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How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power

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How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power View metadata, citation and similarbrought COREpapers to youat core.ac.ukby provided by University of Tasmania Open Access Repository 1 Wings and Freedom, Spirit and Self: How the Filmography of Hayao Miyazaki Subverts Nation Branding and Soft Power Shadow (BA Hons) 195408 Submitted in fulfilment of the requirements for the Degree of Masters of Journalism, Media and Communications University of Tasmania June, 2015 2 Declaration of Originality: This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of the my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. X Shadow Date: 6/10/2015 Authority of Access: This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. X Shadow Date: 6/10/2015 3 Declaration of Copy Editing: Professional copy was provided by Walter Leggett to amend issues with consistency, spelling and grammar. No other content was altered by Mr Leggett and editing was undertaken under the consent and recommendation of candidate’s supervisors. X Shadow Date: 6/10/2015 4 Contents Abstract ...................................................................................................................................... 7 CHAPTER 1 .............................................................................................................................. 9 Introduction ................................................................................................................................ 9 Purposes ............................................................................................................................. 9 An Explanation of the Approach ..................................................................................... 10 Why Miyazaki? ................................................................................................................ 1 1 The Rationale and Methodology for the Research .......................................................... 13 Why these two films?....................................................................................................... 14 Definitions............................................................................................................................ 15 Soft Power, National Branding and Cool Japan .............................................................. 15 Aim, Research Tasks and Structure of the Thesis ............................................................... 16 CHAPTER 2 ............................................................................................................................ 19 The Branding of Power ............................................................................................................ 19 Soft Power ............................................................................................................................ 19 Pop Culture Diplomacy.................................................................................................... 19 A brief history of Japanese Soft Power............................................................................ 21 National Branding and Cool Japan: ..................................................................................... 24 How Cool Is Now?........................................................................................................... 24 The Miyazaki Brand ........................................................................................................ 27 Conclusion ........................................................................................................................... 28 CHAPTER 3 ............................................................................................................................ 31 The Man Miyazaki.................................................................................................................... 31 Sketches of His Life and Career .......................................................................................... 31 Influences On Miyazaki: ...................................................................................................... 3 7 Those Who Worked Upon Him ....................................................................................... 37 All That Is Within: ............................................................................................................... 38 The Themes and Meta-themes of Miyazaki’s Filmography ............................................ 38 The Natural World ........................................................................................................... 39 Self-Discovery ................................................................................................................. 41 Good versus Evil .............................................................................................................. 43 Role of the Feminine ........................................................................................................ 43 Childhood and Nostalgia.................................................................................................. 44 We Are Not the Victims .................................................................................................. 45 Constructing the Communal ............................................................................................ 46 5 Against Controversy ........................................................................................................ 47 The Effect of the Outsider ................................................................................................ 49 Conclusion ........................................................................................................................... 50 CHAPTER 4 ............................................................................................................................ 52 When Pigs Flew ....................................................................................................................... 52 Identifying the Themes Within ............................................................................................ 53 Analysing the Themes and Images in Porco Rosso ............................................................. 55 Flight and Freedom .......................................................................................................... 56 Pride and Machismo ........................................................................................................ 57 The Role of the Feminine ................................................................................................ 61 Loss, Grief and Responsibility ......................................................................................... 63 The Pig and the Fairy Tale ............................................................................................... 63 ‘I’d rather be a pig than a fascist’: ....................................................................................... 65 How Porco Rosso Seeks to Subvert................................................................................. 66 Conclusion ........................................................................................................................... 69 CHAPTER 5 ............................................................................................................................ 72 When Japan Spirited the World Away ..................................................................................... 72 Introduction .......................................................................................................................... 72 Identifying the Themes ........................................................................................................ 73 Analysing the Film’s Themes and Images ........................................................................... 74 View of Extreme Consumerism ....................................................................................... 74 Role of the Feminine ........................................................................................................ 76 The Transformative Idea of Consumption ....................................................................... 78 Consumerism, Connection, Debt and Identity ................................................................. 80 Identity through Responsibility........................................................................................ 82 The Subversion of Control ................................................................................................... 83 Against Nostalgia ............................................................................................................. 83 The Subversion of the Role of the Female Protagonist ................................................... 84 Conclusion ........................................................................................................................... 86 CHAPTER 6 ............................................................................................................................ 89 Conclusion ..............................................................................................................................
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