Animated Ecosophy

アニメーションにおける生態学的哲学 Animated Ecosophy

A dissertation by Alexander Forsey BA (Hons) Graphic Design Still from Nausicaä of the Valley of the Wind (1984). Published by Alexander Forsey in Falmouth, England March 2020

Type used is Ghibli by Eyad Al-Samman

Designed & produced by the author Animated Ecosophy: To what extent is ecosophical theory published in the 20th century applicable to animated media produced by Studio Ghibli between 1984–2015. (6289 words) Chapter 1: Introduction of theory

1.1 - Ecology, ecosophy & kinship (p.2) 1.2 - The Gaia Hypothesis & animism (p.3) 1.3 - Land Ethic (1949) & Silent Spring (1962) [p.6]

Chapter 2: Application of theory

2.1 - Historical context & eco-cosmopolitanism (p.14) 2.2 - Studio Ghibli & Nausicaä of the Valley of the Wind (1984) [p.14] 2.3 - Animism & Pom Poko (1994) [p.18] 2.4 - Further animism within Spirited Away (2001) & Princess Mononoke (1997) [p.22] 2.5 - Nature & Ronja, the Robber’s Daughter (2014–2015) [p.25] 2.6 - The ocean & Ponyo (2008) [p.26] 2.7 - Conclusions (p.29)

Parting notes (p.35) Further watching (p.36)

第 1章：理論の紹介 Chapter 1: Introduction of theory 1.1 - Ecology, ecosophy & kinship viewpoint of the Earth and its resources existing purely for our benefit; whilst Deep Ecology argues that every living organism has inherent worth irrespective of Author’s note: The addition of images to Chapter 1 was potential benefit, though this is up to interpretation, done post-submission for the sake of publication. with Næss writing in 1990 “I do not think it is desirable to do more than tentatively suggest what might be the In the following dissertation I will be exploring the essential ingredients of a deep ecology theoretical point recurring theme of ecological coexistence within Studio of view” (Devall and Næss, 2010). An example of a Ghibli’s animated portfolio (1984–2014), and comparing deep ecological relationship can often be observed best it against philosophical and ecosophical theories within indigenous tribes and communities, untouched proposed throughout the 20th century, identifying by consumerism and greed, but perhaps most notably direct correlations and potential applications. within aboriginal tribes, where anthropomorphism of the natural environment plays a key role in illustrating The term ecology refers to a branch of biology that their belief system. This extension of the moral compass specialises in the interactions and relationships beyond anthropocentrism towards the subjectivity of between living organisms to both each other and nature is referred to as philosophical post-humanism, their environment (Random House, 2005). The an antithesis of humanism (emphasis on human value) roots of ecology can be traced back to Aristotelian [English Wiktionary, Unknown]. observational philosophy in the 4th century, before

