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No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5) Previous issue date: 2017-03-31 / The film narratives of Japanese animation director Hayao Miyazaki - theme of this research - expose some issues that involve life in society by questioning situations and stereotypes through their hybrid aesthetics, and mainly through their female characters In this way, we take as theoretical object the consumption of aesthetics hybrid - in which the female characters are found - and the layers of memory there involved. In this sense, this research has as general objective to identify the composition of the female representations and how the transgressive character of them is given. We adopt specific objectives: to understand how the anime genre emerged and to contextualize the course of Hayao Miyazaki as director of animation. Understand how Hayao Miyazaki are embedded in a context of production and media consumption, demonstrating negotiations between the director and the animation industry. Verify that his aesthetic is constructed, from the textual memory and analysis of the composition of the scenarios, characters, plot, costumes and other aspects. Analyze how make up the female representations in the works of Hayao Miyazaki and, finally, to verify how the female characters produce a representation of memory that subverts the memory of what we understand as a Japanese woman. For this, an analysis is made from a corpus of ten works scripted and directed by the director [Ponyo: A Friendship that Came of the Sea (2008), the Service of Deliveries of Kiki (1989), The Castle animated (2004), Princess Mononoke (1997), My Friend Totoro (1988), Porco Rosso: The Last Romantic Hero (1992), Nausicaä of the Valley of the Wind (1984), Lives to the Wind (2013), The Journey of Chihiro (2001), The Castle in the Sky (1986)]. In order to highlight the female characters, formulating a methodological framework dividing them into six phases: children, girls, youth, adults, mothers and the elderly. Using the basilar pillars: consumption and communication; memory; women were bibliographical and documentary research, mobilizing authors such as Lotman, Le Goff, Halbwachs, Pollak, Canclini, Rocha, Martel, Miyazaki, Luyten, Barbosa Junior, Sato, Laurel, Hane, among others, with different theoretical contributions. The results demonstrate that the awakens, through his women and his hybrid aesthetics, a critical thinking in which one makes possible to question about aspects concretized by society and to think about the possibility of change and restart. / As narrativas fílmicas do diretor de animação japonês Hayao Miyazaki – tema da presente pesquisa – expõem algumas questões que envolvem a vida em sociedade ao questionar situações e estereótipos através da sua estética híbrida, e principalmente por meio das suas personagens femininas. Desta forma, tomamos como objeto teórico o consumo da estética híbrida – na qual se encontram as personagens femininas – e das camadas de memória aí implicadas. Nesse sentido, esta investigação tem como objetivo geral identificar a composição das representações femininas e como se dá o caráter transgressor das mesmas. Adotamos como objetivos específicos: compreender como surgiu o gênero animê e contextualizar o percurso de Hayao Miyazaki como diretor de animação. Entender de que forma as obras de Hayao Miyazaki estão inseridas em um contexto de produção e consumo midiático, demonstrando negociações feitas entre o diretor e indústria de animação. Verificar de que maneira é construída sua estética, a partir da memória textual e análise da composição dos cenários, das personagens, do enredo, do figurino e outros aspectos. Analisar como se compõem as representações femininas nas obras de Hayao Miyazaki e, por fim, verificar como as personagens femininas produzem uma representação de memória que subverte a memória do que entendemos como mulher japonesa. Para tal, é feita uma análise a partir de um corpus de dez obras roteirizadas e dirigidas pelo diretor [Ponyo: Uma Amizade que Veio do Mar (2008), O Serviço de Entregas da Kiki (1989), O Castelo Animado (2004), Princesa Mononoke (1997), Meu Amigo Totoro (1988), Porco Rosso: O Último Herói Romântico (1992), Nausicaä do Vale do Vento (1984), Vidas ao Vento (2013), A Viagem de Chihiro (2001), O Castelo no Céu (1986)]. De modo a destacar as personagens mulheres, formulando um quadro metodológico dividindo-as em seis fases: crianças, garotas, jovens, adultas, mães e idosas. Valendo-se dos pilares basilares: consumo e comunicação; memória; mulheres, foram adotadas pesquisas bibliográficas e documentais, mobilizando autores como Lotman, Le Goff, Halbwachs, Pollak, Canclini, Rocha, Martel, Miyazaki, Luyten, Barbosa Júnior, Sato, Louro, Hane, entre outros, com diferentes aportes teóricos. Os resultados demonstram que o diretor desperta, através de suas mulheres e sua estética híbrida, um pensamento crítico no qual se faz possível questionarmos a respeito de aspectos concretizados pela sociedade e pensarmos na possibilidade de mudanças e recomeço.

