@whirling-fangs - totoro + inosuke

His little Totoro's had told him of the strange human boy that wandered the woods. It seemed that the river kami had witnessed his fall from the mountains above, and had granted him a chance to live. A chance to become someone strong, someone his mother would be proud of.

Years had passed since that day. Totoro watched from his great tree, only leaving at night to perform rituals to allow saplings to grow.

It seemed the little human boy had found his way into the tree, because deep inside, the grand kami of the forest barely stirred. He merely snoozed on in his little alcove, snoring loudly and twitching his whiskers now and again.

Here’s a wholesome request: My Neighbor Totoro. He’s just your local cuddly forest kami.

My Neighbor Totoro - Ha, yeah okay, I haven't actually watched that movie, but I've heard its good. I have no reason to say no. It's on the queue now.

Blog Post #2, contd. (writing on bottom!)

 There is no other explanation in my mind since Chihiro stayed intact by not eating the food. There is another scene in which Yubaba tells Chihiro that her parents got what they deserve because “you humans always make a mess of things” (37:17). Another (2) example in the film is when the hotel spa starts to get a whiff of Chihiro’s presence. Lin has to hide Chihiro because they don’t like humans (32:54). Lin immediately blocks Chihiro when faced with one of the creatures to protect her from him and then completely covers her when she sees that one of the frogs getting out of the elevator might see Chihiro (33:02). The final (3) example is when No-Face got into the spa. Yubaba is seen calling the foreman and they discuss an intruder. The foreman asks her “is it a human?” (56:37). As you can see in these 3 examples, humans are seen as a disruptive force in Kami. They “ruin” the environment according to the characters. In My Neighbor Totoro, the relationship between humans and nature is more friendly. Satsuki is younger than Chihiro, and in this movie, there isn’t a conflict with the creatures like in Spirited Away. The humans in this film are nice to the environment and aren’t punished, but are appreciated. There are many scenes in this movie that demonstrate a positive relationship between people and nature. Firstly (1), Satsuki goes exploring in the forest and encounters Totoro for the first time. She lays on top of him and ends up falling asleep on his belly. The two creatures she saw in her yard earlier see this and decide to come out of hiding (35:47). This is a perfect example of how beautiful the relationship is between humans and nature in this film. The two little ones were scared of her but ended up seeing her as a good thing, instead of as a danger to them. Another example is when Satsuki goes back into the forest with her dad and sister to show them the creatures. When they arrive, they are faced with an empty tree (40:17). This is a nice example because her dad tells them to accept the fact that the forest spirits don’t want to be seen and then starts admiring the tree and tells them that “trees and people used to be friends” (40:44). There has always been a special bond between people and nature. He also chose their home because he liked the tree. They ended the visit by giving thanks to the tree and then left the forest alone (41:01). They admire trees and even give thanks and ask them for protection. This movie only shows a nice relationship between humans and nature. The final (3) example is seen during a storm. Satsuki and her sister are at a bus stop waiting for their dad when Totoro stands next to them. They’re both under an umbrella and offer him another one because he’s only covering himself with a leaf (52:08). He takes the umbrella and uses it. I really like this example because he stood there with them while they waited for their dad. He later got on his “bus” and left them there. They greeted their dad by telling him about everything that happened (55:14). In conclusion, these two movies have very different relationships between humans and nature. Spirited Away and My Neighbor Totoro are complete opposites. My Neighbor Totoro shows a human appreciation of nature, while Spirited Away shows a complete lack of interest/love for nature.

STUDIO GHIBLI

LET’S TALK ABOUT SOME INFORMATIONS!

Today I want to talk about a Japanese animation legends: studio ghibli.

a world filled with extraordinary characters, uncanny transformations and breathtaking fantasy landscapes,

Where it seems anything can happen.

But, what's truly magical about Ghibli, in their films? is when they're at their most every day!

