubbing, Chihiro assured her father that she “could handle” her new school, correlating an early story of her desire not to move. Originally, the family travels without a word – what Chihiro can and can’t afford now is not the purpose of their trip. As a viewer, not knowing means fantasizing. “One of the things I really like about Miyazaki is that he doesn’t give us simplistic answers,” says Napier.
New worlds, classic journeys
As an audience member and researcher, Yoshioka says he sees it kidnappedThe central message as one of cultural and personal identity. “We as individuals are not only made up of what we know or remember, but are actually a mixture of all kinds of things, which includes even what we don’t remember or even have never experienced,” he explains.
Echoing this, Napier emphasizes the film’s increasing depth in light of the extreme cultural changes of the past decade. She highlighted the COVID-19 pandemic specifically as a metaphorical “new world” we were all “excited” about, where anyone who took part in a Zoom business meeting could understand (at least in microcosm) Chihiro’s plight. “Do we not all realize how … our basic view of ourselves and our history has been invaded in the past twenty to thirty years by modernity itself?” Napier thinks. “What was once safe is now shaking a little bit.”
Whether presented by spiritual events or turbulent world events, kidnappedAnd the message resonates: history lives with us and through us. Even when the known world threatens to disappear and takes us with it, like Chihiro, we maneuver through the madness and work hand in hand with soot imps. To form something of an unshakable confusion around us, as Chihiro does, is simply to be alive. Americans now seem more desperate than ever to connect the mysteries of humanity with a shining arc, either to sterilize reality or overemphasize its horrors. Miyazaki’s unique aesthetic urges us to see our lives differently: in mystery, eternity, and spirit.