I uppsatsen behandlas två filmer av filmskaparen Hayao Miyazaki: Nausicaä från vindarnas dal och Prinsessan Mononoke. Uppsatsen börjar med en kort bakgrundsbeskrivning av Miyazaki för att sedan gå in på dennes tankar kring naturen, filmerna, framtiden och den värld som vi lever i idag. Därefter följer analyser av de två filmerna som innehåller handling, viktiga karaktärer, teman, motiv, budskap och diskussion. I denna del tar jag också upp det visuella i Nausicaä från Vindarnas dal och Prinsessan Mononoke. Jag tittar även på vad andra har sagt om filmerna och skriver om kraften i det visuella med utgångspunkt i artikeln The ecological and consumption themes of the films of Hayao Miyazaki av Kozo Mayumi, Barry D. Solomon och Jason Chang. Uppsatsen avslutas med en slutdiskussion.

This study is an adaptation analysis focusing on character portrayals in Studio Ghibli’s film Howl’s moving castle, which is based on a book of the same name, written by Diana Wynne Jones. Both the film and the book are discussed and analyzed to find differences and similarities between the two. The purpose of the paper is to identify the changes that have been made to the film adaptation in the form of characterizations. Through this study I have shown the media specific differences that have contributed to changes but also reported important similarities. The relationships between the characters have changed a lot to the film adaptation, many emotions appear more open in the film than they did in the book. Media specific differences lie behind much of this, through the filmmaker’s possibilities in the visual medium. The important narrative changes can be based on this, but also through Studio Ghibli’s choice to emphasize the war as a central part of the story. This paper can give light to the changes that take place when a work is being adapted into a different medium.

This study examines the relationship between music and image in two of Hayao Miyazaki's films. Based on literature studies on film music and narrativity, together with an analysis of how the music is used in the films Howl's Moving Castle and Kiki's Delivery Service, the study shows how the music affects the narrative. The questions discussed in this reflective essay are: What is the narrative function of Hisaishi's compositions for Miyazaki's Studio Ghibli films? What is the function of the leitmotifs and are any musical codes used? Does diegetic music appear in the films? How are the leitmotifs associated with the characters in different situations? Do the motifs convey objects, characters, emotions, places or something else? The conclusion of the paper shows that by using leitmotifs, musical themes and codes, Hisaishi has managed to strengthen and enhance the narrative of both films. Hisaishi's compositions for both Howl's Moving Castle and Kiki's Delivery Service have been shown to play a significant role in the viewer's experience of the film and its plot. Hisaishi's use of leitmotifs varies depending on the character, event or emotion it represents. Some of the leitmotifs convey the characters' emotions and expressions to the audience, which we would otherwise not see through dialogue alone. The composer also uses a lot of musical codes and even diegetic music. Several cultural musical codes can be heard that make the audience associate with a Western culture.