Two girls are standing at a bus stop and a giant forest troll walks up beside them? My neighbor totoro might be director Hayao Miyazaki's most spellbinding and iconic adventure but what makes this scene so transcendent?

Isn't Totoro himself, it's his enthusiastic response to the rain  scenes like this crop up throughout Ghibli’s films moments where fantastical stories are filled with enthralling effects.

The combined hand-drawn skill of Ghibli animators, turn honey tea into a thing of wonder, is the best.

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When we watch animation we expect to see things that are out of the ordinary but a unique gift is to infuse the ordinary, with magical qualities.

There is an inspiring attention to detail and a sense of wonder in those details that makes these scenes so transporting mysterious.

For ex: train tracks lead off into the horizon majestic, flying machines fill the sky and so on because in Studio Ghibli's films reality doesn’t always require realism.

For over 35 years Studio Ghibli's films have offered as spectacular visions without parallel, but their greatest most captivating achievement, is that they make us look at the world around us with new eyes

And after this introduction. I have to say to you: welcome to the world of studio ghibli, a world where magic is only ever just around the corner!

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THE NAME

The name "Ghibli" was chosen by Miyazaki from the Italian noun gobi, based on the Libyan Arabic name for hot desert wind : the idea being the studio would "blow a new wind through the anime industry".It also refers to an Italian aircraft, the Caproni Ca.309.

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HISTORY

Studio Ghibli Inc. (Japanese: 株式会社スタジオジブリ is a Japanese animation film studio in Tokyo.[1] The studio is best known for its animated feature films, and has also produced several short films, television commercials, and one television film.

The studio was founded on June 15, 1985 by directors Hayao Miyazaki and Isao Takahata and producer Toshio Suzuki.

Studio Ghibli has also collaborated with video game studios on the visual development of several video games.

Studio Ghibli's highest grossing films include:

Princess mononoke

Spirited Away

My neighbor Totoro

Howl's Moving Castle

FAV FILM

SPIRITED AWAY

Spirited Away (Japanese: 千と千尋の神隠し, Hepburn: Sen to Chihiro no Kamikakushi) is a 2001 Japanese animated fantasy film written and directed by Hayao Miyazaki and animated by Studio Ghibli.

Spirited Away tells the story of Chihiro Ogino, a 10-year-old girl who, while moving to a new neighbourhood, enters the world of Kami (spirits of Japanese Shinto folklore).[7] After her parents are turned into pigs by the witch Yubaba, Chihiro takes a job working in Yubaba's bathhouse to find a way to free herself and her parents and return to the human world.

Unanimously acclaimed by critics, it is considered one of the best films of the 2000s [3] [4] and in the history of cinema.

FUN FACTS

When bringing their films to foreign markets, the studio has a strict policy against cuts and re-edits. This includes the translations needing to be as close to the original words and ideas as possible.

2. Their impact extends far beyond other animators. Shigeru Miyamoto, creator of Super Mario, The Legend of Zelda, and many other legendary Nintendo properties, has cited the studio's works as an influence.

3. Hayao Miyazaki was born in 1941, while Isao Takahata is a few years older, having been born in 1935. They were both alive to see World War II as children and both of them lived through bombing raids, which were events that had a massive effect on them and their work. This can be more directly seen in Takahata's Grave of the Fireflies, which is about a brother and sister surviving in Japan after losing their mother and home to a bombing raid. It is an incredibly moving film that brings one to tears literally within its first three minutes.

Now, I will end my talk with a quote of this film, which won a ton of awards for its characters, story, design, music, writing, and more. This quote is from a minor character named Zeniba. She is a witch with a ton of wisdom.

"Once You've Met Someone, You Never Really Forget Them." - Spirited Away (2001)

-Stefj

As the Spirit Moves You: How Studio Ghibli Films Leave Room for A Range of Religious Interpretations

Today’s guest post is by Kaitlyn Ugoretz, a PhD student in the Department of East Asian Languages and Cultural Studies at the University of California, Santa Barbara whose research focuses on the globalization of Shinto through popular and digital media and the growth of online Shinto communities.

