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Miyazaki’s Critique of Japanese Imperialism and Dialectic with Takahata in The Boy and the Heron – Senses of Cinema</title> <meta name='robots' content='max-image-preview:large' /> <link rel='dns-prefetch' href='//cdnjs.cloudflare.com' /> <link rel='dns-prefetch' href='//fonts.googleapis.com' /> <link rel='dns-prefetch' href='//s.w.org' /> <link rel="alternate" type="application/rss+xml" title="Senses of Cinema » Feed" href="http://www.sensesofcinema.com/feed/" /> <link rel="alternate" type="application/rss+xml" title="Senses of Cinema » Comments Feed" href="http://www.sensesofcinema.com/comments/feed/" /> <script type="text/javascript"> window._wpemojiSettings = {"baseUrl":"https:\/\/s.w.org\/images\/core\/emoji\/13.1.0\/72x72\/","ext":".png","svgUrl":"https:\/\/s.w.org\/images\/core\/emoji\/13.1.0\/svg\/","svgExt":".svg","source":{"concatemoji":"http:\/\/www.sensesofcinema.com\/wp-includes\/js\/wp-emoji-release.min.js?ver=5.8.10"}}; !function(e,a,t){var 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itemid="http://www.sensesofcinema.com/2024/feature-articles/how-will-you-live-miyazakis-critique-of-japanese-imperialism-and-dialectic-with-takahata-in-the-boy-and-the-heron/"> <span class="cb-hide" itemscope itemprop="publisher" itemtype="https://schema.org/Organization"> <meta itemprop="name" content="Senses of Cinema"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> <span class="cb-hide" itemscope itemprop="logo" itemtype="https://schema.org/ImageObject"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> </span> </span> <span class="cb-hide" itemprop="author" itemscope itemtype="https://schema.org/Person"><meta itemprop="name" content="Daniel T. Roberts"></span> <meta itemprop="headline" content="How Will You Live? Miyazaki’s Critique of Japanese Imperialism and Dialectic with Takahata in The Boy and the Heron"> <span class="cb-hide" itemscope itemtype="http://schema.org/ImageObject" itemprop="image" > <meta itemprop="url" content="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-lead.jpg"> <meta itemprop="width" content="1000"> <meta itemprop="height" content="533"> </span> <div id="main" class="cb-main clearfix issue-single-meta-container"> <article id="post-49233" class="clearfix post-49233 post type-post status-publish format-standard has-post-thumbnail category-feature-articles"> <header id="cb-standard-featured"><div class="cb-mask"><img width="750" height="400" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-lead-750x400.jpg" class="cb-fi-standard wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-lead-750x400.jpg 750w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-lead-300x160.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-lead-768x409.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-lead.jpg 1000w" sizes="(max-width: 750px) 100vw, 750px" /><div class="cb-image-credit"><i class="fa fa-camera"></i><i>The Boy and the Heron</i></div></div><div id="cb-fis-wrap" class="cb-entry-header hentry cb-fis cb-style-standard"><span class="cb-title-fi"><h1 class="entry-title cb-entry-title cb-single-title" itemprop="headline">How Will You Live? Miyazaki’s Critique of Japanese Imperialism and Dialectic with Takahata in <i>The Boy and the Heron</i></h1><div class="cb-byline cb-font-header"><div class="cb-author cb-byline-element vcard author"><i class="fa fa-user"></i> <a href="http://www.sensesofcinema.com/author/daniel-t-roberts/" title="Posts by Daniel T. Roberts" class="author url fn" rel="author">Daniel T. Roberts</a></div> <div class="cb-date cb-byline-element"><i class="fa fa-clock-o"></i> <time class="updated" datetime="2024-11-11">November 2024</time></div> <div class="cb-category cb-byline-element"><i class="fa fa-folder-o"></i> <a href="http://www.sensesofcinema.com/category/feature-articles/" title="View all posts in Feature Articles">Feature Articles</a></div></div></div></header> <div class="cb-category cb-byline-element issue-single-meta"><i class="fa fa-folder-o"></i><a href="/issues/issue-111">Issue 111</a></div> <section class="cb-entry-content entry-content clearfix" itemprop="articleBody"> <p><span style="font-weight: 400;">Miyazaki Hayao’s recent and perhaps last work, </span><i><span style="font-weight: 400;">Kimitachi wa dō ikiru ka</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Boy and the Heron</span></i><span style="font-weight: 400;">, 2023) announces itself as a dramatic departure from its opening fade-in on a blaring siren over war-time Tokyo. It may especially jar audiences more familiar with Miyazaki’s globally beloved family-friendly fantasies like </span><i><span style="font-weight: 400;">Tonari no Totoro</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">My Neighbour Totoro</span></i><span style="font-weight: 400;">, 1988). Even for audiences who had followed his turn to Japan’s wartime legacy in </span><i><span style="font-weight: 400;">Kaze tachinu</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Wind Rises</span></i><span style="font-weight: 400;">, 2013), </span><i><span style="font-weight: 400;">The Boy and the Heron’s</span></i><span style="font-weight: 400;"> early minutes mark a sharp thematic and aesthetic break from that film’s familiar romanticism and stylistic conservatism. The newest film’s opening hews closer to the realism and experimentalism of Takahata Isao, Miyazaki’s long-time mentor, collaborator, and creative rival. In their brutality, the scenes allude compositionally and thematically to firebombing scenes drawn from Takahata’s own life in the opening of his wartime tragedy </span><i><span style="font-weight: 400;">Hotaru no haka</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Grave of the Fireflies</span></i><span style="font-weight: 400;">, 1988). In turn, its emotionally expressive impressionism echoes the titular protagonist’s run from her circumstances in the iconic “banquet escape” scene of Takahata’s final masterwork, </span><i><span style="font-weight: 400;">Kaguya-hime no monogatari</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Tale of Princess Kaguya</span></i><span style="font-weight: 400;">, 2013).</span></p> <div id="attachment_49234" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-scaled.jpg"><img aria-describedby="caption-attachment-49234" loading="lazy" class="wp-image-49234 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-scaled.jpg" alt="" width="2560" height="1364" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-scaled.jpg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-300x160.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-1024x546.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-768x409.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-1536x818.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-2048x1091.jpg 2048w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-2-750x400.jpg 750w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49234" class="wp-caption-text"><i>The Boy and the Heron</i></p></div> <p><span style="font-weight: 400;">Miyazaki eventually spirits his audience away with his child protagonist Mahito into a surreal fantasy world, mirroring adventure narratives from past films like </span><i><span style="font-weight: 400;">Sen to Chihiro no kamikakushi</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Spirited Away</span></i><span style="font-weight: 400;">, 2001). Nonetheless, the opening’s uncharacteristic darkness persists in both the film’s foreboding first act in the real world and in its dream-like “underworld” stinking of death. This tonal continuity and further context cues suggest Miyazaki’s fantasy narrative should be interpreted as an allegory for the real-world wartime setting that brackets it. The film’s Japanese title (commonly translated </span><i><span style="font-weight: 400;">How Do You Live</span></i><span style="font-weight: 400;">? but better rendered </span><i><span style="font-weight: 400;">How Will You All Choose to Live? </span></i><span style="font-weight: 400;">since Japanese collapses tense and English lacks a second person plural) alludes to that of a 1937 Japanese novel by Yoshino Genzaburō, an allegorical reflection on ethics and politics still assigned to schoolchildren today. Yoshino, a humanist imprisoned for political crimes against the monarchy by Japan’s militarist government after attending socialist meetings, found a job as an educational textbook editor after being freed and used his role to esoterically offer Imperial Japan’s youth an alternative to its dominant ideologies of militarism and imperialist cultural chauvinism.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-1' id='fnref-49233-1' onclick='return fdfootnote_show(49233)'>1</a></sup></span><span style="font-weight: 400;"> The novel, a childhood favourite of Miyazaki’s,</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-2' id='fnref-49233-2' onclick='return fdfootnote_show(49233)'>2</a></sup></span><span style="font-weight: 400;"> is featured tellingly in two brief scenes bookending Mahito’s journey into the underworld.</span></p> <p><span style="font-weight: 400;">An alternative interpretation instead picks up on comments made by the film’s producer Suzuki Toshio and scenes from a recently released making-of documentary,</span> <span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-3' id='fnref-49233-3' onclick='return fdfootnote_show(49233)'>3</a></sup></span><span style="font-weight: 400;"> interpreting the film as Miyazaki’s in an autobiographical mode. These sources suggest the film should be viewed primarily as Miyazaki’s last creative conversation with his long-time friend and rival, Takahata. These two interpretations are not only reconcilable, but mutually reinforcing. Miyazaki’s politically engaged critique of past and present Japanese nationalism, conveyed in a fantastical hero’s journey familiar to audiences, itself constitutes Miyazaki’s answer to the dialectical challenge posed by his Studio Ghibli co-founder and longtime creative muse.