Film, Spirited Away, By Miyazaki Hayao

The characteristics of different monsters from various places and eras, can easily be compared to cultural boundaries among humans being broken, established, accepted, and rejected. The article goes on to discuss the relationship between monsters and cultural lines that in the eyes of many cannot be traversed. Monsters can be considered beings with two purposes, their story, and their function or impact in historical culture (21). Difference, in the world, is often viewed as unacceptable, even at times a form of contamination. Monsters seems to fall right into that topic category when discussing cultural differences and similarities that are often found established. Boundaries such a sexual purity, gender norms, and other lifestyle implications often are crossed by monsters and their roles they take on in media, literature and other forms of entertainment. They are hiding in personal identities, cultural norms, and hidden desires from within. With that being said, perhaps it is necessary to take into account whether monsters not only symbolize differences and boundary crossing in old and existing cultures across the world, but if they also represent the desire behind those differences that influence

Monster exists long time ago and they are everywhere. However, there are different types of monster, some that are good and some that are bad. Many people that watched monster films get the desire of being one of the monsters that appears in the film. This essay will argue the different aspects and effects that monsters have in a person. I will use two article that will help explain the differences aspects and actions of the monster. One of the articles is “Here Be Monsters” by Ted Genoways, second article is “Fear of the Monster is Really a Kind of Desired” by Jeffrey Jerome Cohen. “Monster can function as an alter ego, as an alluring projection of (an Other) self” (Cohen, 190). Furthermore, this essay will show some fallacies that the author

When people hear the word monster, they usually picture in their minds images of vampires, zombies, demons, ghouls, or other physical supernatural beings. However, today's society contains its own modern monsters contained in minds of people or in systems in society, as opposed to some type of physical entity. Examples for modern monsters of today can be pressure and apathy, but caring too much has more effect and negative results rather than apathy’s effect of caring too little.

Monsters are challenges that the human race must overcome. In Jeffrey Cohen’s essay “Monster Culture,” Cohen reasserts the presence of the monstrous within society, and its relation to different cultures in a specific time period. All of Cohen’s seven thesis makes sensible arguments that gives the audience a glimpse on what his purpose is. Each thesis are presented differently, but Cohen correlates his ideas to explain the monster’s true existence. The convergence of intellectualism makes a strong connection between Cohen’s appeal to pathos. Cohen utilizes emotion in his writing to mainly appeal to his audience, and give them an idea on what goes on behind the monster’s identity. The final thesis “The Monster Stands at the Threshold of Becoming”

Asma states, "Monsters can stand as symbols of human vulnerability and crisis, and as such they play imaginative foils for thinking about our own responses to menace.” This means that human weaknesses and fears are represented through monstrous figures, and these fictional situations provide perspective into how we react in fearful environments. In our current society we fear many things, including but not limited to failed or corrupt governmental systems, the afterlife, the unknown, and captivity, which makes this claim valid. Although we may not realize it, these fears are embodied by the horror monsters we see in popular culture. Society shares common fears, and often times the most prevailing fear is reflected in the most popular characters at any given time. Monsters are the fictional representations of society’s dark subconscious, exploring not only why the author’s statement is accurate but what we actually fear.

Deception is everywhere. It is in the shows we watch, the books we read and the stories we tell. It is unescapable. Unfortunately, it has caused many misconceptions throughout society. One of those misconceptions relates to the definition of a monster. When the word monster is said, the majority of people refer to the appearance of someone or something. A monster is often described as hideous, massive, discolored, and frightening These are physical attributes that can be seen in the light of day. However, a true monster is not defined by its appearance, but rather its actions and thoughts. These actions and behavioral choices may not be seen at first, but do appear when one analyzes the character’s actions. In addition, they are not things that require actually light but rather require the attention of the character when no one is around or, in other words, in the dark. In the famous book,

An animal is any “living organism other than a human being” (OED). When the definition of animals directly divides them from humankind, examples of half-human, half-animal creatures are meaningful yet complicated symbols. A Midsummer Night’s Dream plays with the mystical and supernatural by frequently breaking down the barriers between animals and humans. Fairies are neither human nor animal, and they live in a world, Fairyland, which is separate from and invisible to humans. Considering the definition of animal is anything that is not human, the world of fae is unconsciously rooted in animalistic imagery. This world is also home to other half-human creatures such as satyrs, centaurs, nymphs, mermaids and sprites. A Midsummer Night’s Dream thus highlights and breaks down the barriers between the human and non-human world, and with seemingly little purpose. This essay will analyze the use of animal imagery, particularly through the donkey and serpent, to argue that animal imagery intensifies the emotions of the play, from exaggerating comedic elements to accentuating the dark and nightmarish aspects of Fairyland.

As a child, one is, at one point or another, afraid of monsters. This is an indisputable and incredibly formative truth that applies to almost everyone one can think of. Yet, their existence is a terrifying prospect to various children and people around the world for a myriad of reasons. It is this motley assortment of ideas and attitudes from different people towards the topic of monstrosities that makes discussing and studying it such a thought-provoking and informative exercise. Literature is one such way to further discuss and explore one’s feelings about that aforementioned topic and become further enlightened as to its complexities and minutia. My own interpretation of the word monstrosity has evolved and morphed as a result of my readings

The director Miyazaki utilizes both physical and visual elements as represented by the characters, in order to communicate and individualize unique character traits and contrasting personalities. Miyazaki’s placing emphasis on character development is a significant aspect of not only the narrative, but also asserts how each gender is represented in a different way.

