Critical Analysis of Princess Mononoke
Analysis of Hayao Miyazaki’s Princess Mononoke from Feminist, Marxist and Psychoanalytical point of views.
Princess Mononoke is set during a medieval period in Japan, where there are kingdoms and villages who worshiped nature. It was an era where there were still great forests and high mountains, largely untouched by humans where the ancient gods still roamed these places. It traces Japan’s transition from the middle ages to modernity and it gives us a grey view of conflict between man and nature, where man is struggling desperately to survive in a world made more hostile by conflicts among them.
The film follows the journey of a Prince, Ashitaka, who was cursed by an animal god turned demon, whom he had slayed. The curse had made him inhumanly strong which would eventually consume and destroy him. This forces him to travel to the land of the demon’s origin to search for answers and for a possible cure. During his journey he discovers the Irontown, the ironworks Lady Eboshi runs and the wolf-girl, San, who carries a hatred for humans because of their destructive behavior.
1 FEMINIST
Miyazaki is well known creating well-developed characters and Princess Mononoke is a good example showing these qualities along with a strong message on environmentalism and an underlying theme of feminism.
There are many strong women characters present in Princess Mononoke which exhibit themes of freedom and spirit.
Although there are many strong women characters in the film, we will consider the major two primary characters – the Wolf Princess and Lady Eboshi for analysis.
San, the Wolf Princess, is a human girl who was raised by wolf gods in the great forest. She hates humans, especially Lady Eboshi and the ...
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...rship http://wwwmcc.murdoch.edu.au/ReadingRoom/4.2/Swanson.html 4. Film Theory and Approaches to Criticism or What did that movie mean? http://www.und.edu/instruct/cjacobs/FilmTheory&Analysis.htm 5. Marxist Film Theory http://www.nettonet.org/Nettonet/Film%20Program/theory/marx-theory.htm 6. Psychoanalytic Film Theory http://www.nettonet.org/Nettonet/Film%20Program/theory/psycho_theory.htm 7. Psychoanalysis, Cinema and the Mirror http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Psychoanalysis-CINEMA-AND-THE-MIRROR.html 8. Princess Mononoke reviewed http://www.rogerebert.com/reviews/princess-mononoke-1999 9. Avatar vs Mononoke: Alejandra mancilla compares two films views on ecology http://philosophynow.org/issues/85/Avatar_vs_Mononoke 10. Princess Mononoke, Hero’s Journey
https://wiki.rit.edu/display/05052130220101/Princess+Mononoke+Hero+Journey
All the characters are products of their own society, Veronese society. Status is everything, money buys anything. Woman must marry well and produce many offspring. Men believe strongly in defending their honor by any means available especially violence.
Princess Mononoke is the tale of a young prince, Ashitaka, who battles a demon bore, only to become possessed with its evil spirit. Ashitaka then travels to Irontown, seeking to find the reason for the bore’s anger and thus, a cure for himself. When he arrives, he finds that the citizens of the town, under the rule of Lady Eboshi, have been mining iron from nearby mountains and, in turn, disturbing the animal Gods of the forest. The animals and the humans have been in a constant battle over who has the right to the land and both have been lead to believe that the other species is purely evil. Ashitaka believes that the humans and the animals can get along peacefully through compromise and finds himself in the middle of their conflict. From each side’s perspective, the other seems inherently evil, but from Ashitaka’s perspective, and the perspective of the audience, neither side is truly corrupt and they are both just feeding off of each other’s anger. Although the animals seem evil and barbaric to the humans, they are just being protective over their land and are acting off of their fear of the humans. On the other hand, the humans are seen as evil by the animals because of their selfish use of resources, but they are just trying to financially support their community. For example, Lady Eboshi, the leader of Irontown, is seen as evil for orchestrating this exploitation of resources from the animals, but the humans see her as a compassionate, God-like figure. She does many positive and kind things for the human community, such as taking in women from the streets and brothels and giving them a place to live and work. Even though she is, in essence, destroying the animal’s habitats, she is saving the lives of many humans while doing it. The animal characters are also portrayed as compassionate in many respects. For example, when the leader of the wolves finds an abandoned baby, she takes her in and raises her as if she were her own daughter.
Human beings are fascinated by heroes. Joseph Campbell believes that throughout history heroes have followed a hero’s journey model or monomyth. This means that there are common patterns that can be found in many hero stories. Time after time, people have read about heroes leaving the ordinary world to complete the quest that will change mankind and better the hero. While many tasks and challenges may lie in the hero’s way they always return victorious. The Hero serves a dual purpose. Heroes are smart, brave and resilient. They show the world what is possible through hard work and perseverance. Heroes also reflect the fears and limitations that people are faced with. Heros inspires people to be the best versions of themselves. Chihiro the main character in Hayao Miyazaki’s film Spiri
Two outdoorsmen are out in the wild of the north. They are on a mission to deliver the body and coffin of a famous person. Their dogs disappear as they are entised by a she-wolf and eaten by the rest of the pack. They only have three rounds of ammunition left and Bill, one of the men, uses them to try to save one of their dogs that is being attacked; he misses and is eaten by the pack with the dog. Only Henry and two dogs are left; he makes a fire with leaves and scattered branches, trying to drive away the wolves. They draw in close and he is almost eaten, saved only by a company of men who were traveling nearby. The wolves are in the midst of a starvation. They continue on running and hunting, lead by several wolves alongside the she-wolf, and when they finally find food the pack starts to split up. The she-wolf mates with one of the wolves and has a litter of pups inside an abandoned cave. Only one survives after several more famines and harsh weather, and he grows strong and is a feisty pup. The puppy learns the basics of hunting and survival. They come to an Indian village where the she-wolf's (who is actually half-wolf, half-dog) master is. He catches her again and White Fang, her pup, stays nearby. Soon, she is sold to another Indian, while White Fang stays with Gray Beaver, her master. White fang whines and cries but it does'nt help. The other dogs of the village terrorize White Fang, especially one named Lip-lip, who for now is bigger and stronger. White Fang becomes more and more vicious, more like a wolf than a dog, encouraged by his master who beats him. One day he meets is mother and is turned to a light-hearted pup but, his mother does'nt even notice him. He kills other dogs that used to terroize him. Gray Beaver goes to Fort Yukon to trade and discovers whiskey, which he calls sweet water. White Fang is passed into the hands of Beauty Smith, a monster of a man who got Grey Beaver drunk and tricked him into selling Whit Fang. Beaty Smith put White Fang ino dogfighting and he fights other dogs until he meets his match in a bulldog from the east and is saved only by a man named Scott.