</span></p> <h2><b>The Boy and the Heron as Political Allegory</b></h2> <p><span style="font-weight: 400;">Before Miyazaki brings the audience into his fantasy world, he introduces them to a starkly realist war-time context. In the film’s pre-title sequence, the impressionistic portrayal of an inferno killing the protagonist Mahito’s mother is followed by a cut to a parade of tanks being sent off to Japan’s front in its war against the United States. As a crowd watches stoically, Mahito narrates his evacuation to Japan’s countryside in 1944, by which time the war had turned against Japan. After being picked up from the train station by his mother’s younger sister and now stepmother Natsuko, the pair honour a sad parade of middle-aged soldiers called up to the front, marching under banners reading “May your luck last long in battle” and “Congratulations on your call-up.” The following morning, as the new family settles into a sprawling estate owned by Mahito’s maternal family, his war-profiteering father suggests glibly that the military’s shock at losing the Battle of Saipan would have business booming at the factory. The contrasting sympathy Natsuko offers to the war-dead cues the audience to recall the film’s early scenes. As romanticised in jingoist films like the Japanese produced </span><i><span style="font-weight: 400;">Taiheiyō no kiseki: Fokkusu to yobareta otoko</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Oba: The Last Samurai</span></i><span style="font-weight: 400;">, Hirayama Hideyuki, 2011) and the American produced </span><i><span style="font-weight: 400;">Battle for Saipan</span></i><span style="font-weight: 400;"> (Brandon Slagle, 2023), the battle on the Marianas Islands is known for its suicidal charges of Japanese tanks and infantry, with losses so undeniable that the Japanese military began acknowledging defeats publicly.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-4' id='fnref-49233-4' onclick='return fdfootnote_show(49233)'>4</a></sup></span><span style="font-weight: 400;"> </span></p> <div id="attachment_49235" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-3-scaled.jpg"><img aria-describedby="caption-attachment-49235" loading="lazy" class="wp-image-49235 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-3-scaled.jpg" alt="" width="2560" height="1373" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-3-scaled.jpg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-3-300x161.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-3-1024x549.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-3-768x412.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-3-1536x824.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-3-2048x1098.jpg 2048w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49235" class="wp-caption-text"><i>The Boy and the Heron</i></p></div> <p><span style="font-weight: 400;">These allusions serve as a backdrop for the film’s fantastical turn, beginning with the introduction of a disturbing Heron who leads Mahito into the death-tinged “underworld.” Suggestively, the word heron in Japanese is a pun for “trickster” or “liar” (</span><i><span style="font-weight: 400;">sagi</span></i><span style="font-weight: 400;">), and Miyazaki plays with this theme in later dialogue alluding to the “liar’s paradox”, in which the Heron insists all herons are liars. The heron earns its double-name in coaxing Mahito toward a mysterious tower tucked away on the estate’s grounds soon after he arrives. Later, the heron-creature’s decidedly grotesque human form begins to emerge from under its beak as it tells Mahito that his presence is demanded to rescue his dead mother. When Mahito is eventually forced to explore the tower in search of a missing Natsuko, he confirms the heron-man’s deceit when a melting water-coloured model of his mother melts under his touch. As the “heron” melts into the tower’s floor upon being commanded by a shrouded figure to be Mahito’s “guide,” it cynically echoes a banner from the pitiful call-up parade earlier in the film: “</span><i><span style="font-weight: 400;">Go Buun O</span></i><span style="font-weight: 400;">” (“Good luck in battle”). By book-ending the film’s first act with phrases suggesting Imperial Japan’s cynicism in sending conscripts toward likely death, the Heron’s Pied Piper act cues the audience to recall the film’s war-time setting as the protagonist’s begins his hero’s journey.</span></p> <p><span style="font-weight: 400;">Miyazaki continues his avian motif in introducing a flock of Pelicans drawn toward and consumed by death. Mahito arrives in Miyazaki’s “underworld” with a view on a fleet of sailing ships and three stone megaliths set behind a golden gate. These Dolmen recall historical tombs found across East Asian lands colonized by Imperial Japan, with the plurality found on the Korean peninsula.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-5' id='fnref-49233-5' onclick='return fdfootnote_show(49233)'>5</a></sup></span><span style="font-weight: 400;"> Approaching this gate, Mahito reads its ominous inscription aloud (“Those who learn from me shall die”), before being swarmed by a flock of flightless pelicans pressing through the gate, urging each other to “eat” Mahito and “go” into the tomb. Mahito is barely saved by a woman who wards the birds off with fire and scolds him for disturbing the dead. Resembling the strong Muromachi-era women of Miyazaki’s </span><i><span style="font-weight: 400;">Mononoke-hime</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Princess Mononoke, 1997</span></i><span style="font-weight: 400;">), Mahito’s saviour introduces herself as Kiriko, shows Mahito a scar on her own head matching one Mahito inflicted on himself earlier in the film, and tells Mahito the ghost fleet he had seen reflects a world populated by the already dead. Viewers familiar with Miyazaki’s filmography may find resemblances between this scene’s morbid romanticism and that of another from his </span><i><span style="font-weight: 400;">Kurenai no Buta</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Porco Rosso</span></i><span style="font-weight: 400;">, 1992) set in Inter-War Italy, where the protagonist recalls a “glimpse of hell” watching his dead wingmen join an endless stream of ghost fighters above the clouds as he offers in vain to take their place.</span></p> <div id="attachment_49236" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-4-scaled.jpg"><img aria-describedby="caption-attachment-49236" loading="lazy" class="wp-image-49236 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-4-scaled.jpg" alt="" width="2560" height="1373" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-4-scaled.jpg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-4-300x161.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-4-1024x549.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-4-768x412.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-4-1536x824.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-4-2048x1098.jpg 2048w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49236" class="wp-caption-text"><i>The Boy and the Heron</i></p></div> <p><span style="font-weight: 400;">As they proceed into the cursed sea, Kiriko introduces Mahito to formless, pre-born souls called “Warawara”, a possible pun for </span><i><span style="font-weight: 400;">wareware</span></i><span style="font-weight: 400;"> sometimes translating as “we Japanese”. It may also allude to a metaphor for humanity as a sea of inter-connected molecules made by the protagonist of </span><i><span style="font-weight: 400;">How Do You Live</span></i><span style="font-weight: 400;">.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-6' id='fnref-49233-6' onclick='return fdfootnote_show(49233)'>6</a></sup></span><span style="font-weight: 400;"> The novel appears briefly as a long-forgotten gift from Mahito’s mother, which he reads tearfully before beginning his own bildungsroman. While floating skywards to Mahito and Copper’s “world above,” the Warawara are preyed upon by another group of larger flying Pelicans. Before they can finish their feast, a mysterious girl named Lady Himi staves off the assault in brutal fashion, incinerating Warawara and Pelican alike. The innocent immolated Warawara recall Mahito’s earlier imaginations of his mother consumed by inferno. After the literal firefight, a seething Mahito discovers a bloodied, broken-winged Pelican, begging like a wounded samurai to be mercy-killed. It explains that his kind had been brought involuntarily to the underworld’s hellish sea, finding themselves starving and forced to prey upon the Warawara. Before the Pelican collapses dead, Miyazaki intercuts a scene of flying Pelicans again recalling the serene ghost fleet from </span><i><span style="font-weight: 400;">Porco Rosso</span></i><span style="font-weight: 400;">, as the pelican reminisces bittersweetly that his flock had flown as high and as far as their wings would carry them. The heron-man re-appears again surreptitiously to bid the Pelican to paradise while offering a Japanese Pure-Land Buddhist vow with apparent self-satisfaction, his insincerity betrayed by his apparent shock at Mahito’s intention to give it a dignified burial.</span></p> <p><span style="font-weight: 400;">An interpretation of the film’s underworld aviary as a critique of Imperial Japan’s ideology is suggested by an interlude in war-time Japan before the film’s final act, explaining its genesis as a dangerous artifact brought to Japan from beyond. After a search-team in military fatigues fails to find the missing Natsuko and Mahito, Mahito’s father Shoichi dutifully sends them back to his factory’s furnaces, before one of the family’s aged servants suggests the disappearances may be tied to the estate’s mysterious old tower. In an earlier scene shortly after Mahito first discovers the tower, Natsuko explains to him and the audience that it had been built in the 19th century by a conspicuously European-styled great-uncle of hers who had gone mad from “reading too many books.” Now, in a fourth-wall break, Miyazaki has the servant correct her: the tower is a façade for a meteor that had fallen from the sky, destroying the countryside just before the Meiji Revolution in 1868 and left undisturbed until re-discovered by Natsuko’s Grand-Uncle thirty years later. The granduncle became so taken with it, the servant explains while looking directly toward an audience watching from Shoichi’s perspective, that he built a tower around it at the cost of countless lives before disappearing into it himself. His bookish obsession with power from beyond and journey to the west recalls Japan’s ruling Meiji-era Oligarchs like Itō Hirobumi, who lived through the west’s “opening” of Japan just prior to the Meiji Revolution and travelled to Europe about thirty years later to study Constitutional Law, before returning to frame Imperial Japan’s Constitution on the European empires’ examples.