Since childhood, my life has been suffused with an appreciation for both anime and religion. Saturday mornings were dedicated to the weekly ritual of watching cartoons with my father (Pokemon, Yu-Gi-Oh!, Sailor Moon, Mobile Suit Gundam Wing—if it was on Toonami or WB Kids, we watched it!), and Sunday mornings were spent listening to him preach the gospel as the minister of our small Presbyterian church.

As a child, I never really thought about how anime and religion might intersect, but all that changed after I watched Miyazaki Hayao’s Spirited Away. Something about the heroines, spirits, and grand narratives about relationships between humans and the environment spoke to me and inspired a fascination that continues to shape my adult life. And thanks to social media and blogs like Beneath the Tangles, I know that I’m far from alone in feeling that there is something deeper—something that goes beyond what we might think of as “mere” entertainment—to be found in many anime. Today, I study the variety of religious/spiritual responses to anime as a scholar of Japanese religion, popular culture, and digital media.

Ghibli—Global Giant

Shinkai Makoto’s 2017 blockbuster animated film Your Name has given Spirited Away a run for its money in the box office, but Miyazaki Hayao’s 2001 masterpiece reclaimed its status this past June as the highest grossing anime film in the world after its long-awaited release in China. Studio Ghibli has produced an impressive 10 out of the world’s top 50 highest grossing animated films, including beloved favorites My Neighbor Totoro, Princess Mononoke, and Ponyo.

Box office earnings are not necessarily an indicator of the spiritual depth of Studio Ghibli’s films, but they do demonstrate their enduring global appeal. Scholars of Japanese religion and popular culture, most notably Jolyon Baraka Thomas and Katharine Buljan and Carole M. Cusack, have shown that Miyazaki Hayao and Isao Takahata’s anime films resonate with audiences from a wide range of religious and cultural backgrounds and even inspire religious responses.

What is it about Ghibli films that continues to capture the hearts of people from all walks of life and allows for such a diversity of religious interpretations? Considering how Miyazaki represents his filmic intentions, in addition to how scholars and different fan audiences have interpreted the meaning of Studio Ghibli films, I find that it is the mixture of familiar and foreign religious elements that inspire us to reexamine our own beliefs and seek out those messages that resonate with us.

Miyazaki’s Mixed Messages

What Miyazaki intended to communicate to his audience through his films? After all, he is well-known for addressing moral and social concerns, including adolescence, good and evil, humanity’s relationship with nature and technology, modern anxieties, and nostalgia for the past. Given his tendency to populate his fictional worlds with spirits or gods (typically referred to as kami in Japanese) and other supernatural creatures who are closely related with nature, like the river spirit in Spirited Away and the Forest Spirit in Princess Mononoke, Miyazaki is often asked whether his films are meant to foster Shinto beliefs.

Cleansed river spirit

Shishigami-sama, the Great Forest Spirit

Shinto is a difficult tradition to define, as it has meant different things to different people throughout history. Some classify Shinto as a religion with clear beliefs and practices, while others characterize it as an essential part of everyday life in Japan which can only be understood experientially. In any case, most can agree that—at its core—Shinto is a ritual tradition which centers on the worship of kami, divine entities that inhabit extra-ordinary natural phenomena and man-made objects and whose favor grants benefits to one’s life in this world.

While this definition may seem to suit Miyazaki’s films well, the creator himself explicitly rejects Shinto as the source of his inspiration. Miyazaki grew up in the midst of WWII and his understanding of Shinto is informed by the legacy of what scholars call “State Shinto,” the modern Japanese government’s takeover of Shinto shrine affairs in order to promote imperialist and nationalistic ideologies. The filmmaker has given ambiguous answers to the question of whether his films are influenced by religion. In one interview, Miyazaki elaborated:

Dogma inevitably will find corruption, and I’ve certainly never made religion a basis for my films. My own religion, if you can call it that, has no practice, no Bible, no saints, only a desire to keep certain places and my own self as pure and holy as possible. That kind of spirituality is very important to me. Obviously it’s an essential value that cannot help but manifest in my films.