The films of Hayao Miyazaki have been praised world-wide for their strong female characters and their wide range of gender representation. While most of previous research has been focusing on narrative, in particular, characters’ social behaviour therein, or their visual appearance, this thesis aims to understand whether these praised films do challenge the usual gender stereotypes associated with contemporary Japanese society and popular fiction also linguistically. Specifically, it focuses on questions, compliments, and interruptions in a quantitative analysis examining the frequency of tagged language behaviour in female and male main characters. The results show that language behaviour associated with gender stereotypes – not only with regard to the Japanese society but the whole world – can be seen in the analysed films Lupin III: Castle of Cagliostro (1979), Kiki’s Delivery Service (1989), Spirited Away (2001) and Howl’s Moving Castle (2004). For a more complex understanding of the linguistic stereotypes in the films, this thesis argues that further research on the Japanese language and Japanese gender norms would be required. / 宮崎駿の映画は、強い女性の登場人物と幅広いジェンダーの象徴として、世界中で称賛されている。 先行研究の多くは、物語、特に登場人物の社会的行動や容姿に焦点を当てているが、本論文の目的は、 これらの映画が、現代日本社会と人気フィクション作品に関連する通常のジェンダー・ステレオタイ プに、言語面においてどのような関連性があるかを理解することにある。具体的には、相手に質問し たり、相手を褒めたり、相手の会話を遮る時における言葉の選択の仕方に焦点を当て、男女の主人公 における「言葉の選び方の違い」と「その言語選択がどのような状況で頻発に使用されるか」といっ た言語行動の頻発性の違いについて適量分析を用いて調べる。結果は、ジェンダーのステレオタイプ に関連する言語行動は、日本社会に特有のものではなく全世界に共通することが、分析対象とした映 画: 『ルパン三世 カリオストロの城(1979)』、『魔女の宅急便(1989)』、『千と千尋の神隠し (2001)』、『ハウルの動く城(2004)』から確認できた。本論文では、これらの映画における言 語的ステレオタイプをより理解するためには、日本語と日本のジェンダー規範をより深く研究すべき であるとの見解に至った。 / Hayao Miyazaki’s filmer har hyllats världen över för deras starka kvinnliga karaktärer och breda inkludering av könsrepresentation. Medan majoriteten av tidigare forskning har fokuserat på narrativet, i synnerlighet karaktärernas sociala beteende, eller deras utseende, syftar den här kandidatuppsatsen till att förstå huruvida dessa hyllade filmer utmanar de vanliga könsstereotyper associerade med nutida Japan och genrelitteratur även lingvistiskt. Specifikt så fokuserar den på frågor, komplimanger, och avbrytande genom en kvantitativ analys som undersöker frekvensen av utvalda språkliga beteenden hos kvinnliga och manliga huvudkaraktärer. Resultatet visar att språkligt beteende associerat med könsstereotyper – inte endast avgränsat till Japan men för hela världen – kan ses i de analyserade filmerna Slottet i Cagliostro (1979), Kikis expressbud (1989), Spirited Away (2001) och Det levande slottet (2004). För en mer komplex förståelse av de lingvistiska stereotyperna i filmerna, menar den här uppsatsen att det japanska språket och japanska könsnormer bör undersökas vidare.

Studien analyserar Diana Wynne Jones bok Det levande slottet (2005) och Studio Ghiblis film med samma titel (2004) i syfte att undersöka vilka förändringar som skett i övergången från bok till film. Delarna som undersöks är narrationen, karaktärerna, värderingar och budskap samt ifall filmen anpassats till japanska förhållanden och/eller japansk publik. Detta görs genom en komparativ metod. Studien diskuterar även möjligheten att använda något av verken i undervisning för årskurserna F–3. Resultatet visar att skillnaderna mellan bok och film är så stora att det är svårt att endast tala om en filmadaptation och att det därför är bättre att använda begreppet transformation. Även om filmen fortfarande har ett gemensamt tema med boken – alla ska kunna accepteras för den de är – har förändringarna och det nya temat krig tagit överhanden och påverkat narrationen, budskap, värderingar och karaktärer. I filmen finns inga förändringar som pekar på specifik anpassning till japansk publik, men genom filmens teckningar är det ändå tydligt att filmens regissör Hayao Miyazaki ingår i en japansk kultur. Resultatet visar dessutom problematik kring bokens användning i årskurserna F–3, men att det trots detta finns möjligheter att använda både den och filmen för att diskutera värden och budskap i de lägre årskurserna.

