She has to navigate the spirit world she gets trapped in by working in a bathhouse run by an overlord called Yu-baaba. Miyazaki said he'd decided to make it based on the ten-year-old daughter of friend, associate producer Seiji Okuda, who came to stay with him every summer.
With this in mind, he made the movie for ten-year-old girls. This is exactly why it resonates so well with people of all ages and why Chihiro feels so real. How often can you say a film has been made for young girls, rather than money or mainstream audiences? Many male critics described Chihiro as a "sullen" and "spoiled" girl, and continue to describe her as such. This is hardly a fair criticism, nor is it an accurate one. When we meet Chihiro, she's being driven away from her home and everything she knows to live in a new town.
All she has to remember her friends is a bouquet. How depressing," she says, only to be reminded by her mom that her dad bought her one for her birthday. She shrugs this off, understandably. Few ten-year-olds would behave so well given the upheaval. When the family exit the car, entranced by the lead up to the abandoned theme park that will soon trap them, Chihiro is "whiny" because her intuition is correct.
She follows behind her parents, worried by the little shines and the appearance of the food with no vendor, warning that they shouldn't be there. These critics will see that she spends the remainder of the film laboring not only for their ignorance but also the fact that they ignore the voice of a young girl.
Still via Wiki. What sets her story apart is that Chihiro isn't forced to triumph over great evil and turn from a "sullen" creature to a good girl. Far better than that, it's a film about honest development. Miyazaki shows her slowly forcing herself to adapt to her environment and be open to the tasks ahead, quietly tackling them as best she can.
She has trouble walking down the steps to the boiler man, Kamaji, but eventually manages to make it down. Kamaji keeps ignoring her, but she knows she must get a job at the bathhouse to survive in this new spirit world, so doesn't stop until he helps her.
Her careful thinking and determination quickly reward her when she realizes a stinky spirit was actually a polluted river spirit who needed to be freed from all the junk surrounding it. The fact the film was made without a script only adds to this natural evolution of Chihiro.
The film makes itself, and I have no choice but to follow. At its core, this movie is a fairy tale, plain and simple. There are quite a few movies out there that fit into those categories. Plus, I did pre-warn you that this would be the case. Because the two are both filmed by the same studio and written and directed by the same person, the similarities in the way they look and sound are readily apparent.
After being magically transformed into an old woman, though, she soon learns to appreciate her youth and her life just the way they are. This is similar to Chihiro growing up and becoming more kind, empathetic and grateful as the plot in Spirited Away progresses. Finally, the overall feel of both movies is just very similar. Each one evokes the same feelings and emotions in the viewer that the other one does. In typical Hayao Miyazaki form, this movie, too, features a strong, female lead who experiences a coming-of-age event that shapes and changes her life.
In this movie, the protagonist is Kiki, a year-old witch who runs a flying delivery service off the back of her broom. When her talking cat begins spending time with another beautiful, female cat, Kiki becomes depressed.
When danger threatens a friend of hers, though, Kiki must harness her powers once more and coax her broom to life in order to save his life. The movie is very similar to Spirited Away in visual appearance, pacing and in the personalities of both Kiki and Chihiro. While the plots may not seem that much alike at first glance, on further inspection, even they have some similarities.
They both feature young women, coming of age, thrust into situations beyond their control. Both of them must learn to control their emotions and behave as they should behave, not how their first instincts tell them to behave. Instead, it was directed by Hiromasa Yonebayashi and is an anime adaptation of the popular book The Borrowers by Mary Norton. Much like Spirited Away and the other Miyazaki films on the list, this movie, too, features a young, female protagonist.
Her name is Arrietty. Arrietty is soon discovered by a sickly human boy named Shawn who lives in the house, and the two become fast, if odd, friends. The housekeeper has also witnessed the borrowers in action, but her intentions concerning them are not friendly. There are lots of little details thrown in with both the animation style and the sound effects that are also quite reminiscent of Spirited Away.
What can I say? The man makes great anime flicks! This one is set in 14th-century Japan and features — you guessed it! Just kidding!! In order to lift the curse, he must travel across the land to the West in search of a mystical cure. On his trip, he encounters many strange characters and spirits, much like Chihiro does while in the realm of the Kami. Each one presents him with a task or challenge that he must overcome to continue on his journey.
Both movies also feature spirits from Japanese folklore, and in both movies, the protagonists must choose whether or not to place their trust in these spirits. On top of that there are dozens of crucial scenes that take place in literal in-between or transitional spaces like elevators, staircases, bridges, tunnels, cars, and trains.
All of these liminalities are reflections of our protagonist Chihiro, herself on the cusp of adolescence. When Chihiro enters the liminal space of the bathhouse, the witch Yubaba takes away the second half of her name, not only reducing her to a number but stripping away the part of her that seeks and creates meaning.
The fact that these figures are characterized by insatiable hunger is also not a coincidence. Consider No Face, who not only has No Face but also no voice; he consumes people in order to take on their voices and characteristics, implying that his hunger for food is really hunger for an identity of his own.
In the Victorian era, during the advent of psychoanalysis, the self was framed as an unruly force repressed and contained by civilized society. In effect, the self has come to be reimagined not as a force to be subdued but a vacuum to be filled. And in order to maintain itself, consumer culture actively encourages consumers to see ourselves as perpetually empty vessels, always in need of fixing or filling. And this is a problem because people have to go through rites of passage, or liminal phases where we temporarily lack an identity, in order to grow.
The most common criticisms of consumer culture are that it renders people self-absorbed, passive, and infantile — much like Chihiro at the beginning of the film. By purging her of her former identity and pushing her forward into a liminal state, Miyazaki does for Chihiro what she does for the characters she purges: helps her to confront the fear of emptiness that makes her so passive and helpless to begin with.
Only then can she really recognize that she is not empty or helpless at all. And this is the lesson Chihiro learns through symbolic repetition.
What Miyazaki is showing her, and us, is the futility of looking for an identity through consumption. Miyazaki is showing us that the only way we can overcome our fear of emptiness is to stop feeding it. Cushman, Philip. Napier, Susan J. Thank you so much for giving us this option! I watched your video a few weeks ago and it has proven so useful to my Japanese Culture studies. I wanted to watch it again and was devastated that it had been deleted so thank you :D!!
Like Like. Gave me chills haha. Thanks for your hard work!
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