Through his consistently vague characterization of his personal brand of spirituality, Miyazaki—like any masterful storyteller—leaves room for his audience to draw upon the rich imagery, relatable characters, and familiar themes to create their own meaningful interpretations.

Scholarly Interpretations

Scholars of religion and media have interpreted Miyazaki’s works from a number of theological perspectives. Some argue that the kami characters and environmental ethics which Miyazaki employs are clearly drawn from Shinto, despite his claims to the contrary. Others have offered Christian interpretations of Miyazaki’s films. For example, Prince Ashitaka (Princess Mononoke) and Princess Nausicaä (Nausicaä of the Valley of the Wind) have been analyzed as messianic mediators between the profane and sinful realm of humanity and the sacred realm of Nature/Creation, as well as messengers of the gospel, promoting love and nonviolence.

Ashitaka goes into exile to restore harmony

Nausicaä is healed by the Ohm

Fan Interpretations

Scholars aren’t the only ones interested in the spiritual underpinnings of Ghibli films—fans around the world gather on- and offline to discuss their personal interpretations. These conversations are more than intellectual exercises; Thomas and Buljan and Cusack have shown that popular media like anime can inspire religious responses in audience members as well as entertain. That is, Ghibli films may influence viewers’ worldview and behavior, even if these viewers do not consider themselves to be religious. Thomas’s survey of Japanese fans shows that this influence may take many forms, such as a “belief in an immanent spiritual bond existing among all living things,” a pilgrimage to a special site like Yakushima forest (supposedly a source of inspiration for the sacred forest in Princess Mononoke), or a reenactment of the acorn-growing ritual portrayed in My Neighbor Totoro.

Erika Ogihara-Schuck examines how Miyazaki’s films have been translated into English and German in such a way as to secularize the spiritually-charged elements, referring to kami characters as “spirits” rather than “gods” and their powers as “magical” instead of “sacred” or “divine.” In some cases, this translation project has succeeded; some fans view Miyazaki’s films as ‘simply entertaining,’ while others read them as uncomfortably morally ambiguous, superstitious, or explicitly opposed to Christian theology. Still others in the Christian blogosphere—including contributors on sites such as Beneath the Tangles and Christ X Pop Culture—have found plenty of food for thought in Studio Ghibli films, prompting discussions of how anime narratives might productively challenge and affirm their core values as brothers and sisters in Christ.

Some audiences, as I have discovered in my own research, draw upon Studio Ghibli films as a source of Shinto spiritual instruction. In my study of the growth of predominantly non-Japanese online Shinto communities (OSCs) on social media, I find that anime plays an important role in the fostering of interest in Japanese religions, as well as participation in OSCs.

In interviews, surveys, and posts, several of the leading, active members of OSCs have noted that their early exposure to Ghibli films are what inspired their further study and adoption of Shinto. In community discussions, members share their interpretations of religious elements in anime. These conversations often focus on the relationship between humanity, kami, and nature and affirm the importance of moral character and gratitude. In similar fashion to other online religious communities, OSC members will comment on posts and keep the discussion going, negotiating interpretations, sharing links to blog posts and video clips which they find informative, and posing further questions.

In response to new members’ requests for more information about Shinto, each OSC has created its own list of recommended resources, which often include anime films and series in addition to books and blogs. As such, Studio Ghibli films like Spirited Away and Princess Mononoke have become, in effect, ‘required reading’ for OSC members. In this way, Ghibli films function as an important introduction to Japanese spirituality—particularly Shinto—for international audiences and a resource for the construction of personal and community beliefs.

