Review Of ' The Film ' Spirited Away '

There’s no doubt that Star Wars is one of the most impactful films of all time, having changed the movie-making game ever since it premiered in 1977. It quickly became a global phenomenon and has accumulated some of the most passionate fans in the universe. Star Wars: Episode IV - A New Hope is a great example to use in order to illustrate the properties discussed throughout the course. In this paper, I will analyze the entire movie. To begin, I will start by giving some basic information about the motion picture, such as the director and type of film. Next, I will provide a brief summary of the film.

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.

Imagine living in dramatic fear, someone who loves you, puts you through abuse, depression, and demolishing your self-esteem. How does a person grow from such a traumatic experience and become brave? Chimamanda Ngozi Adichie was born on September 15, 1977 in Enugu, Nigeria. During her senior year at Eastern, she started working on her first novel, Purple Hibiscus, which was released in October 2003. Adichie demonstrates bravery and growth in humanity. Kambili and her family’s lives are followed throughout Purple Hibiscus. Kambili and her family live through fear of Papa, they are silent and are afraid to stand up for themselves. Fear suppresses our individuality and confidence- thus; it controls humanity and hinders us from bravery and growth.

With the experience of being ignored, betrayed, and deprived, she becomes more afraid of loss and danger, but longs even more to have something to hold dear and belong to. When she gets into the convent school she finds temporary safety, being sheltered from the dangerous and unpredictable "outside", but her stepfather eventually brings her out into the

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.

Therefore, Chigurh, understanding his unconventional sociopathic self, allows him to create an impersonal persona which provides the necessary façade to interact in society, contributing to individuation, something that is already achieved at the onset.

The brilliant animated film Spirited Away gets it magic from its dynamic and highly interesting characters. Characters such as Chihiro and Haku get more developed as the story moves forward, however the character No-Face does not show much personality throughout the film. No-Face shows all of his emotion through expressions and slight sounds, and is a fairly emotional character. While at first his intentions were unknown, it becomes increasingly clear as the story unfolds that No-Face is a spirit who lost his identity and is looking for his purpose.

With the help of their companions, the main characters must overcome a series of obstacles before they can discover their full potential. In the beginning of the story, Chihiro is a spoiled child forced into the fantastic world. Chihiro becomes completely separated from everything she has known and must find her way back to reality. Her adult guidance is stripped away from her when her parents are turned into pigs after being greedy and eating plenty of food that did not belong to them. Chihiro is then forced to step up and save her own parents: “I'm sorry my sister turned your parents into pigs, but there's nothing I can do. It’s just the way things are. You'll have to help your parents and Haku by yourself” (Miyazaki). Never having been cast such responsibility, Chihiro does a pretty good job. In order to survive in the spirit world, Chihiro takes a job at the bath house run by Yubaba. There she performs hard tasks most kids her age would not be able to grasp. Chihiro taking a job is a first step into her reaching adulthood, as providing an income and hard work are grown up responsibilities. While she is working there, she faces some difficult challenges which the other

     Throughout the story there are several aspects of the Protagonist’s character that play a major role in the shaping of her future. During her childhood she

Brian Colditz Period 2 A Hero’s Transformation A person goes through many transformations throughout their life, some transformations are initiated by selfish intentions, and others are for other’s well being. There are many reasons to undergo a transformation but in the movie Spirited Away, written and directed by Hayao Miyazaki, a young girl named Chihero must go through a self transformation to return her parents to their human forms after they are put under a spell that turned them into pigs. Although Chihero(chi-hero) is scared to embark on her journey, she is helped by friends to achieve her goal of returning her parents to their true forms and undergo and her transformation into a confident, brave young girl.

Any movie can have a romantic plotline, consisting of a picturesque town, a lonely woman, and forbidden love, but only one can narrate societal hypocrisies and social stigmas while paying homage to a classic Hollywood melodrama directed by a German-expressionism-influenced director from the 1950s. Enter stage right, Far from Heaven. Directed by Todd Haynes, this film, set in the 1950s, tells the story of Cathy Whitaker, a suburban housewife who seems to have the perfect life—until it starts to fall apart, and she has to learn how to keep her husband’s homosexuality and her personal infatuation with her gardener, an African American man, from affecting her flawless image and place in society. This movie was heavily influenced by the midcentury melodrama All That Heaven Allows, directed by Douglas Sirk, as suggested by the somewhat similar plotlines, but their similarities are heavily apparent in the cinematography and mise-en-scène. What makes Far from Heaven unique from its predecessor, though, is how it uses modernized topics in its storyline in order to unveil the hypocrisy of society and the Whitakers’ dysfunctional relationship.

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

Kubo and the Two strings is an amazing animation film that is based off of Japanese culture and can be very dark at times. Personally, I believe that little kids shouldn’t watch this because they may not be able to understand it or just be scared in general. Kubo is a clever, kindhearted boy who tells stories through origami by using a Shamisen (magical musical instrument) to the people that live in his seaside town. That was until the day he stayed out when the sun set vanished and now he is on the run from a past that he barely understands. This was a great movie because it’s not an ordinary animated film its blended in with having origami telling the story as well as the anime characters.

An animated Disney movie called "Mulan," was directed by Tony Bancroft and Barry Cook in 1998. The moral of the story is that women can be just the same as men can. I support the general meaning of the movie. I believe men that and women should be treated equally and that women should not be seen as weak or frail. Women are more than just wives or slaves and can-do jobs that have traditionally been set-aside for men. They can be successful and bring honor to their families in other ways.

Based on Stephen King’s horror novel of the same name, Stanley Kubrick’s The Shining features hallways filled with butchered daughters, and their guts and blood splashed down the hall. Horror and realism fuel Kubrick’s notoriously disturbing films and The Shining stands clear-cut amongst them. Although in the case of this movie, Kubrick shifts emphasis from visual horror to psychological fear and instills mounting dread from the sequence of disturbing events. Kubrick states, “one of the things that horror stories can do is show us the archetypes of the unconscious; we can see the dark side without having to confront it directly.” Never falling flat, The Shining provides a psychological horror masterpiece complete with brilliant acting, tight camera angles, haunting score, and unanswered questions.