[pt] Durante muito tempo as palavras utilizadas para referir-se a oriente e ocidente foram exótico, civilizado, arcaico ou desenvolvido. Isso porque as imagens atribuídas a ambos eram de atrasado x avançado como o pseudo antagonismo entre mito e logos. No entanto, a falência do discurso cartesiano de verdade, como narrativa organizadora do cenário contemporâneo, abre espaço para uma nova abordagem do mito como parte atuante na leitura do mundo. Nesta tese nos propomos a utilizar a recuperação do mito através da metáfora ainda presente no discurso filosófico feita por Hans Blumenberg, e fazer um paralelo com a recuperação da metáfora feita por Paul Ricoeur para um approach entre oriente e ocidente pelo viés da literatura midiatizada que identificamos na obra do renomado diretor japonês de animação Hayao Miyazaki. / [en] For a long time the words used to refer to East and West were exotic, civilized, archaic or developed. That s because the images assigned to both were backward vs. advanced as well as the pseudo antagonism between myth and logos. However, the failure of the Cartesian discourse of truth as a structuring ordering narrative of the contemporary world opens a door to a new approach to myth as an active part in the reading of the world. This thesis proposes to use the restoration of the myth through metaphor as in Hans Blumberg s philosophical work and to form a parallel with Paul Ricouer s restoration of the metaphor, employing this method as an approach between East and West to delve into the work based on the literary world of renowned Japanese animation director Hayao Miyazaki.

Synen på vad som utgör den så kallade starka kvinnliga karaktären har varit objekt för förändring, vilket kan synliggöras bland annat via filmmediet. Syftet med studien är att granska och jämföra två tecknade kvinnliga protagonister utifrån ett genusvetenskapligt perspektiv. Metoden för studien utgörs av två genusvetenskapliga modeller som kategoriserar manligt och kvinnligt beteende, samt semiotisk bildanalys. Materialet består av Disneys The Little Mermaid och Studio Ghiblis Kiki’s Delivery Service. Resultatet visade att karaktärerna uppvisar liknande personliga egenskaper, då de båda är vackra, sårbara, aktiva, skyddande och självständiga, men att de trots detta spelar mycket olikartade rolltyper, samt utformats på olika sätt av sina skapare. Slutsatsen är att Kiki förefaller vara den mer feministiska av de två karaktärerna, men att även Ariel med tanke på verkets inomtextuella tidsperiod till viss del kan tolkas som feministisk.

This essay explores Swarm Consciousness in relation to the novels Ender’s Game by Orson Scott Card, Remembering Babylon by David Malouf, and the manga Nausicaä of the Valley of the Wind by Hayao Miyazaki. Through these novels, Swarm Consciousness can be reimagined in order to challenge the ways insects have previously been considered in literature. Swarm Consciousness is originally a concept from biology that explains the self-organizing systems of social insects such as for example bees or ants. Previously it was believed that these insect societies consisted of a great majority of mindless drones that were governed by a central authority, most commonly envisioned as a queen. However, if we base our vision of Swarm Consciousness on the more recent understanding of insect self-organization it is possible to challenge this rigidly divided traditional perspective into one that instead has the potential to give rise to visions of new and more creative interactions between humans and insects. These interactions are not limited to an in-group, out-group mentality, but Swarm Consciousness can be used to imagine interactions between groups, irrespective of their species identity. Due to this shift towards a more decentralized perspective, it is possible to create a new way of imagining the umwelt, as Jakob von Uexküll would define it, the unique environment, of vastly different creatures. The limits of the umwelt can be breached with the aid of Swarm Consciousness and create new possible forms of interspecies imagination. However, these intimate interactions surpass the individuals involved and create opportunities for glimpsing a wider planetary perspective which gives rise to an increased sense of planetary responsibility. Thus, Swarm Consciousness challenges both how we can think, but also who we can think with and, as a consequence, opens up new ways of perceiving unique and individual worlds, as well as the entire planet.