The film had nothing to do with the male characters. For once Disney made the male characters the bystanders as the females took center stage. The film is not about finding your one true love and living happily ever after. Surprisingly no one in the film ended up getting married. The female characters stood their ground and remained strong independent women. Instead it is about two sisters in a coming of age story and reconnecting as sisters. Little things like the death of their parents and the catchy songs live up to the Disney formula, but the film as a whole is something new and refreshing. While Disney is not quite on Japanese director, Hayao Miyazaki’s level of producing strong female characters, this movie was a move in the right direction. Instead of a movie with girls this movie is about girls.
The most important events of this film all revolve around the female characters. While there are some male charac...
There is a large cast of characters including the priest Sarastro (a very serious, proselytizing basso), the Queen of the Night (a mean, angry, scheming coloratura), and her daughter, the beautiful and courageous Pamina. There is the handsome hero, Tamino, on the quintessential road trip, and his cohort in misadventure, the bird seller, Papageno. Papageno ultimately finds his Papagena (who starts out disguised as a crone), Tamino ultimately wins Pamina, Sarastro presumably wins a passle of converts, and everyone goes home humming the catchy Mozart melodies. It is all presented in a plot complicated by a dragon, a threesome of warbling ladies in service to the Queen of the Night, another threesome of boy-angels, even a bully - Monostatos, guard for the Queen. It is lightened by such elements as locked lips, charmed animals, and, of course, a magic flute.
characters created to display a woman’s search for a way out of the bonds of her society.
Due to traditional stereotypes of women, literature around the world is heavily male-dominant, with few female characters outside of cliché tropes. Whenever a female character is introduced, however, the assumption is that she will be a strong lead that challenges the patriarchal values. The authors of The Thousand and One Nights and Medea use their female centered stories to prove their contrasting beliefs on the role of women not only in literature, but also in society. A story with a female main character can be seen as empowering, but this is not always the case, as seen when comparing and contrasting Medea and The Thousand and One Nights.
Provenance: The Princess Bride was written in 1973 by William Goldman and later adapted into a film in 1987.
The portrayal of women in this film gives the impression that women are fighters and not just people who need saving, Princess Leia’s image is not defined by the other men in her party (Hans Solo and Luke Skywalker), but by her own merit. In relation the image portrayed by the men in this film, Princess Leia also possess’ some of their qualities. The governance system in the Star Wars universe, called the Empire, can easily be seen as a dominant patriarchal figure in the movie, with a predominantly male presence especially in the higher rungs (people in higher command). More women are represented in the Rebel Alliance and it is in this population that Princess Leia’s image as a feminist icon really stands out and has meaning. Not only is she a prominent figure ...
The first female character shown in the movie is not given voice and is treated as a mere object. It is a sign of oppression of the female gender. The contrast between the first female character and the second one shows that the oppression does not always apply to every woman. The second female character was not only given voice but also power. However this does not last long as the female character does not show authority but just support as the movies goes on.
During the late 20th century, Japan experienced the rise of feminist movements who desired to change the feminine historical narrative. How did Japanese women become empowered? The paper will demonstrate that the empowerment of Japanese women shifted the representation of them within the medium of anime films, during the late twentieth century. Specifically, it will analyze the female characters of Ghost in Shell, Princess Mononoke, Naussicaa of the Valley of the Wind, and Patlabor. The reasoning behind these chosen films is that they each have a strong female character that have many differences and similarities, when one compares them to each other. Also, they were made within a ten year lifespan between the mid-eighties to the mid-nineties.
Morreale, J. (1998). Xena: Warrior princess as feminist camp. Journal of Popular Culture, 32(2), page 79. Retrieved from: http://web.b.ebscohost.com/ehost/detail?vid=6&sid=64cd7df8-8ea3-4d9a-ad60-1deef7e616e6%40sessionmgr114&hid=103&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=aph&AN=1585569
The movie opens with rain pouring down onto the ruins of the ancient, eponymous Rashomon, a formerly grand structure was once a city gate, but now lies in an unsavory and derelict district. The gate serves as the principle setting of the frame story, wherein, while waiting for the rain to subside, a woodcutter, a priest, and a peasant discuss the strange murder of the samurai. The gate is also symbolic, representing the decline of Japan immediately fo...