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-7' id='fnref-49233-7' onclick='return fdfootnote_show(49233)'>7</a></sup></span><span style="font-weight: 400;"> The granduncle’s “discovery,” obsession with, and eventual envelopment</span> <span style="font-weight: 400;">by the meteor coincides with this period and the1890s, marked by the de jure founding of the Empire of Japan with this constitution’s promulgation in 1890 and its de facto entrance onto the 19th century imperial world system with its victory in the first Sino-Japanese war in 1895, colonising Taiwan while emulating the European powers’ expansionist militarism. Miyazaki uses this narrative break from the underworld between the middle and final act to ensure the viewer understands his world as allegory for Imperial Japan’s ideology, imported and adapted by its ruling class. </span></p> <p><span style="font-weight: 400;">This disclosure allows the viewer to reconcile the film’s wartime setting and its dream-like underworld. The lying heron, which Miyazaki himself dubbed “a grim reaper leading one away to death,”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-8' id='fnref-49233-8' onclick='return fdfootnote_show(49233)'>8</a></sup></span><span style="font-weight: 400;"> coaxes youth into the maw of Imperial Japan’s ideological death cult while parroting vows honouring the dead. The older wounded Pelican and its flock evoke decimated cohorts of men led into a cursed sea at the cost of their lives and those of the masses of humanity they preyed upon. The impetuous younger Pelicans, who the older Pelican laments are “forgetting how to fly,” evoke in their cultish devotion to death an indoctrinated youth who would gladly accepted suicide missions to serve the empire’s ideological project. Lady Himi, revealed in this interlude to be Mahito’s mother, is cast as both victim in the world above and stand-in for war’s double effect in the world below, suggesting Miyazaki’s pacifist interpretation of Japan’s Pacific war.</span></p> <p><span style="font-weight: 400;">With the audience prompted to recognise allusions to Imperial Japan, the film’s third and final act continues Miyazaki’s avian motif with a society of militarist parakeets and their king, roosting in the Meiji-era meteor under the nominal reign of Mahito’s grand uncle. Mahito first encounters parakeets in military-green plumage with permission to eat him because he can’t bear children, evoking conscription’s gendered ideology towards expendable youth.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-9' id='fnref-49233-9' onclick='return fdfootnote_show(49233)'>9</a></sup></span><span style="font-weight: 400;"> Lady Himi saves him from this fate, and the pair sneak into the underworld’s parallel version of the estate’s mystical “tower,” before winding their way carefully through the cavernous home of the parakeets in the meteor. In a long descending pan suggesting hierarchy, the viewer sees glimpses of a society dominated by green parakeets parading in the foreground before celebrating onlookers, passing down by a few birds engaging in cooking and agriculture, before settling on Japan’s children — Mahito and Himi descending further into the meteor’s depths. After the pair are left captured and unconscious in their attempt to bring Natsuko back to the world above, Mahito encounters his maternal grand-uncle in a dream, before narrowly being saved by an unexpected ally in the heron-man. The pair watch as the Parakeet King triumphantly parades Himi’s unconscious body, surrounded by a roaring parakeet crowd bearing banners alluding to European fascism with banners reading “Duch” (Duce) and emblazoned by parakeet versions of Nazi eagle symbology. The heron notes that though Mahito’s granduncle is the parakeets’ nominal “lord,” the king plans to extort him with Himi in a bid to take control of the empire. For a viewer attuned to interpreting the meteor’s parakeet society as an allegory for Imperial Japan, the Parakeet King evokes its fascistic military ruling class embodied in figures like Tōjō Hideki, while the grand-uncle’s nominal but limited sovereignty aligns with folk historiographic understanding of Japan’s imperial family.</span></p> <div id="attachment_49237" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-5-scaled.jpg"><img aria-describedby="caption-attachment-49237" loading="lazy" class="wp-image-49237 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-5-scaled.jpg" alt="" width="2560" height="1375" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-5-scaled.jpg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-5-300x161.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-5-1024x550.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-5-768x412.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-5-1536x825.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-5-2048x1100.jpg 2048w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49237" class="wp-caption-text"><i>The Boy and the Heron</i></p></div> <p><span style="font-weight: 400;">Mahito’s recognition of his human “malice” and refusal to continue his Grand-uncle’s legacy make Miyazaki’s allegory for Imperial Japan’s theocratic monarchism explicit. When the grand-uncle first appears to Mahito in a dream, he explains that his world and power are given to him by the Meiji-era “stone” from beyond, under the condition that his successor come from his bloodline. This mirrors the Japanese empire’s foundational “</span><i><span style="font-weight: 400;">kokutai</span></i><span style="font-weight: 400;">” or “national structure/substance/essence” ideology: a belief in the inviolable male-line blood succession of Japan’s monarchs as heavenly gods, as enshrined in the Meiji Constitution and used as a pretext for political repression by Japan’s militarist government.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-10' id='fnref-49233-10' onclick='return fdfootnote_show(49233)'>10</a></sup></span><span style="font-weight: 400;"> Tellingly, when the true-believing Parakeet King’s subordinates first enter the great-uncle’s domain carrying Himi as a tribute, they burst into tears and ask if they have entered heaven (</span><i><span style="font-weight: 400;">Tengoku</span></i><span style="font-weight: 400;">, literally heavenly kingdom), evoking a typical Japanese soldier’s genuine belief in their divine emperor (</span><i><span style="font-weight: 400;">Tennou</span></i><span style="font-weight: 400;">, literally heavenly sovereign). By contrast, the king’s sharp annoyance at their reverence despite his outward deference before the grand uncle and his cynical insistence on keeping “taboos” around a birthing ritual evoking imperial family Shinto practices suggests Miyazaki’s views on the military elite’s </span><i><span style="font-weight: 400;">honne</span></i><span style="font-weight: 400;"> (suppressed inner feelings). When the great-uncle finally meets Mahito in person, he tasks his great-nephew with continuing his reign and preventing the collapse of the world by using the stone to build a new one free of “malice.” Mahito refuses while pointing to his self-inflicted scar as a symbol of his earthly imperfection, intending instead to return to the real-world with friends like Kiriko who shares Mahito’s scar despite a yawning class divide.</span></p> <p><span style="font-weight: 400;">Under one interpretation, Miyazaki’s allegory for the Japanese monarchy may be even more concrete in real world parallels to Mahito and the grand-uncle. Mahito is the same age as Crown Prince Akihito in 1944, and much like him was evacuated to an aristocratic countryside estate from Tokyo that year.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-11' id='fnref-49233-11' onclick='return fdfootnote_show(49233)'>11</a></sup></span><span style="font-weight: 400;"> Akihito (or “Mei”-hito under an alternate reading of the first Kanji character) recently abdicated as Japan’s first emperor to have begun his reign as human rather than divine. He counted among his maternal grand uncles both Prince Asaka, the commanding officer overseeing the Nanjing massacre, and Prince Higashikuni, Japan’s liberal-leaning first post-war Prime minister. A well-travelled Francophile opponent of Tōjō’s militarism, Higashikuni sought to have imperial succession move to Akihito as a show of Japan’s commitment to national renewal but remained committed to </span><i><span style="font-weight: 400;">kokutai</span></i><span style="font-weight: 400;"> ideology, resigning when the American GHQ repealed a ban on speech against it.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-12' id='fnref-49233-12' onclick='return fdfootnote_show(49233)'>12</a></sup></span><span style="font-weight: 400;"> Incidentally, the repealed law is precisely the one under which </span><i><span style="font-weight: 400;">How Do You Live </span></i><span style="font-weight: 400;">author Yoshino was jailed as an enemy of the state.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-13' id='fnref-49233-13' onclick='return fdfootnote_show(49233)'>13</a></sup></span></p> <p><span style="font-weight: 400;">With Mahito’s return to Tokyo after the collapse of the fantasy underworld, Miyazaki leaves his audience with a sense of ambivalence towards both Japan’s persisting nostalgia for its imperial period and the romanticism imbuing his own work. As Mahito and his newfound friends emerge from the tower’s collapsing world, they are joined by throngs of pelicans and parakeets returning to nature. Unbound by the artifice of the underworld, the birds transmute from fantasy creatures recalling Miyazaki’s earlier films into real-world birds. Coyly, given media embargoes in Japan on portrayals of its royal family, they shamelessly defecate on Mahito and his family on their way out, as simple birds might to simple humans. Before transforming back into a Heron and flying off, the heron-man tells Mahito he ought to forget the underworld he encountered, scolding Mahito for bringing a keepsake from it while turning to the audience. This last fourth-wall break suggests Miyazaki’s message for his Japanese audience on their lingering nostalgia for Imperial Japanese “greatness”, embodied in its still practically untouchable imperial family. The film abruptly ends as Mahito narrates his return to Tokyo in 1947, coinciding with the official end of the Japanese Empire with the promulgation of a new democratic constitution, bringing with him a copy of Yoshino’s eponymous novel. Miyazaki poignantly offers Japan a sense of continuity beyond empire inflected with humanist values, against present-day revanchism that would revive </span><i><span style="font-weight: 400;">kokutai</span></i><span style="font-weight: 400;"> ideology in new guises. Nonetheless, in turning to realism and rejecting aspects of his signature natural romanticism by using it as an allegory for fascist nostalgia, Miyazaki leaves his audience on a note of self-critical ambivalence.