Language Games

How can Studio Ghibli films spark so many different religious responses and interpretations—Christian, Shinto, and otherwise? The answer lies with two key concepts: Jolyon Baraka Thomas’s theory of “playful religion” and Leonard Primiano’s theory of “vernacular religion.”

Thomas argues that the distinction we make between religion and   entertainment is artificial; entertainers can playfully use religious symbols to create an engaging story, and viewers can derive spiritual meaning from popular media, regardless of whether the creator intended for them to do so.

“Vernacular religion” refers to religion as it is lived—not what religious authorities say religion ‘should be,’ but how religious concepts are translated into a particular culture and actually practiced by people.

One way anime creators like Miyazaki manage to both entertain and inspire their audiences is to ‘play’ with the ‘languages’ of religion. These language games are a lot like playing Mad Libs. The storyteller chooses from among a variety of popular religious images and themes from different traditions—our collective religious vocabulary bank—and removes them from their original context. These religious elements are then recombined within a familiar narrative framework to create new images and stories that are compelling because they are both familiar and foreign to us. It is left up to each of us as audience members to make sense of these disassociated religious elements by translating them back into our own vernacular of faith.

Understanding this process of translation we all participate in as Studio Ghibli fans is important for two reasons. First, it reminds us that the meaning or significance of an anime is not defined by any one person’s vision, even that of its creator. No one has the ‘right’ answer. Our personal interpretations and those of others are just as meaningful, because they are grounded in our beliefs and thus have the power to affect the way we look at the world and live our lives. Second, the fact that the same images and themes can resonate with people of different faiths and backgrounds speaks to values we have in common, as well as a common desire to be spiritually engaged, as well as entertained, by the media we consume. Ultimately, the genius of Studio Ghibli films lies in their rich assemblage of religious symbols and grand narratives, which audience members are—if they are so inclined—free to interpret in a way that affirms their beliefs and feeds their soul.

Kaitlyn Ugoretz is a PK (Pastor’s Kid), anime fan, and PhD student in the Department of East Asian Languages and Cultural Studies at the University of California, Santa Barbara. Her research focuses on the globalization of Shinto through popular and digital media and the growth of online Shinto communities. Kaitlyn runs Digital Shinto, a site where anyone can learn about and participate in her ethnographic study of Shinto’s development outside of Japan.

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Recommended Reading:

Buljan, Katherine and Carole M. Cusack. Anime, Religion, and Spirituality: Profane and Sacred Worlds in Contemporary Japan. Sheffield: Equinox Publishing Ltd., 2015.

Ogihara-Schuck, Erika. Miyazaki’s Animism Abroad: The Reception of Japanese Religious Themes in German and American Audiences. Jefferson, NC: McFarland & Company, Inc., 2014.

Park, Jin Kyu. “‘Creating My Own Cultural and Spiritual Bubble’: Case of Cultural Consumption By Spiritual Seeker Anime Fans.” Culture and Religion 6.3 (2005): 393-413.

Thomas, Jolyon Baraka. Drawing on Tradition: Manga, Anime, and Religion in Contemporary Japan. Honolulu, HI: University of Hawai’i Press, 2012.

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@ama-tcra-su​ - totoro - s.c.

Silently, the forest kami stood amongst the trees of Agata Forest, just watching life slowly meander along. He was actually on his usual rounds, his smaller Totoro’s helping him with spreading acorn seeds or picking up fallen branches, placing them in better spots for the foliage to grow and make for better soil.

His large gray nose twitches, whiskers following. The scent of another spirit... A far holier, more powerful one... Approaching.

Totoro says nothing, simply gazing down at the wolf. It wasn’t the form he had expected the mighty sun kami to take, but he liked it. She looked soft. More appealing to humans and animals. 

The creature rumbles a quiet hello, long claw-like fingers wiggling in a slight wave.

;; tag drop muse edition part 2 electric boogaloo