evolving into a more scientific realm in the 18th and The fundamentals of deep ecology and philosophical 19th centuries (Egerton, 2001). Charles Darwin is post-humanism for some imply an associative kinship, widely known for nurturing the notion of evolution and a belief that all nature maintains commonality ecology in its infancy (Darwin 1859) and growing it into (Cambridge University Press, 1995) and therefore value a form more closely related to what people understand (to some). Whilst perhaps an idealistic notion, it also today. It’s important to note the relationship between faces challenges from the viewpoint that if everything ecology and environmentalism when discussing either. holds equal value, then it also holds no value at the However whilst a distinct overlap exists, the terms are same time. If an expensive/luxury item is suddenly not interchangeable. Ecology refers to a more scientific made free and widely available to the masses, by viewpoint, while environmentalism refers to a more definition it doesn’t maintain its luxury status. The philosophical one. The term ecosophy (ecological + attribution of value to an object is arguably a social philosophy) has instead been proposed as a middle construct, but by the same logic attribution of value to ground, being described by Norwegian philosopher a river, a plant, or even a person is too. If one foregoes Arne Næss (one of the key figures attributed with the idea of equal value, and instead looks at it from coining and developing the term) as a philosophy of a quantitative perspective, then how can value be “ecological harmony or equilibrium” (Drengson and measured? By the pleasure it gives us (utilitarianism)? Inoue, 1995). In cultures that practice Hinduism cows are regarded Næss (1912–2009) is widely associated with fathering as sacred, but in the UK 2.6 million are slaughtered the modern Scandinavian environmental movement, each year for meat (Humane Slaughter Association, but also for his teachings relating to the relationship unknown). Which attribution of value is correct? In between Earth and its inhabitants. When illustrating the context of cultural relativism- the idea that a ecosophy Næss described a distinct difference in how culture’s traditions and beliefs cannot be judged from we interact with our home, separating approaches the position of another, invalidating the existence of or into either shallow or deep forms of ecology (Næss need for external moral absolutes (Oxford, Unknown), and Sessions, 1984). Shallow Ecology refers to a more neither is; but if the idea of cultural relativism was exploitative and surface-level relationship, with a 2 created out of a necessity to address disparities regarded to scientists as a weak and unfounded between cultures from an ethical standing, is kinship argument, with little evidence of self-regulation even possible in the face of sometimes very stark existing. Unlike the credibility of the theory however, cultural differences? One prominent thinker, French the fantastical and sometimes horrific notion of an anthropologist (study of humans) Claude Lévi-Strauss adaptive and self-sustaining planet became a popular proposed that all cultures are connected by immutable trope across many international creative sectors structures. Later referred to as structural anthropology, throughout the latter half of the 20th century. Lévi-Strauss’ theory suggested that as a result of these inherent structures, seemingly unique cultural The attribution of essence to an inanimate object traditions often had equivalent practises elsewhere, is often referred to as animism (derived from the often as a result of homology (independently developed Latin word anima, translated loosely to life or spirit) systems derived from common ancestors) [Lévi-strauss, [Oxford Latin Dictionary, 1982], and despite being 1974]. In the context of ecology and kinship, despite observed predominantly in religious cultures has our sometimes immeasurable differences, cultures are seen a resurgence within modern environmentalist linked by a deeper, hereditary connection. movements as a vehicle for positive change, and in one case, resulted in the attribution of personhood 1.2 - The Gaia Hypothesis & upon a lake. In February 2019, following decades of abuse at the hands of local farmers, Lake Erie in Ohio animism became a legally recognised person. Local residents of Toledo drafted an impassioned plea advocating for the The view of the planet as a whole, living being can be necessity of action before the lake became unsaveable, traced back to Greek and Roman mythology, but would after water access was stopped during a heat wave later be revisited in the 20th century within the work following a phosphorous leak in 2014 (Macfarlane, of James Lovelock & Lynn Margulis, who in the 1970’s 2019). In a capitalism-dominated, western civilisation put forward the Gaia Hypothesis (Lovelock, 1967). with little presence of more environmentally conscious Named after the Greek goddess and personification religions such as Buddhism, the action of the Toledo of the Earth, it proposes that the Earth exists and residents to protect the lake stands out a notable operates as a unified and complex system, built up of victory for the validity of contemporary western both living and non-living organisms. Living in synergy environmentalism. Similar application of personhood with its inhabitants, the Earth is able to self-regulate its to natural objects has been observed globally, ranging conditions to maintain a state of habitable homoeostasis from cultural reasons, such as the Whanganui River irrespective of adversity (Lovelock and Margulis, 1974). in New Zealand, ancestral home to many Maori tribes Under this theory, it’s sometimes proposed that in (Warne 2019); to a necessity to protect the entirety the face of human-caused ecological stress the planet of nature, as included in the constitution of Ecuador can adapt accordingly. This observation is inherently (GARN, 2008). harmful and to an extent promotes the sustainability In Articles 71–74 of their 2008 Constitution, the of a shallow ecological belief system. There’s also a country decreed that “nature, or Pacha Mama [Mother distinctly selfish and anthropocentric narrative woven Nature], where life is reproduced and occurs, has into the Gaia Hypothesis, leading to the question of who the right to integral respect for its existence and for the optimal conditions for survival are for? Humans? the maintenance and regeneration of its life cycles, Animals? Bacteria? Given the irreversible harm humans structure, functions and evolutionary processes.” have caused to the planet, could climate change be (Ecuadorian Constituent Assembly, 2008) Drafted over the Earth self-regulating to get rid of us? Irrespective a year with assistance from Pennsylvania-based public of theoretical criticism the Gaia Hypothesis is widely interest law firm The Community Environmental Legal

3 4 Figure 01 - Arne Næss photographed by Jørn H. Moen for Dagbladet.