</span></p> <h2><b>Studio Ghibli, Isao Takahata, and the Autobiographical Interpretation</b></h2> <p><span style="font-weight: 400;">Despite the resonance of this allegorical interpretation with the film’s wartime setting, information about Miyazaki’s creative process also supports interpreting it as an auto-biographical exploration of his life and career as a filmmaker. Miyazaki, like Mahito, evacuated to Japan’s rural interior during the Second World War, brought by a father who worked for a warplane manufacturer.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-14' id='fnref-49233-14' onclick='return fdfootnote_show(49233)'>14</a></sup></span><span style="font-weight: 400;"> Mahito’s encounter with the film’s namesake </span><i><span style="font-weight: 400;">How Do You Live</span></i><span style="font-weight: 400;"> reportedly reflects a memorable encounter Miyazaki had with the novel’s opening in an elementary school textbook.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-15' id='fnref-49233-15' onclick='return fdfootnote_show(49233)'>15</a></sup></span><span style="font-weight: 400;"> Yoshino’s grandson himself interprets Mahito’s character as auto-biographical, drawing upon a meeting with Yoshino’s family in which Miyazaki shared his desire to write a boy like himself and those from the novel contrasting with his previous over-optimistic protagonists.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-16' id='fnref-49233-16' onclick='return fdfootnote_show(49233)'>16</a></sup></span><span style="font-weight: 400;"> Likewise, in writing and designing characters for the film’s fantastical underworld, Miyazaki seems to have drawn from impressions of colleagues at Studio Ghibli. Studio Ghibli co-founder and long-time producer Suzuki Toshio offered details on these inspirations in interviews, identifying the film’s Heron as based on himself, the granduncle on fellow Studio Ghibli co-founder Takahata, and the Parakeet King on Miyazaki himself.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-17' id='fnref-49233-17' onclick='return fdfootnote_show(49233)'>17</a></sup></span><span style="font-weight: 400;"> Suzuki suggests that Miyazaki intended to make the Grand-Uncle more of a narrative focal point, but that Miyazaki’s grief at Takahata’s unexpected death in 2018 led him to de-emphasise the Grand-Uncle’s role in the narrative.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-18' id='fnref-49233-18' onclick='return fdfootnote_show(49233)'>18</a></sup></span><span style="font-weight: 400;"> A making of documentary filmed across the film’s production and narratively structured around Miyazaki and Takahata’s relationship confirms Suzuki’s impressions. Miyazaki describes being “haunted” by Takahata’s ghost while struggling to “meet” him while storyboarding the Grand Uncle’s character design, and later describes drawing the Grand-Uncle’s demise as finally “burying” Takahata.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-19' id='fnref-49233-19' onclick='return fdfootnote_show(49233)'>19</a></sup></span></p> <div id="attachment_49238" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-6-scaled.jpg"><img aria-describedby="caption-attachment-49238" loading="lazy" class="wp-image-49238 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-6-scaled.jpg" alt="" width="2560" height="1374" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-6-scaled.jpg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-6-300x161.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-6-1024x550.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-6-768x412.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-6-1536x824.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-6-2048x1099.jpg 2048w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49238" class="wp-caption-text"><i>The Boy and the Heron</i></p></div> <p><span style="font-weight: 400;">Understanding the film as creative auto-allegory suggests putting it in context of Miyazaki’s career-long tension with his mentor and rival Takahata. For years after meeting at Tōei Animation in 1962, Takahata played the directing master to Miyazaki’s animating apprentice in projects beloved by Japanese audiences like </span><i><span style="font-weight: 400;">Taiyō no Ōji: Horus no Daibōken</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Horus Prince of the Sun</span></i><span style="font-weight: 400;">, 1968) and </span><i><span style="font-weight: 400;">Panda Kopanda</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Panda! Go Panda!</span></i><span style="font-weight: 400;"> or </span><i><span style="font-weight: 400;">Panda and Child,</span></i><span style="font-weight: 400;"> 1972). Even then, Miyazaki chafed at Takahata’s philosophy of using child-like animation as a medium to confront audiences with real human misery in portrayals of often unsympathetic protagonists.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-20' id='fnref-49233-20' onclick='return fdfootnote_show(49233)'>20</a></sup></span><span style="font-weight: 400;"> The pair co-founded Studio Ghibli in 1985 together with Suzuki after the massive success of Miyazaki’s adaptation of his own allegorical graphic novel </span><i><span style="font-weight: 400;">Kaze no tani no Naushika</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Nausicaä of the Valley of the Wind</span></i><span style="font-weight: 400;">, 1984). Thanks to Suzuki’s showman-like flair, Miyazaki’s </span><i><span style="font-weight: 400;">My Neighbour Totoro</span></i><span style="font-weight: 400;"> and Takahata’s </span><i><span style="font-weight: 400;">Grave of the Fireflies</span></i><span style="font-weight: 400;"> were released on the same day in 1988 in a commercial horse race. Miyazaki’s comforting adaptation of a children’s novel promoted respect for nature by appealing to the public’s nostalgia for its idyllic countryside, while rewriting the source material’s darker themes about environmental loss and emphasising his viewers’ agency in achieving social change.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-21' id='fnref-49233-21' onclick='return fdfootnote_show(49233)'>21</a></sup></span><span style="font-weight: 400;"> By contrast, Takahata’s faithful adaptation of a wartime novel inspired by real events drew from his own traumatic memories of American fire-bombings, portraying his child protagonists’ deaths while compelling viewers to explore the limits of romanticism and preconceptions about animation as a genre. Miyazaki was disturbed by the film’s thematic hopelessness, calling it “not an anti-war film, nor… a film about the preciousness of life” but “a horrifying film about dead souls with no place to rest.”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-22' id='fnref-49233-22' onclick='return fdfootnote_show(49233)'>22</a></sup></span><span style="font-weight: 400;"> Takahata in turn criticised Miyazaki’s demand “that the audience enter the world he has created completely,”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-23' id='fnref-49233-23' onclick='return fdfootnote_show(49233)'>23</a></sup></span><span style="font-weight: 400;"> echoed in comments criticising popular cinema’s “tendency to drive viewers into a position where they can only align themselves with the protagonist, without objectively indicating the hero’s circumstances…” making it ineffective “as image training for the real world, for assessing the surrounding environment and living strongly and wisely.”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-24' id='fnref-49233-24' onclick='return fdfootnote_show(49233)'>24</a></sup></span><span style="font-weight: 400;"> </span></p> <p><span style="font-weight: 400;">This creative dialectic also reflects in the auteurs’ approaches to portraying gender roles: Takahata ambivalently portrays women living within Japan’s hierarchical gender roles, while Miyazaki’s films show heroines transcending such roles in fantastical settings. Takahata’s slice-of-life </span><i><span style="font-weight: 400;">Omoide poro poro</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Only Yesterday</span></i><span style="font-weight: 400;">, 1991) has his 27-year-old protagonist leave behind a career in Tokyo to pursue romance with a farmer in the countryside, an ending Takahata considered an ambiguous “mirror” to reality for the audience to interpret with nuance but Miyazaki rejected as “the director shouting at her to ‘Go be a farmer’s wife!’”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-25' id='fnref-49233-25' onclick='return fdfootnote_show(49233)'>25</a></sup></span><span style="font-weight: 400;"> Takahata in turn viewed Miyazaki’s heroines with scepticism, deriding his tendency for writing women “the way he believes they should exist,”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-26' id='fnref-49233-26' onclick='return fdfootnote_show(49233)'>26</a></sup></span><span style="font-weight: 400;"> foreshadowing contemporary critiques of Miyazaki’s women characters like the protagonist’s wife in </span><i><span style="font-weight: 400;">The Wind Rises</span></i><span style="font-weight: 400;"> as “overly convenient” and “created from men’s hopes and delusions.”