Skip to main content

Theophanic Platypus: Or Why I Love the Films of Hayao Miyazaki

I love watching the films of Japanese director and animator Hayao Miyazaki.  At this point, I've seen almost everything of his I can get my hands on.  There's a simple why to this: great production value and great story-telling.  The closest thing I've seen to it in American film is Pixar, and Lasseter makes no bones about the intellectual and creative debt he owes to Miyazaki and Studio Ghibli.  To put a finer point on it, however, I love Miyazaki's films for their theophanies.

Many, if not all, of Miyazaki's films has a moment in which the world as it appears to us, physical and mundane, is pierced by a deeper spiritual reality.  This moment, the revelation of the divine (or theophany), leaves the charaters of Miyazaki's dramas transformed.  Whether it's the Spirit of the Forest in "Princess Mononoke," the Sea Goddess in "Ponyo," or the cloud of slain pilots in "Porco Rosso," these moments of spiritual revelation form the linchpin of the story.  In this way, all of Miyazaki's films function as a journey into fairyland with the protagonists being drawn out of their noramal lives to have a radical encounter with the Other that offers the opportunity, sometimes taken and sometimes rejected, for growth and empowerment.

Again and again I find myself comparing the effect with that produced by the writings of George MacDonald.  Myazaki knows how to re-mythologize the world; to take our daily lives, hallow them, and give them back to us with a renewed sense of the sacredness of existence.  In rapidly secularizing America, that comes as a breath of fresh air.

Labels

Labels:

Comments

Post a Comment

Popular posts from this blog

The Platypus Reads Part XXVII

Thoughts after reading the "Iliad" to prepare a Greece unit for my students: -Hector is a jerk until he's dead. He even advocates the exposure of Achaean corpses and then has the cheek to turn around and ask Achilles to spare his. He rudely ignores Polydamas' prophecies and fights outside the gate to save his pride knowing full well what it will cost his family and city. After he's dead, he becomes a martyr for the cause. -Agamemnon has several moments of true leadership to balance out his pettiness. In this way, he's a haunting foil to Achilles: the two men are more alike than they want to acknowledge. -We see that Achilles is the better man at the funeral games of Patroclos. His lordliness, tact, and generosity there give us a window into Achilles before his fight with Agamemnon and the death of Patroclos consumed him. -Nestor is a boring, rambling, old man who's better days are far behind him, and yet every Achaean treats him with the upmo...
15 comments
Read more

California's Gods: Strange Platypus(es)

We've noticed lately a strange Californian dialectical twist: there, freeways take the definite article.  In other parts of the country one speaks of I 91 or 45 North.  In California, there's The 5, The 405, The 10.  Each of these freeways has its own quirks, a personality of sorts.  They aren't just stretches of pavement but presences, creatures that necessitate the definite article by their very individuality and uniqueness.  They are the angry gods to be worked, placated, feared, for without them life in California as we know it would cease.  Perhaps that's fitting for a land whose cities are named for saints and angels.  Mary may preside over the new pueblo of our lady of the angels, but the freeways slither like gigantic serpents through the waste places, malevolent spirits not yet trampled under foot.
9 comments
Read more

Seeing Beowulf Through Tolkien: The Platypus Reads Part CXCIX

After spending a few weeks wrestling with Tolkien's interpretation of Beowulf , I found myself sitting down and reading Seamus Heaney's translation of the text during a spare moment.  I came to the place where Beowulf presents Hrothgar with the hilt of the ancient sword that slew Grendel's mother.  Hrothgar looks down at the hilt with its ancient runes and carvings depicting the war between the giants and God and meditates on the fortunes of men.  In a flash of insight, I thought: this is the whole poem! Let me explain.  Tolkien believed that the genuine contribution of the Northern peoples to European culture was the theory of courage.  The Northern heroes, at their best, were men who fought for order against chaos -a battle they knew they were doomed to lose.  If they were true heroes, their souls would join the gods and aid them in the final battle against darkness and its monsters and again go down fighting, spitting in the face of the meaninglessness...
3 comments
Read more