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trungles · 5 months

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Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.

Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.

Hayao Miyazaki’s 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The world’s foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Master’s desire to pass the torch undergirds much of the film’s narrative.

(Isle of the Dead. Arnold Böcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)

Arnold Böcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Böcklin frequented this cemetery—his workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.

(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)

The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazaki’s films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazaki’s weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

The Boy and the Heron follows a familiar narrative arc to many of Miyazaki’s other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsuki’s journey to find Mei in My Neighbor Totoro (1988) and Chihiro’s journey to rescue her parents Spirited Away (2001). To better understand Miyazaki’s fixation with this particular character journey, it can be instructive to watch Lev Atamanov’s 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersen’s 1844 children’s story (6)(7). Mahito’s journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.

Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwoman’s dining table, surrounded by kokeshi—little wooden dolls—in the shapes of the old women who run Mahito’s family’s rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, it’s a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

Kiriko’s job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazaki’s pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

As Mahito’s adventure continues, we find the landscapes changing away from Böcklin’s Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibli’s aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).

(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)

By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Böcklin’s later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Dead’s somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.

(Island of Life. Arnold Böcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)

In 2022, Russia’s State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Böcklin would paint this image in collaboration with his son Carlo Böcklin, himself an artist and an architect. Arnold Böcklin spent three years painting the same image three times over at the site of his infant daughter’s grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Böcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazaki’s reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.

The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshino’s 1937 book How Do You Live?, published three years after Carlo Böcklin’s death. In evoking Yoshino and Böcklin’s works, Hayao Miyazaki’s The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.

(Isle of the Dead. Arnold and Carlo Böcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)

INFORMAL ENDNOTES

1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.

2 - Okulicz-Kozaryn, Radosław. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.

3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.

4 - You can watch the movie here in its original Russian with English closed captions here.

5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.

6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.

7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.

8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.

#hayao miyazaki #the boy and the heron #how do you live #arnold böcklin #carlo böcklin #symbolists #symbolism #animation #the snow queen #lev atamanov #naohisa inoue #the endnotes are very very informal aksjlsksakjd #sorry to actual essayists

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s-aint-elmo · 1 year

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digging out the eah content i created in a frenzy during last year’s summer of obsession part 1: my personal sapphic multishipping guide (created to explain to my friends which of these dolls i think should hold hands)

(more in-depth discussion of the ships below the cut)

the polycule that will take over ever after

kitty/lizzie; kitty/maddie; maddie/lizzie

self-explanatory. frequently purchased together do not separate. bonus shoutout to maddie canonically giving kitty a little kissie on the cheek and getting off scot-free in the books though. a wonderlandiful world was a banquet to me

cedar protection squad

once again a wonderlandiful world and once upon a time i owe you my life. kitty ESP being so adamant abt not giving a shit then turning around and fucking up those boys who were mean to cedar...... i love friendship

kitty/cerise

also self-explanatory. she was a catgirl she was a wolfgirl can i make it anymore obvious. also doribuki’s phenomenal fake dating fanfic....... transformative foundational transcendental

cerise/raven

YOU MUST UNDERSTAND. i entered eah a rapple shipper and exited the book series ready to burn at the stake for cerise/raven. book two was SO MUCH. it had everything. raven befriending cerise despite her attempts to isolate herself. texting in class. winking at each other. raven meeting the parents and hearing embarrassing baby cerise stories. cerise putting it all on the line to save raven. i’m ambivalent about shadow high but cerise gets literally one (1) mention and it’s in raven’s internal monologue wherein she equates cerise’s hood w feelings of warmth and safety. like how was that in any way necessary. i rest my case

raven & maddie

self-explanatory as well. dabesties. the ride or dies. it means so much to me that raven always has a friend in maddie no matter how many clowns and jokers (derogatory) treat her like the antichrist. maddie the character ever

raven/apple

WHAT IT SAYS ON THE TIN. the gelphie dynamic is a classic and i am EXTREMELY vulnerable to it. they are THE ship and i will pay my respects to the end of time. i am a big fan of how they trade their roles throughout the franchise and how rich the drama and history are between them. it’s pure fucking poetry.

raven/darling

TBH. a serve. the only thing juicier than evil queen/damsel in distress is evil queen/princess charming. big big fan of darling giving raven the five star princess treatment after a lifetime of being feared and shunned and vilified. equally big fan of raven’s momentous act of rebellion giving darling the courage to be true to herself. ALSO. the absolute archetype-subversion slay of the Pure-Hearted Hero(TM) confronting the Mistress of Evil(TM) and dropping their sword. looking through the smoke and mirrors and the will of Fate itself to see the girl who has wanted nothing but to be kind beneath. swearing their heart and soul and sword to the one true good they have found. picture it. i can almost see the 100-word drabble

raven/apple/darling

now THIS is just THE fairytale couple. the evil queen, the damsel in distress and the princess charming ALL holding hands and riding off into the sunset together. dappling on its own doesn’t do it for me but raven in the mix just makes everything gel perfectly. she’s the tomato in the ratatouille the cornstarch in the spring roll water, etc etc

darling/holly

this is one of those ships where i read a really convincing fic and the more i thought of it the more it just made sense. like they'd read swashbucklers and tales of courtly love together. holly would 100% write a darling placeholder in her self-insert romance fanfic pre-relationship as a way to express her feelings. darling would 100% find out and gently pull her out of the pit of sheer mortification she drilled into the ground to escape. also the height difference is a thing of beauty

safe from the polycule

duchess/poppy

they have one singular episode to their name and it was enough. it was Everything. the dynamic you can extrapolate from that one single interaction is so incredibly appealing to me. duchess’s bitchiness belied by her palpable air of vulnerability coming up against poppy’s spine of steel tempered by her skill in gaining perspective. poppy can challenge duchess into being a better person and duchess can be poppy’s character flaw like idk she just has shit taste in women that was the price she had to pay to be moisturized and unbothered by destiny. i just think they have the potential to be the unexpected, inexplicable power couple of eah

briar/faybelle

do i even need to say anything they had a whole movie to make their case. they’re rapple if rapple got their shit together before armageddon, with the bonus of a potential curse-breaking true love’s kiss for the fanfic authors to thrash between their teeth. truly unlimited. also unlike rapple where raven is 100% against being a villain and therefore it’s apple who has to do the mental gymnastics to open herself to the possibility of a relationship w raven, faybelle is just chomping at the bit to make her momma proud and presents a compelling perspective for the whole “falling in love w your fated nemesis” thing

blondie/cupid

they are icons, they are legends, and they ARE the moment. these two are so chaotic individually, what with blondie’s criminal skillset and habit of menacing innocent woodland creatures and cupid’s matchmaking powers combined w her shitty aim, that putting them together can only mean good things. there’s this whole element of their shared passion as public figures who at their best seek the truth and guide others through matters of the heart respectively that’s always interesting as a point of irony/obstacle when they start catching feelings and have to decide what to do with them. their joint youtuber/podcaster slay can level nations

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