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-27' id='fnref-49233-27' onclick='return fdfootnote_show(49233)'>27</a></sup></span><span style="font-weight: 400;"> Takahata’s last works by contrast offered an ambivalently nostalgic and critical portrait of traditional Japanese gender roles as in </span><i><span style="font-weight: 400;">Hōhokekyo tonari no Yamada-kun </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">My Neighbours the Yamadas, </span></i><span style="font-weight: 400;">1999), and ambiguously captured suffocating expectations placed on girls in his adaptation of a classic Japanese folk tale, </span><i><span style="font-weight: 400;">The Tale of Princess Kaguya</span></i><span style="font-weight: 400;">. As one Japanese source puts it, while Takahata aimed to create films thematically “returning to reality” with subtle and arguably immanently critical portrayals of Japan, Miyazaki aimed instead at “breaking away from reality” in his fantasy worlds.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-28' id='fnref-49233-28' onclick='return fdfootnote_show(49233)'>28</a></sup></span></p> <p><span style="font-weight: 400;">In a mirror of this thematic dialectic, Takahata’s creative process was aesthetically idealist without concern for consequences, contrasting with Miyazaki’s creative pragmatism. Takahata treated originality as his only aesthetic barometer besides “righteousness when viewed from a social context,” expressing disdain for the film industry’s commercialism.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-29' id='fnref-49233-29' onclick='return fdfootnote_show(49233)'>29</a></sup></span><span style="font-weight: 400;"> His perfectionism in this pursuit led him to extend production timelines to the point of his staff’s exhaustion, while his experimentalism with digitising watercolour from the </span><i><span style="font-weight: 400;">My Neighbors the Yamadas </span></i><span style="font-weight: 400;">onward broke the norms of Japan’s communitarian culture by demanding more work from fewer talented artists.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-30' id='fnref-49233-30' onclick='return fdfootnote_show(49233)'>30</a></sup></span><span style="font-weight: 400;"> In an interview after Takahata’s death, Suzuki said Takahata showed no consideration for the people around him, leaving the studio a complete mess from staff departures.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-31' id='fnref-49233-31' onclick='return fdfootnote_show(49233)'>31</a></sup></span><span style="font-weight: 400;"> Suzuki and colleagues even held Takahata responsible for the early death of Studio Ghibli animation lead and </span><i><span style="font-weight: 400;">Whisper of the Heart</span></i><span style="font-weight: 400;"> director Kondō Yoshifumi, attributing it to overwork brought on by Takahata’s brutal bullying.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-32' id='fnref-49233-32' onclick='return fdfootnote_show(49233)'>32</a></sup></span><span style="font-weight: 400;"> Miyazaki, calling himself the only staff member in Studio Ghibli who survived Takahata, was so exasperated by Takahata’s tendencies that he vowed to never let Takahata make another film with Studio Ghibli after the experimentalist </span><i><span style="font-weight: 400;">Yamadas</span></i><span style="font-weight: 400;">.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-33' id='fnref-49233-33' onclick='return fdfootnote_show(49233)'>33</a></sup></span><span style="font-weight: 400;"> While Miyazaki also had a reputation for being demanding, his process reflected a closeness to the labour of animation that he cultivated while working as an animator under Takahata’s direction. Miyazaki remained stubbornly attached to traditional cel-animation that kept in-betweener animators employed, never failed to keep a production deadline despite potential aesthetic compromises and remained involved in the actual labour required to realise his directorial vision. In a telling anecdote, Suzuki describes how Takahata would come into work late in the day to berate the sole animator he allowed to work with him on </span><i><span style="font-weight: 400;">Princess Kaguya</span></i><span style="font-weight: 400;">, leaving Miyazaki to translate these demands more comprehensibly with Takahata out of the office despite nominally having no role in the project.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-34' id='fnref-49233-34' onclick='return fdfootnote_show(49233)'>34</a></sup></span><span style="font-weight: 400;"> This pattern followed life-long tendencies: Takahata helped recruit an unsure Miyazaki into the Tōei Animation labour union where they became vice-president and general secretary in the 1960s, but was known to sleep through the actual labour actions that Miyazaki organised, as shown in the Studio Ghibli documentary </span><i><span style="font-weight: 400;">Yume to kyōki no ōkoku</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Kingdom of Dreams and Madness</span></i><span style="font-weight: 400;"> 2013).</span></p> <div id="attachment_49239" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-7-scaled.jpg"><img aria-describedby="caption-attachment-49239" loading="lazy" class="wp-image-49239 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-7-scaled.jpg" alt="" width="2560" height="1377" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-7-scaled.jpg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-7-300x161.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-7-1024x551.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-7-768x413.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-7-1536x826.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-7-2048x1102.jpg 2048w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49239" class="wp-caption-text"><i>The Boy and the Heron</i></p></div> <p><span style="font-weight: 400;">Miyazaki seems to have been consumed by what Takahata himself characterised as their “dialectical tension” throughout his career.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-35' id='fnref-49233-35' onclick='return fdfootnote_show(49233)'>35</a></sup></span><span style="font-weight: 400;"> In his eulogy for Takahata, Miyazaki recalled working through weekends at Tōei against the union’s deal to realise Takahata’s demanding aesthetic ideals.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-36' id='fnref-49233-36' onclick='return fdfootnote_show(49233)'>36</a></sup></span><span style="font-weight: 400;"> He begged to have Takahata help him realise his own filmmaking vision as producer for </span><i><span style="font-weight: 400;">Nausicaä</span></i><span style="font-weight: 400;"> after serving 15 years as a loyal apprentice, but found himself ripping a book in half in anger when Takahata gave the result a 30% score for not properly “illuminating social reality.”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-37' id='fnref-49233-37' onclick='return fdfootnote_show(49233)'>37</a></sup></span><span style="font-weight: 400;"> In a reflection that he had internalised some of Takahata’s critique, Miyazaki came to loathe how Totoro’s comforting romanticism led it to become a “video babysitter” of Japan’s youth in lieu of inspiring social action to preserve nature,</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-38' id='fnref-49233-38' onclick='return fdfootnote_show(49233)'>38</a></sup></span><span style="font-weight: 400;"> while the realist Takahata came to praise it, if only because Miyazaki’s donation of its lucrative licensing rights to a nature trust did save some real forests.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-39' id='fnref-49233-39' onclick='return fdfootnote_show(49233)'>39</a></sup></span><span style="font-weight: 400;"> Takahata wryly inserted a Miyazaki-inspired character in his </span><i><span style="font-weight: 400;">Heisei tanuki gassen ponpoko </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Pom Poko</span></i><span style="font-weight: 400;">, 1994), as the anti-hero Gonta so wrapped up in his romanticism about preserving nature that he dies fruitlessly in an eco-terrorist suicide attack, leaving Miyazaki in tears while recognising the one-sidedness of his admiration.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-40' id='fnref-49233-40' onclick='return fdfootnote_show(49233)'>40</a></sup></span><span style="font-weight: 400;"> Suzuki had an opportunity to recreate Studio Ghibli’s 1988 horse race in planning to release Miyazaki’s romantic treatment of the Mitsubishi Zero’s designer in </span><i><span style="font-weight: 400;">The Wind Rises </span></i><span style="font-weight: 400;">and Takahata’s re-interpretation of a classic fairy tale in </span><i><span style="font-weight: 400;">The Tale of Princess Kaguya</span></i><span style="font-weight: 400;"> on the same day 2013, as shown in </span><i><span style="font-weight: 400;">The Kingdom of Dreams and Madness</span></i><span style="font-weight: 400;">. Miyazaki announced his plans to retire with the film as his capstone, defending his protagonist’s inspiration as beyond reproach in designing “one of the few things we Japanese could be proud of,” amid voices highlighting that most of the warplanes been assembled by forced Korean labour.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-41' id='fnref-49233-41' onclick='return fdfootnote_show(49233)'>41</a></sup></span><span style="font-weight: 400;"> Takahata, characteristically blowing past the production deadline, saw Miyazaki’s film first and called it interesting but admonished his complacent insistence that his work as an auteur was finished (</span><i><span style="font-weight: 400;">The Kingdom of Dreams and Madness</span></i><span style="font-weight: 400;">). When Miyazaki in turn finally saw</span><i><span style="font-weight: 400;"> Princess Kaguya</span></i><span style="font-weight: 400;">, Suzuki relates that he realised Takahata’s masterwork had surpassed his own, that Miyazaki remained the “entertainer” to Takahata’s “artist.”</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-42' id='fnref-49233-42' onclick='return fdfootnote_show(49233)'>42</a></sup></span><span style="font-weight: 400;"> Takahata remained the one character in Miyazaki’s dreams and the one audience for his films,</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-43' id='fnref-49233-43' onclick='return fdfootnote_show(49233)'>43</a></sup></span><span style="font-weight: 400;"> amid his return to feature-filmmaking in storyboarding </span><i><span style="font-weight: 400;">The Boy and the Heron</span></i><span style="font-weight: 400;"> in 2016, just prior to Takahata’s death in 2018.