當好萊塢式的超級英雄在全球影視文化圈刮起炫風之時，日本次文化中亦有一群「娘子軍」，推動了日本動畫、漫畫的發展，諸如《美少女戰士》、《新世紀福音戰士》，至2011年成為日本推動軟實力外交「Cool Japan」的主打動畫—《魔法少女小圓》，都展現了日本動漫市場被名為「戰鬥美少女」的角色（character）和文類（genre）所引領的實態。這些巾幗不讓鬚眉的「美少女」，是動漫畫中的戰鬥主體，卻擁有別於歐美文化中結合力與美的女超人及女戰士的特質，她們同時擁有戰鬥的能動性，在身體表象上又具有纖細瘦弱、容易受傷的受動性，更甚是成為男性觀眾的性慾客體、女性自我實現的投射。如此對「少女」的憧憬與操作慾，實乃根基於日本近代文化的一種特殊現象。 在日本動漫充斥著色情與暴力而為人詬病之時，宮崎駿動畫電影因其所蘊含的藝術價值而和我們認知中的「御宅動畫」產生一線之隔。作品中披荊斬棘、自力更生的女性形象讓人耳目一新，然仔細探究宮崎駿動畫的人物設計和敘事結構卻與上述類型動畫中的戰鬥美少女特質不謀而合，甚至其作品《風之谷》中的娜烏西卡更被譽為是替戰鬥美少女定型的元祖角色。因此，本研究擬梳理少女文化與戰鬥美少女的發展，並以宮崎駿自1984年起至2013年執導的十部長篇動畫電影為研究對象，檢視其作品在角色形塑上是否使用戰鬥美少女模式包裝其理想的「少女意象」，期以理解「少女」之於日本社會有何種意涵與價值。 本研究發現，宮崎駿動畫除了酷愛以「飛行」強調少女的神聖性，其去性化的純潔無垢的少女意象，更符合近代日本對少女所設下的社會框架，而在敘述手法上卻體現了日本文化中普遍具有的過度男性凝視與母性肥大的主題，從而證明戰鬥美少女實非顛覆父權的利器，反而加深了既有的性別刻板印象。 / While Hollywood’s superhero movies are blowing up entertainment industry all over the world, there is a kind of young female character toting weapon in Japanese subculture and promotes the development of Anime and Manga. From Sailor Moon to Neon Genesis Evangelion, also Puella Magi Madoka Magica, which played an important role in Japan’s foreign Policy titled “Cool Japan” in 2011, the Japanese animation industry seems to be led by this kind of character or genre called “Battle Heroine”. These girls are prepubescent and pretty, but not inferior to boys and man. Although they are different from western superwoman and female warrior shaped in Amazons, they still hold the initiative in theirs fights. In the same time, they also maintain the passivity came from their vulnerable bodies and naive personality. Therefore, the battle heroine turns to be an object of desire for male audiences or a projection of self-actualized for female audiences. In fact, such desire to manipulate young girls, who were named “Shōjo” in Japanese, was based on the culture of modern Japan and became a special social phenomenon in recent times. Despite the fact that Japanimation was condemned by public because of teeming with violence and pornography, it is no doubt that director Hayao Miyazaki is appreciated for the artistic value in his awarded animations and makes a fine line between his films and “otaku anime”. The woman images in his animations can be refreshing because of its independence and brave behavior. However, when we have made a careful study of character design and narrative structure in his works, we may found that there is a coincidence between these characters and battle heroines in otaku anime. Furthermore, Nausicaä in Nausicaä of the Valley of the Wind is widely regarded as a stereotype of battle heroine. As a result, the thesis was intended to prioritize the development of Shōjo culture and battle heroine animations, and research whether Miyazaki attempted to shape female characters in battle heroine way to show his ideal Shōjo images or not among ten films directed during 1984 to 2013. Moreover, the meanings of Shōjo to Japanese were also discussed in this thesis. Throughout the research, I have found that Miyazaki tended to use “flying scene” to emphasize the deity of Shōjo characters, and the desexualized Shōjo images are familiar to the gender norms made in modern Japan. On the other side, the narrative approach of Miyazaki’s films revealed the exaggeration of maternal instinct and the redundancy of male gaze which have generally existed in Japanese culture. In my observation, these results proved that battle heroines are created to strengthen gender stereotypes instead of subverting the paternity rights.