Hayao Miyazaki : The Necessity Of Humanity

Miyazaki’s childhood was short as he was born January 5, 1941 during World War II, thus without exception, his films main characters are children, deal with growing up and often consist of one young female lead and one young male lead. This is evident in My Neighbor Totoro (1988) as the two main characters are young girls who, unlike adults, can see and befriend the spirits of the spirit world. In Spirited Away (2001), the leading character Chihiro is a young girl who must deal with growing up, similarly to Kiki in Kiki’s Delivery Service (1989). Princess Mononoke (1997) also features these stock characters in the form of young San, adopted daughter of the wolf goddess Moro and Prince Ashitaka, a young girl and boy. Hayao Miyazaki has expressed strong feelings about childhood, saying that it's a paradisiacal time when, "you're protected by your parents and unaware of the problems around you". Miyazaki’s upbringing during World War II would explain another unique mark of his films, that being his interest in flight.

Reality and Fiction: the True View 1 Reality and Fiction: the True View Americans rely a great deal on their entertainment to educate them about life. In many ways Americans live vicariously through the experiences of fictional characters and believe themselves to learn many things from fictional characters. For example, many persons have said they learned CPR by watching medical shows on television or believe they can assist in a medical emergency because they have seen “experts” on television handle similar situations.

The concept of image as presence refers to the concept that film can show the world as it truly is. Directors can choose to project the idea of image as presence in multiple ways, through the subjective viewpoints of the characters of the film, through an objective approach in which an omnipresent force that dictates to us about the facts that exist. In contrast, image as text, operates on the understanding that the world cannot be shown as it is, rather there is an understanding that what the viewer is seeing comes from an interpretive perspective. This viewpoint expects the audience to make connections between what they are seeing on the screen and other images that are already known. Making connections is part of the way that

Magic Realism appears when a character in the story carry forward to be alive ahead of the normal length of life. Also where magical or unreal aspect of a natural part in a different realistic environment and character fracture the rules of our real world. Characters that are portrayed as magical or surreal has a statement that is behind it. An example is Gregor in the Metamorphoses and not only did he turn into a bug but he sent a larger message about human experience. The two stories, A Very Old Man With Enormous Wings and the Metamorphosis, both have a symbolic mean to humanity and realism.

Film and realism are connected to one another; it gives the audience an opportunity to interpret the film in their own perspective, in relation to the real world. As someone with a firm opposition to editing and montage, Bazin stated that the mise en scène truly represents “true continuity” in film, reproducing the real world more realistically. (Cardullo, 7) There are two editing systems: Classical Hollywood Cinema and Neorealist Cinema. From their similarities and differences, it can be said that Neorealist Cinema portrays the real world more realistically and effectively than CHC… In order to produce Bazin’s “true continuity” and reproduce situations more realistically, the filmmaker must choose an effective editing system, refrain from interrupting the flow of images, and use minimal editing, proven through the two films Bicycle Thieves (Neorealist Cinema) and Stagecoach (CHC).

A filmmaker who was concerned with creating a realistic world in his/her films would probably shoot in the following setting

Out of many things that differ human beings from the rest of the living world one might mention our remarkable ability to be engaged in verbal interaction. Indeed, the notion of language as we know it is not found anywhere beyond the boundaries of the human society. However, one should also note that this peculiar ability to gave birth to other important aspect of our life, namely our vivid imagination. This, it will not be an exaggeration to suggest that our inner world is what truly makes us humans. There is a word of art in which these two characteristic abilities are combined. Literature allows a writer to use all the potential of the language and set fantasy free. Sometimes this takes peculiar forms, such as authors incorporating certain fantasy elements in to narration about real life. This genre of literature is usually referred to as magical realism. As can be easily understood from the very name, the authors that adhere to it, try to describe real life as it is, with all the positive and negative elements of it; however, in the course of their narration, they may engage various fantastic elements which put emphasis on particular aspects of the story or contribute to its development. Magical realism in Like Water for Chocolate is an irreplaceable element of the story, without which it would not have become as amusing as well as interesting and unable to convey the message that was designed by the author.

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.

Magical realism is a genre that portrays both reality and fantasy. As defined by Faris (2004) in Ordinary enchantments, magical realism is a genre of writing that includes an irreducible element of magic and details that suggest phenomenon (Faris, 2004, p. 7). He describes the irreducible element as: “…something we cannot explain according to the laws of the universe as they have been formulated in Western empirically based discourse…” (Faris, 2004, p. 7). In Gabriel Garcia Marquez’s short story, The handsomest drowned man in the world, the facets of magical realism are rife. He uses magical realism to enchant the reader. The story is of a small cliff-side and coastal community

Imagine, every morning you wake up to the sound of the rooster singing. Not to the normal crow a rooster makes, but to a beautiful sonata that wakes your soul up from a deep slumber. It may not sound too realistic in our real word, but to a writer, this can bring special emphases to the story’s meaning. This literary practice is called magical realism. The Merriam-Webster dictionary defines magical realism, or magic realism as they put it; 1) painting in a meticulously realistic style of imaginary or fantastic scenes or images; and 2) a literary genre or style associated especially with Latin America that incorporates fantastic or mythical elements into otherwise realistic fiction. It is the second definition that author Laura Esquivel, incorporates magical realism into her book, Like Water for Chocolate. Many of the themes and emotions in the book are emphasized with the use of Magical realism.

Many people may have a specific style in which they like to dress. A woman might have a signature lipstick she enjoys wearing, a man might have a distinct cologne that stands out from the rest. Movies are not too far apart in comparison. Sometimes people find films more enjoyable than others, and often do not realize they come from the same director. The Auteur theory is a that defines the director as the sole author of the entire film, adding his or her own personal style. When it comes to the world of animation, director Hayao Miyazaki is a pioneer in auteur. His specific directorial style is seen in many of his films in which he manages to make films enjoyable to adults of all ages. Kiki's Delivery Service was one of director Miyazaki's

‘There are…two kinds of film makers: one invents an imaginary reality; the other confronts an existing reality and attempts to understand it, criticise it…and finally, translate it into film’

Since the beginning of the human race, the ocean has been a major source of food. People near the shores have been taking of advantage of the ocean’s rich and diverse source of nourishment for centuries, both as a source of food and a livelihood. However, since the dawn of the industrial age, humans have begun to take from the ocean more that it can give. As a result, the ocean can no longer provide the human race with the abundance that it once did. As technology rapidly advances, populations skyrocket, and global warming spreads havoc, the ocean’s biodiversity and once abundant supply of fish is dwindling, calling marine scientists and experts to race to find solutions that will restore the oceans health while battling world hunger.

     Characterization is an important aspect of any story or film, because it sets what the entire film will be about, and how the audience will absorb it. In the story of "Ashputtle". The characters include Ashputtle = Cinderella, The Stepmother, and the stepdaughters,

In Ozu’s film, the Tokyo Story, has many scenes that define the human struggle, such as the struggle to make a living, aging and death of loved ones, and the way children eventually fall apart from their parents when they get older. The one human struggle from Ozu’s film that influenced the most empathy is the inevitable truth of life that the struggle for survival in society eventually drifts individuals apart such as parents and they're children when they begin to live independently and become to take care for only themselves because of their daily busy lives.