In The Lost Thing, Tan explores the concept of seeing through different perspectives, projecting these ideas through the human experience and visual appeal of the animated world within Shaun Tan’s story. The Lost Thing is about a boy that discovers a strange creature lost at the beach in which he goes out on his own way to find a place for it to thrive and live in a home. Rather than focusing on the concept of belonging, the subject was based more on how society is depicted thus is displayed through the structured and mechanical characteristics of the boy’s world. This is shown through the composition and style in the scene where the Boy and the Lost Thing is walking down the street ignored by the people around him – the greys and bleak aura

The way Hayao Miyazaki entices his viewers to accept his idea about a new relationship between nature and humanity was never really talked about or discussed in the past couple of years. The film ‘My Neighbor Totoro,’ with all the religious elements and the social impact it had established the director Miyazaki as one of the best animators not just in Japan, but around the world. What really gives this film power and fame is not just the mysterious and magical world it has or the cute character that Miyazaki created, but also the film’s way of influencing the audience by conveying an unfamiliar message about this three-layered relationship between nature and humans. Comparing both Miyazaki’s childhood memories and the story depicted helps him connect the audience’s feelings with the characters and making this realistic representation of human emotion in the film believable and realistic not only to children, but even to adults. What also makes the world more familiar to the spectators is the director’s use of a common fear from many people’s early years in this unknown and magical world. This common fear is clearly illustrated when the girls meet Susuwatari, a black spirit in the old empty house that stays in dark spaces and prefers to be left alone, and only children can see it. The introduction of this spirit is a good transition between the world of magic and reality. It confirms and insists about the existence of the unknown, and introduces a world of illusion and

Human civilization is linked with environmental destruction, and despite the many implemented laws to limit the pollution released into the environment, degradation persists because humans have enough influence to cause harm to the environment as shown with overdeveloped human settlements (Shea). Global warming is growing as a predominant problem that can affect future generations and to spread awareness films are incorporating a pro-environmental message. Studio Ghibli 's Princess Mononoke, written and directed by Hayao Miyazaki, draws a connection between human greed and environmental consequences. The difference between this film and many other environmental films is that the supernatural forces of nature serve as a symbol of retaliation against humans ' actions instead of the consequences of those actions showing retribution. In "Animating Child Activism: Environmentalism and Class Politics in Ghibli’s Princess Mononoke (1997) and Fox’s Fern Gully (1992)", Michelle J. Smith and Elizabeth Parsons state that the film failed to properly show human run corporations as the direct cause of environmental disaster because the supernatural creatures are represented as the immediate cause. I believe, however, that the film appeal to the emotions of anger and hatred that began due to human actions and that have led to the overall negative impact on the environment. Through the characters, Ashitaka, and Lady Eboshi, and the portrayal of animals as Gods, the theme of man versus

The real beauty of Mamoru Oshii's adaptation of Shirow's Ghost in the Shell lies in its attention to detail and the sheer cohesiveness of these details which collectively form complex ideas and plot. In nearly every detail and every plot element lies some tie to the key themes of the anime. Some of the main themes deal with the commodification of the flesh and body; the separation between one's spirit and body; and the idea that a static environment or organism a weak stronghold. Here I will choose to focus on how through details the film explicates these themes, rather than spending time extrapolating or explaining the themes in detail myself.

How Miyazaki persuades his audience to accept his idea on a new relationship between humanity and nature has not been fully explored and appreciated. The social impact and the religious elements of ‘My Neighbor Totoro ' made it one of the most important films establishing Hayao Miyazaki’s name and reputation in the film industry, both in Japan and worldwide. What makes this film famous and powerful is not only the magical, mysterious world or the adorable character that Miyazaki creates, but also the film’s persuasive way of delivering an unusual message on the three-layered relationship between humans and nature. How Miyazaki makes his audience feel connected with the characters starts with a comparison between Miyazaki’s early childhood and the story of the film. Miyazaki uses his childhood memories and his careful observation of others to create a realistic and believable world. Then, with a selected scene of the girls meeting Susuwatari, a black creature in the old empty house, I want to illustrate that Miyazaki’s use of a familiar fear from many people’s childhood introduces the audience to a magical and unknown world, but also makes the audience feel the world is familiar and acceptable. The sacredness of nature is presented through a comparison between Japanese religions and ritual practices and the symbols in the film. This section focuses first on the analysis of selected scenes that depict the sacred qualities of nature: Susuwatari’s flight to the moon after the

Objectively, the 91x 73.5 centimeter abstract shows what can be perceived as a human like figure. The figure appears to be positioned on a ramp, evocative of a bridge of some sort. The figure can be interpreted as emotionally unstable, as it exhibits a facial expression and hand placement that mimics that of one screaming, as the title implies. The figure’s ghostly eyes are wide open as well as the figure’s mouth. The face appears very extremely clammy and pale. There appears to be two other