</span></p> <h2><b>The Boy and Heron as Double Allegory: Studio Ghibli’s Self-Aware End of History</b></h2> <p><span style="font-weight: 400;">Given what’s known about Miyazaki’s creative confrontation with Takahata and the inspiration for his characters, </span><i><span style="font-weight: 400;">The Boy and the Heron’s</span></i><span style="font-weight: 400;"> underworld might plausibly be interpreted as Miyazaki’s allegorical resolution to the pair’s creative dialectic. In </span><i><span style="font-weight: 400;">…the Heron</span></i><span style="font-weight: 400;">, a Japanese source suggests we might see a stand-in for Suzuki coaxing Miyazaki into the world of directing at Studio Ghibli,</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-44' id='fnref-49233-44' onclick='return fdfootnote_show(49233)'>44</a></sup></span><span style="font-weight: 400;"> with pelicans perhaps standing in for impetuous young animators chewed up by its working environment, and characters like Kiriko and Himi stand-ins for less acknowledged women critical to Miyazaki’s success at Studio Ghibli. The Grand-uncle’s lonely and meticulous control over a world populated by allusions to Studio Ghibli’s young and deathly disregard for the well-being of those he drew into it suggests a critical view on Takahata’s callous aesthetic idealism. Miyazaki self-critique then reflects in the fascist parakeet king, vainly cultivating a cheering romanticist cult of personality and jealously undermining the world’s creative mastermind.</span></p> <p><span style="font-weight: 400;">Mahito’s rejection of the uncle’s offer to take on his creative legacy and the Grand-Uncle’s shouting at Mahito to return to his own time, a scene Miyazaki obsessed over getting right,</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-45' id='fnref-49233-45' onclick='return fdfootnote_show(49233)'>45</a></sup></span><span style="font-weight: 400;"> would suggest the director’s final resolution for their fraught relationship. Suzuki himself, the observer closest to the arc of the auteur’s dialectic, has suggested that with the film’s conclusion, Miyazaki had finally finished his life-long dialogue with Takahata, or intended to.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-46' id='fnref-49233-46' onclick='return fdfootnote_show(49233)'>46</a></sup></span><span style="font-weight: 400;"> However, an interpretation limited to viewing the film’s fantasy-world alone as an allegory for Miyazaki’s career at Studio Ghibli cannot bear the film’s full interpretive weight. Miyazaki has denied that the film should be thought of as fully autobiographical, while acknowledging the inclusion of such elements.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-47' id='fnref-49233-47' onclick='return fdfootnote_show(49233)'>47</a></sup></span><span style="font-weight: 400;"> An interpretation so introspective would seem to belie the social critique suggested by the film’s wartime setting, it’s allusion to its socially critical namesake, and Takahata’s admonition to speak to present-day problems.</span></p> <p><span style="font-weight: 400;">I argue instead that the film as a project in itself should be interpreted as Miyazaki’s answer to Takahata’s dialectical challenge, offering both in its political and autobiographical allegory a critique of inhumane idealism and defence of simple humanism, synthesizing the best of Studio Ghibli’s two creative pillars. The film’s impressionistic opening shocks any audience expecting a comforting Miyazaki by mirroring both Takahata’s willingness to approach war violence unflinchingly and to challenge the audience aesthetically, echoing the latter’s masterworks </span><i><span style="font-weight: 400;">Grave of the Fireflies</span></i><span style="font-weight: 400;"> and</span><i><span style="font-weight: 400;"> Princess Kaguya</span></i><span style="font-weight: 400;">. This suggests a Miyazaki self-aware of the challenge his mentor’s oeuvre posed to the nationalist nostalgia and creative complacency of his initially intended final work </span><i><span style="font-weight: 400;">The Wind Rises</span></i><span style="font-weight: 400;">, with the new film’s opening acting as a thesis for the necessity of this last return. Mahito’s sudden self-harm later in the first act recalls both Miyazaki’s own adolescence and the stubbornly self-destructive protagonist Seita from </span><i><span style="font-weight: 400;">Grave of the Fireflies</span></i><span style="font-weight: 400;">, echoing Takahata’s willingness to alienate the audience from a protagonist to confront them with reality. The film’s fantastical turn by contrast confronts Takahata’s challenge by bending an imaginative hero’s journey to the ends of engaged social critique. In contemporary Japan, nationalism is not only latent but in power, with the majority of Japan’s ruling Liberal Democratic Party including its last three prime ministers belonging to the parliamentary association of a lobbying group espousing thinly disguised monarchist revanchism.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-48' id='fnref-49233-48' onclick='return fdfootnote_show(49233)'>48</a></sup></span><span style="font-weight: 400;"> Takahata and Miyazaki were both critics of these groups’ efforts to revise Japan’s pacifist post-war constitution as reflected in their contributions to a Studio Ghibili pamphlet urging voters’ attention on the issue before the 2014 election.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-49' id='fnref-49233-49' onclick='return fdfootnote_show(49233)'>49</a></sup></span><span style="font-weight: 400;"> Miyazaki however did so reluctantly and exceptionally, given his aversion at the time to speaking publicly on politics.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-50' id='fnref-49233-50' onclick='return fdfootnote_show(49233)'>50</a></sup></span><span style="font-weight: 400;"> Takahata, long a more vocal critic,</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-51' id='fnref-49233-51' onclick='return fdfootnote_show(49233)'>51</a></sup></span><span style="font-weight: 400;"> would perhaps have found in his protégé’s new allegory for the brutal folly of Imperial Japan the “illumination of social reality” and “righteousness” he previously found lacking.</span></p> <p><span style="font-weight: 400;">Miyazaki achieves this all while elevating his distinctive style to its creative culmination, rather than by adopting Takahata’s restrained mirror to reality. He accommodates Takahata’s critique of romantic hero narratives while honouring his own commitment to inspiring children by casting Mahito’s humble humanity as true heroism. In its more violent portrait of both humanity and nature, the film rejects Miyazaki’s early ecological romanticism, while offering hope for genuine reconciliation contrasting with Takahata’s resigned conclusion to </span><i><span style="font-weight: 400;">Pompoko</span></i><span style="font-weight: 400;">. In Kiriko, Himi, and Natsuko, essential to Mahito’s success but bound by expectations of maternity and servility, Miyazaki in an autobiographically apologetic mode seems finally able to depict women heroically while confronting his audiences with the consequences of Japan’s restrictive gender norms. Finally, Miyazaki’s willingness to accept a seven-year long production cycle to both ensure artistic integrity and leave room for his staff’s human needs reflects a reconciliation of the two auteurs’ expressions of creative integrity.</span><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-49233-52' id='fnref-49233-52' onclick='return fdfootnote_show(49233)'>52</a></sup></span><span style="font-weight: 400;"> Miyazaki’s definitive film stands as his testament to humanity over self-consumed militarist, romanticist, and aestheticist idealism.</span></p> <div id="attachment_49240" style="width: 2570px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-8-scaled.jpg"><img aria-describedby="caption-attachment-49240" loading="lazy" class="wp-image-49240 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-8-scaled.jpg" alt="" width="2560" height="1380" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-8-scaled.jpg 2560w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-8-300x162.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-8-1024x552.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-8-768x414.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-8-1536x828.jpg 1536w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Heron-8-2048x1104.jpg 2048w" sizes="(max-width: 2560px) 100vw, 2560px" /></a><p id="caption-attachment-49240" class="wp-caption-text"><i>The Boy and the Heron</i></p></div> <p><span style="font-weight: 400;">Yoshino Genzaburō’s educational novel, briefly bookending Mahito’s allegorical voyage, asks its young audience near its conclusion to consider what human “Greatness” is. In examining Napoleon Bonaparte’s imperialist legacy, it acknowledges his relentless will to power as greatness in a certain sense but asks the reader what good it was for in its failure to protect human life. It offers an alternative vision of greatness instead: to be great is to be a fine example of a human being, to pour one’s life in pushing the river of humanity forward rather than backwards, to be willing to apologise to those that one has wronged, and to build a better world by working together. The humanist allegory, quietly raging in dissent against the folly of Japan’s imperial project at its futile last war’s dawn in 1937, concludes with a single provocative question: “How Will You All Choose to Live”? In perhaps the last scene that Miyazaki will give his audiences, the question is shown on the cinematic canvas as Mahito puts Yoshino’s novel in his bag, examining his powerless keepsake from the underworld one last time, before exiting stage left into Japan’s future. Miyazaki as Studio Ghibli’s Owl of Minerva spreads his wings at the coming of dusk as the screen fades.</span></p> <h3>Endnotes</h3> <div class='footnotes' id='footnotes-49233'> <div class='footnotedivider'></div> <ol> <li id='fn-49233-1'> Yoshino Genzaburō, </span><i><span style="font-weight: 400;">How Do You Live</span></i><span style="font-weight: 400;">?, trans. Bruno Navasky (New York: Algonquin Young Readers, 2021). <span class='footnotereverse'><a href='#fnref-49233-1'>↩</a></span></li> <li id='fn-49233-2'> Yoshino Taichirō, “</span><a href="https://book.asahi.com/article/14953353"><span style="font-weight: 400;">「君たちはどう生きるか」宮崎駿監督が、新作映画について語っていたこと。そして吉野源三郎のこと</span></a><span style="font-weight: 400;">” (“‘Kimitachi wa dō ikiru ka’ Miyazaki Hayao kantoku ga, shinsaku eiga ni tsuite katatteita koto. Soshite Yoshino Genzaburō no koto” = “What </span><i><span style="font-weight: 400;">The Boy and the Heron</span></i><span style="font-weight: 400;"> director ’ Miyazaki Hayao said about his movie and Yoshino Genzaburō,”), 好書好日 (</span><i><span style="font-weight: 400;">K</span></i><span style="font-weight: 400;">ō</span><i><span style="font-weight: 400;">sho K</span></i><span style="font-weight: 400;">ō</span><i><span style="font-weight: 400;">jitsu </span></i><span style="font-weight: 400;">= </span><i><span style="font-weight: 400;">Good Life with Books</span></i><span style="font-weight: 400;">), 14 July 2023. <span class='footnotereverse'><a href='#fnref-49233-2'>↩</a></span></li> <li id='fn-49233-3'> </span><i><span style="font-weight: 400;">Hayao Miyazaki and the Heron</span></i><span style="font-weight: 400;"> (Arakawa Kaku, 2024).</span> <span style="font-weight: 400;">Originally released as “ジブリと宮﨑駿の2399日” （”Jiburi to Miyazaki no 2399 nichi” = “2399 days with Ghibli and Miyazaki”), special episode of プロフェッショナル仕事の流儀 (</span><i><span style="font-weight: 400;">Purofesshonaru shigoto no ryūgi </span></i><span style="font-weight: 400;">= </span><i><span style="font-weight: 400;">Professional: Methods of Work</span></i><span style="font-weight: 400;">), aired 16 December 2023 on NHK. <span class='footnotereverse'><a href='#fnref-49233-3'>↩</a></span></li> <li id='fn-49233-4'> Edwin Palmer Hoyt, </span><i><span style="font-weight: 400;">Japan’s War: The Great Pacific Conflict, 1853 to 1952</span></i><span style="font-weight: 400;"> (New York: McGraw-Hill, 1986). <span class='footnotereverse'><a href='#fnref-49233-4'>↩</a></span></li> <li id='fn-49233-5'> Lee Young-Moon, “</span><a href="https://encykorea.aks.ac.kr/Article/E0003901."><span style="font-weight: 400;">고인돌</span></a><span style="font-weight: 400;">” (“Goindol” = “Dolmen”), </span><i><span style="font-weight: 400;">Encyclopedia of Korean Culture</span></i><span style="font-weight: 400;">. <span class='footnotereverse'><a href='#fnref-49233-5'>↩</a></span></li> <li id='fn-49233-6'> Yoshino Genzaburō, op. cit. <span class='footnotereverse'><a href='#fnref-49233-6'>↩</a></span></li> <li id='fn-49233-7'> Andrew Gordon, </span><i><span style="font-weight: 400;">A Modern History of Japan: From Tokugawa Times to the Present</span></i><span style="font-weight: 400;"> (New York: Oxford University Press, 2020), p. 92. <span class='footnotereverse'><a href='#fnref-49233-7'>↩</a></span></li> <li id='fn-49233-8'> </span><i><span style="font-weight: 400;">Hayao Miyazaki and the Heron</span></i><span style="font-weight: 400;">, cit. <span class='footnotereverse'><a href='#fnref-49233-8'>↩</a></span></li> <li id='fn-49233-9'> Japan’ wartime Prime Minister Tōjō explained the empire’s resistance to drafting women into factory labor let alone military service, calling child-rearing “the natural mission of the women in our empire and must be preserved far into the future”. Gordon, op. cit., p. 220, citing Thomas R. H. Havens, </span><i><span style="font-weight: 400;">Valley of Darkness: Japanese Society in World War II</span></i><span style="font-weight: 400;"> (New York: W. W. Norton, 1978), p. 108. <span class='footnotereverse'><a href='#fnref-49233-9'>↩</a></span></li> <li id='fn-49233-10'> Federico Lorenzo Ramaioli, “Unbroken for Ages Eternal: The Concept of Kokutai in Japanese Constitutionalism,” </span><i><span style="font-weight: 400;">Journal of Comparative Law</span></i><span style="font-weight: 400;">, Volume XV, Issue 1 (2020). <span class='footnotereverse'><a href='#fnref-49233-10'>↩</a></span></li> <li id='fn-49233-11'> Tsukahara Tomoe, 日光田母沢御用邸を見守った人びと (</span><i><span style="font-weight: 400;">Nikkō Tamozawa goyōtei o mimamotta hitobito</span></i><span style="font-weight: 400;"> = </span><i><span style="font-weight: 400;">The People who Watched over the Nikko Tamozawa Imperial Villa</span></i><span style="font-weight: 400;">) (Utsunomiya: Zuisousha, 2024). <span class='footnotereverse'><a href='#fnref-49233-11'>↩</a></span></li> <li id='fn-49233-12'> Dossier on Higashikuni, Prince Naruhiko, Army Intelligence and Security Command (INSCOM), Box 288. Entry 134B: Security Classified Intelligence and Investigative Dossiers – Personal Files, 1939-76, File XA506518. Records of the Investigative Records Repository (IRR), Records of the Army Staff (RG 319). National Archives II, College Park, MD. <span class='footnotereverse'><a href='#fnref-49233-12'>↩</a></span></li> <li id='fn-49233-13'> Navasky, translator’s endnote in Genzaburō Yoshino, op. cit. <span class='footnotereverse'><a href='#fnref-49233-13'>↩</a></span></li> <li id='fn-49233-14'> Bill Desowitz, </span><a href="https://www.indiewire.com/features/animation/boy-and-the-heron-miyazaki-anime-ghibli-1234927630/"><span style="font-weight: 400;">“‘The Boy and the Heron’ Is So Personal, Hayao Miyazaki Needed a Year to Grieve Before Pivoting in a New Direction</span></a><span style="font-weight: 400;">,</span><span style="font-weight: 400;">” </span><i><span style="font-weight: 400;">IndieWire</span></i><span style="font-weight: 400;">, 23 November 2023. <span class='footnotereverse'><a href='#fnref-49233-14'>↩</a></span></li> <li id='fn-49233-15'> Yoshino Taichirō, op. cit. <span class='footnotereverse'><a href='#fnref-49233-15'>↩</a></span></li> <li id='fn-49233-16'> Ibid. <span class='footnotereverse'><a href='#fnref-49233-16'>↩</a></span></li> <li id='fn-49233-17'> Christian Holub, “</span><a href="https://ew.com/the-boy-and-the-heron-tributes-studio-ghibli-founders-8409403"><span style="font-weight: 400;">How the Boy and the Heron Pays Tribute to Studio Ghibli’s Founders</span></a><span style="font-weight: 400;">,” </span><i><span style="font-weight: 400;">Entertainment Weekly</span></i><span style="font-weight: 400;">, 6 December 2023. <span class='footnotereverse'><a href='#fnref-49233-17'>↩</a></span></li> <li id='fn-49233-18'> Desowitz, op. cit. <span class='footnotereverse'><a href='#fnref-49233-18'>↩</a></span></li> <li id='fn-49233-19'> </span><i><span style="font-weight: 400;">Hayao Miyazaki and the Heron</span></i><span style="font-weight: 400;">, op. cit. <span class='footnotereverse'><a href='#fnref-49233-19'>↩</a></span></li> <li id='fn-49233-20'> Koishi Teru, “</span><a href="https://bunshun.jp/articles/-/7454"><span style="font-weight: 400;">高畑勲を失った宮崎駿は、どこへ向かうのか</span></a><span style="font-weight: 400;">” (“Takahata Isao o ushinatta Miyazaki Hayao wa, doko e mukau no ka,” = “Where Will Miyazaki Hayao Go Now that He Has Lost Takahata Isao?”), </span><i><span style="font-weight: 400;">Bunshun Online</span></i><span style="font-weight: 400;">, 20 May 2018. <span class='footnotereverse'><a href='#fnref-49233-20'>↩</a></span></li> <li id='fn-49233-21'> Kanoh Seiji, “</span><a href="http://www.yk.rim.or.jp/~rst/rabo/miyazaki/totoro_i.html"><span style="font-weight: 400;">「となりのトトロ」の自然観</span></a><span style="font-weight: 400;">” (“</span><i><span style="font-weight: 400;">Tonari no Totoro</span></i><span style="font-weight: 400;"> no shizenkan” = “</span><i><span style="font-weight: 400;">My Neighbor Totoro</span></i><span style="font-weight: 400;">’s View on Nature”), unpublished manuscript, 15 July 1998. <span class='footnotereverse'><a href='#fnref-49233-21'>↩</a></span></li> <li id='fn-49233-22'> Kanoh Seiji, “</span><a href="http://www.yk.rim.or.jp/~rst/rabo/miyazaki/motto.html"><span style="font-weight: 400;">弁証法的な緊張関係－高畑勲と宮崎駿の50年</span></a><span style="font-weight: 400;">” (“Benshōhōteki na kinchō kankei: Takahata Isao to Miyazaki Hayao no gojyu nen” = “Dialectical Tension: 50 Years of Isao Takahata and Hayao Miyazaki”), unpublished manuscript, 15 February 2015, revision of an article originally published in </span><i><span style="font-weight: 400;">Motto!</span></i><span style="font-weight: 400;">, Volume 4, November 2013. <span class='footnotereverse'><a href='#fnref-49233-22'>↩</a></span></li> <li id='fn-49233-23'> Margaret Talbot, “</span><a href="https://www.newyorker.com/magazine/2005/01/17/hayao-miyazaki-anime-studio-ghibli-profile"><span style="font-weight: 400;">The Auteur of Anime</span></a><span style="font-weight: 400;">,” </span><i><span style="font-weight: 400;">The New Yorker</span></i><span style="font-weight: 400;">, 10 January 2005. <span class='footnotereverse'><a href='#fnref-49233-23'>↩</a></span></li> <li id='fn-49233-24'> Andrew Osmond. “</span><a href="https://blog.alltheanime.com/takahata-on-miyazaki/"><span style="font-weight: 400;">Takahata on Miyazaki</span></a><span style="font-weight: 400;">,” </span><i><span style="font-weight: 400;">All the Anime</span></i><span style="font-weight: 400;">, 19 July 2023. <span class='footnotereverse'><a href='#fnref-49233-24'>↩</a></span></li> <li id='fn-49233-25'> Studio Ghibli, ジブリの教科書6 おもひでぽろぽろ (</span><i><span style="font-weight: 400;">Jiburi no kyōkasho 6</span></i><span style="font-weight: 400;">:</span><i><span style="font-weight: 400;"> Omoide Poroporo</span></i><span style="font-weight: 400;">” </span><i><span style="font-weight: 400;">Ghibli Textbooks Volume 6</span></i><span style="font-weight: 400;">: </span><i><span style="font-weight: 400;">Only Yesterday</span></i><span style="font-weight: 400;">), Bunshun Bunko Editorial Department, ed. (Tokyo: Bungeishunju, 2014). <span class='footnotereverse'><a href='#fnref-49233-25'>↩</a></span></li> <li id='fn-49233-26'> Osmond, op. cit. <span class='footnotereverse'><a href='#fnref-49233-26'>↩</a></span></li> <li id='fn-49233-27'> Higuchi Naofumi. “</span><a href="https://news.yahoo.co.jp/expert/articles/6cb1ba22d103e5d29de12c85ab4089b13245e201"><span style="font-weight: 400;">樋口尚文の千夜千本　第１夜「風立ちぬ」（宮崎駿監督）, 宮崎駿のイノセント・ガーデン</span></a><span style="font-weight: 400;">” (“Naofumi Higuchi no Senya-Senbon dai ichi yoru </span><i><span style="font-weight: 400;">Kaze tachinu</span></i><span style="font-weight: 400;"> (Miyazaki Hayao kantoku): Miyazaki Hayao no inosento gāden” = “Higuch Naofumi’s Thousand Nights and Thousand Books, First Night, </span><i><span style="font-weight: 400;">The Wind Rises</span></i><span style="font-weight: 400;"> directed by Miyazaki Hayao: Miyazaki Hayao’s Innocent Garden”), </span><i><span style="font-weight: 400;">Yahoo News</span></i><span style="font-weight: 400;">, 26 June 2013. <span class='footnotereverse'><a href='#fnref-49233-27'>↩</a></span></li> <li id='fn-49233-28'> Koishi, op. cit. <span class='footnotereverse'><a href='#fnref-49233-28'>↩</a></span></li> <li id='fn-49233-29'> Ibid. <span class='footnotereverse'><a href='#fnref-49233-29'>↩</a></span></li> <li id='fn-49233-30'> Studio Ghibli, ブリの教科書19 かぐや姫の物語 (</span><i><span style="font-weight: 400;">Jiburi no kyōkasho 6</span></i><span style="font-weight: 400;">:</span><i><span style="font-weight: 400;"> Kaguyahime no Monogatari =</span></i> <i><span style="font-weight: 400;">Ghibli Textbooks Volume 19</span></i><span style="font-weight: 400;">: </span><i><span style="font-weight: 400;">The Tale of Princess Kaguya</span></i><span style="font-weight: 400;">), Bunshun Bunko Editorial Department, ed. (Tokyo: Bungeishunju, 2018). <span class='footnotereverse'><a href='#fnref-49233-30'>↩</a></span></li> <li id='fn-49233-31'> Ibid. <span class='footnotereverse'><a href='#fnref-49233-31'>↩</a></span></li> <li id='fn-49233-32'> Ibid. <span class='footnotereverse'><a href='#fnref-49233-32'>↩</a></span></li> <li id='fn-49233-33'> Ibid. <span class='footnotereverse'><a href='#fnref-49233-33'>↩</a></span></li> <li id='fn-49233-34'> Ibid. <span class='footnotereverse'><a href='#fnref-49233-34'>↩</a></span></li> <li id='fn-49233-35'> Kanoh, “Dialectical Tension,” op. cit. <span class='footnotereverse'><a href='#fnref-49233-35'>↩</a></span></li> <li id='fn-49233-36'> Amid Amidi. “</span><a href="https://www.cartoonbrew.com/rip/watch-hayao-miyazakis-eulogy-for-isao-takahata-158410.html"><span style="font-weight: 400;">Watch Hayao Miyazaki’s Eulogy for Isao Takahata</span></a><span style="font-weight: 400;">,” </span><i><span style="font-weight: 400;">Cartoon Brew,</span></i><span style="font-weight: 400;"> 16 May 2018. <span class='footnotereverse'><a href='#fnref-49233-36'>↩</a></span></li> <li id='fn-49233-37'> Seiji Konoh, “</span><a href="http://www.yk.rim.or.jp/~rst/rabo/takahata/ponpoko_ron.html"><span style="font-weight: 400;">「平成狸合戦ぽんぽこ」論</span></a><span style="font-weight: 400;">” (“</span><i><span style="font-weight: 400;">Heisei tanuki tassen Ponpoko</span></i><span style="font-weight: 400;"> ron” = “Essay on </span><i><span style="font-weight: 400;">Pom Poko</span></i><span style="font-weight: 400;">), originally in平成狸合戦ぽんぽこ／解説図録 (</span><i><span style="font-weight: 400;">Heisei tanuki gassen Ponpoko</span></i><span style="font-weight: 400;">: </span><i><span style="font-weight: 400;">Kaisetsu zuroku</span></i><span style="font-weight: 400;"> = </span><i><span style="font-weight: 400;">Ponpoko:</span></i> <i><span style="font-weight: 400;">Visual Guidebook</span></i><span style="font-weight: 400;">), Takahata/Miyazaki Art Research Institute, ed. (RST Publishing, December 1994). …”;</span><i><span style="font-weight: 400;">Hayao Miyazaki and the Heron</span></i><span style="font-weight: 400;">, op. cit. <span class='footnotereverse'><a href='#fnref-49233-37'>↩</a></span></li> <li id='fn-49233-38'> Kanoh, “</span><i><span style="font-weight: 400;">My Neighbor Totoro</span></i><span style="font-weight: 400;">’s View on Nature,” op. cit. <span class='footnotereverse'><a href='#fnref-49233-38'>↩</a></span></li> <li id='fn-49233-39'> Talbot, op. cit. <span class='footnotereverse'><a href='#fnref-49233-39'>↩</a></span></li> <li id='fn-49233-40'> </span><i><span style="font-weight: 400;">Hayao Miyazaki and the Heron</span></i><span style="font-weight: 400;">, op. cit. <span class='footnotereverse'><a href='#fnref-49233-40'>↩</a></span></li> <li id='fn-49233-41'> Justin McCurry, “</span><a href="https://www.theguardian.com/world/2013/aug/23/hayao-miyazaki-film-wind-rises"><span style="font-weight: 400;">Japanese Animator Under Fire for Film Tribute to Warplane Designer</span></a><span style="font-weight: 400;">,” </span><i><span style="font-weight: 400;">The Guardian</span></i><span style="font-weight: 400;">, 19 March 2018. <span class='footnotereverse'><a href='#fnref-49233-41'>↩</a></span></li> <li id='fn-49233-42'> Suzuki Toshio, </span><a href="https://hiloco.hatenadiary.jp/entry/20140309/p1"><span style="font-weight: 400;">interview</span></a><span style="font-weight: 400;"> by Ōta Hikari and Tanaka Yūji,</span><i><span style="font-weight: 400;">Bakushō mondai no nichiyou Sunday</span></i><span style="font-weight: 400;">, TBS Radio, 9 March 2014. <span class='footnotereverse'><a href='#fnref-49233-42'>↩</a></span></li> <li id='fn-49233-43'> </span><i><span style="font-weight: 400;">Hayao Miyazaki and the Heron</span></i><span style="font-weight: 400;">, cit. <span class='footnotereverse'><a href='#fnref-49233-43'>↩</a></span></li> <li id='fn-49233-44'> Asō Shin, “</span><a href="https://note.com/assawssin/n/n01c2e4d8d6e3"><span style="font-weight: 400;">映画「君たちはどう生きるか」を、ある業界に生きた女性たちへの賛歌として考察する</span></a><span style="font-weight: 400;">” (“Eiga </span><i><span style="font-weight: 400;">Kimitachi was dou Ikiru Ka</span></i><span style="font-weight: 400;"> o, gyōkai ni ikita josei-tachi e no sanka to shite kōsatsu suru” = “</span><i><span style="font-weight: 400;">The Boy and the Heron </span></i><span style="font-weight: 400;">Examined as an Ode to Certain Real World Women”), personal blog, 23 July 2023. <span class='footnotereverse'><a href='#fnref-49233-44'>↩</a></span></li> <li id='fn-49233-45'> </span><i><span style="font-weight: 400;">Hayao Miyazaki and the Heron</span></i><span style="font-weight: 400;">, op. cit. <span class='footnotereverse'><a href='#fnref-49233-45'>↩</a></span></li> <li id='fn-49233-46'> Suzuki Toshio, “</span><a href="https://crea.bunshun.jp/articles/-/47228"><span style="font-weight: 400;">鈴木敏夫が明かした『君たちはどう生きるか』のなかの ‘宮崎駿と高畑勲</span></a><span style="font-weight: 400;">’”( “ ‘Suzuki Toshio ga akashita ‘kimitachi wa dō nama kiru ka’ no naka no ‘Miyazaki Hayao to Takahata Isao’” = “Suzuki Toshio enlightens us on the theme of ‘Miyazaki Hayao and Takahata Isao’ found in </span><i><span style="font-weight: 400;">The Boy and the Heron</span></i><span style="font-weight: 400;">”), </span><a href="https://bunshun.jp/articles/-/67492"><span style="font-weight: 400;">Interview</span></a><span style="font-weight: 400;">, Originally in </span><i><span style="font-weight: 400;">Weekly Bunshun CINEMA</span></i><span style="font-weight: 400;">, 11 September 2023. <span class='footnotereverse'><a href='#fnref-49233-46'>↩</a></span></li> <li id='fn-49233-47'> Miyazaki Hayao, “Animated Feature Films: 96th Oscars Nominee Program,” </span><a href="https://www.youtube.com/live/EnK1AYgO1q0"><span style="font-weight: 400;">Interview with Suzuki Toshio</span></a><span style="font-weight: 400;">, </span><span style="font-weight: 400;">live stream, 2 March 2024. <span class='footnotereverse'><a href='#fnref-49233-47'>↩</a></span></li> <li id='fn-49233-48'> Gordon, op. cit., p. 371. Scholarship based on primary sources notes parliamentarians’ motives for participating range broadly from opportunism to ideological alignment but concludes that “the cult of the emperor is the principal federating axis” of this organization that exercises “a strong influence on the great conservative party”, Thierry Guthmann, </span><i><span style="font-weight: 400;">Nippon Kaigi: Political Nationalism in Contemporary Japan </span></i><span style="font-weight: 400;">(New York: Routledge, 2024), pp. 97-132. <span class='footnotereverse'><a href='#fnref-49233-48'>↩</a></span></li> <li id='fn-49233-49'> “</span><a href="https://namaenaki.seesaa.net/article/201308article_10.html"><span style="font-weight: 400;">「改憲もってのほか」宮崎駿監督いま声を大に</span></a><span style="font-weight: 400;">” (“Kaiken mottenohoka’ Miyazaki Hayao kantoku ima koe o dai ni” = “Hayao Miyazaki is speaking loudly now: ‘Constitutional Revision is out of the question’”). </span><i><span style="font-weight: 400;">Tokyo Shimbun.</span></i><span style="font-weight: 400;"> 7 July 2013. <span class='footnotereverse'><a href='#fnref-49233-49'>↩</a></span></li> <li id='fn-49233-50'> “宮崎駿「風立ちぬ」は「火垂るの墓」への回答　専門家が指摘” (“Miyazaki Hayao ‘Kaze tachinu’ wa ‘Hotaru no haka’ e no kaitō senmonka ga shiteki” = “Experts Point out that Miyazaki Hayao’s </span><i><span style="font-weight: 400;">The Wind Rises</span></i><span style="font-weight: 400;"> is a reply aimed at </span><i><span style="font-weight: 400;">The Grave of the Fireflies</span></i><span style="font-weight: 400;">”), </span><i><span style="font-weight: 400;">Shunkan Asahi, </span></i><span style="font-weight: 400;">2 August 2013. <span class='footnotereverse'><a href='#fnref-49233-50'>↩</a></span></li> <li id='fn-49233-51'> Aoki Michiko, “</span><a href="https://www.asahi.com/articles/ASH7861HXH78UTIL030.html"><span style="font-weight: 400;">高畑勲さん「９条は変えてはならない『歯止め』</span></a><span style="font-weight: 400;">” (“Takahata Isao-san ‘kyuu-jō wa kaete wa naranai “hadome”’”= “Takahata Isao: ‘Article 9 is a “brake” that must not be changed’”), </span><i><span style="font-weight: 400;">Asahi Shimbun</span></i><span style="font-weight: 400;">, 9 July 2015. <span class='footnotereverse'><a href='#fnref-49233-51'>↩</a></span></li> <li id='fn-49233-52'> Chiba Eriko, “</span><a href="https://www.asahi.com/articles/ASMDN4VPKMDNUCVL016.html"><span style="font-weight: 400;">宮崎駿さん「いまわの際に」見る景色　独占インタビュー”</span></a><span style="font-weight: 400;"> (“Miyazaki Hayao-san ‘imawa no sai ni’ miru keshiki: dokusen intabyū” = “Exclusive interview with Miyazaki Hayao on the view he sees ‘from death’s door’”), </span><i><span style="font-weight: 400;">Asahi Shimbun</span></i><span style="font-weight: 400;">, 25 December 2019. <span class='footnotereverse'><a href='#fnref-49233-52'>↩</a></span></li> </ol> </div> </section>  <footer class="article-footer"> <div class="cb-social-sharing cb-post-footer-block cb-beside cb-social-box clearfix"><div class="cb-title-subtle">Share On:</div><div id="fb-root"></div> <script>(function(d, s, id) {var js, fjs = d.getElementsByTagName(s)[0]; 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