5 Defense Fund, this addition was ratified by the people an inherent kinship of equal value (eg. deep ecology, of Ecuador following a referendum. A widespread structural anthropology). It’s applied within Land motion to protect the environment (such as Ecuador’s Ethic to cases of environmental discrimination, efforts) is sometimes referred to as a land ethic, with the beginning with Leopold questioning as to exactly why language used within the constitution (“right to integral environmentalism as a movement had never picked respect for its existence“) effectively solidifying itself as up traction. He noted that most pre-existing examples a prime contemporary archetype of what conservationist lined up with his original sentiments, with only Aldo Leopold (1887–1948) first defined a land ethic as. exploitable or valuable areas of land having protective measures implemented, usually with the intention 1.3 - Land Ethic (1949) & Silent of continued exploitation. Leopold stressed that in order for a land ethic to be effective it had to include Spring (1962) not just valuable land, but also unprofitable areas such as “marshes, bogs, dunes, and deserts”. Without Completed by his family and published posthumously conservation of these undesirable areas the sustenance in 1949 (a year after his death), A Sand County Almanac of immeasurably complex systems are left in the hands is a compilation of ecologically-conscious essays written of humans. He refers to the role of these habitats as by Leopold throughout the decade preceding his death. “governments”, upon which the economically attractive Written as an authoritative guide, the essays sought to rely to exist. Without this community the model persuade the reader to redefine how they view their cannot sustain itself (Leopold, 1949). This principle relationship with the planet, with the ultimate goal of is sometimes described as holism, in which to fully advocating for a new paradigm of sustainable ecological comprehend something it should viewed as a whole, and coexistence. The term land ethic comes from an essay not just as its individual components. of the same name, during which Leopold compared Where Leopold’s theory falls victim to criticism, the fundamental viewing of land as property to that however, is that at no point throughout A Sand County of ancient Greeks owning slaves. In order to shift the Almanac is it explained how exactly one should act direction of a global and inevitable ecocide at the in accordance to a ‘land ethic’, at least without the hands of consumerism, Leopold argued that it was an application of other theories (such a deep ecology), “ecological necessity” to enact “[an enlargement of] the perhaps shedding light on why it took 59 years for a boundaries of the community to include soils, waters, land ethic (Ecuador) to come to fruition. plants, and animals, or collectively: the land” (Leopold, Despite his anxiety being heightened by the war, 1949). He further defined the relationship with the land Leopold’s writings also imbued hope, suggesting at the time as “strictly economic, entailing privileges that it might one day be achievable for a land ethic but not obligations” (Leopold, 1949). Leopold’s bleak to be introduced, though his description of it being outlook was a result of living through the Dust Bowl, “an evolutionary possibility” proposes an unknown a period of severe drought and dust storms that time frame for which this shift in attitudes to occur. devastated many southern American states in the Applying these hopes to the examples of Ecuador and 1930’s. The storms were caused by over-cultivation of Lake Erie, many would argue that these both display the land by newly mechanised farming equipment, with progression in attitude towards an idealised Leopoldian previously anchored soil turning into dust (Unknown, paradigm; though others might say that the residents 2009). The preventative nature of the Dust Bowl proved of Toledo were motivated predominantly by an inability to be a significant influence upon the urgency of to consume its natural resources during a heat wave. Leopold’s message. Decades of abuse weren’t enough to inspire change, The notion of community within post-humanist at least until it began directly affecting the residents ecosophical thought is common, often describing themselves (an arguably shallow ecological field of

6 Figure 02 - Plantation forestry work combined with heavy rainfall erode the soil along the banks of the Whanganui River, New Zealand. Image by Mathias Svold for National Geographic.

7 Figure 03 - Aldo Leopold visits the Sierra Madre Occidental in 1936/1937. Image archived and uploaded into the public domain by USFS Region 5.

8 vision). If an inherent feeling of obligation to protect the the time from both the agricultural/chemical industries lake existed then Lake Erie wouldn’t have ever reached and government figures alike, with the former US the brink of ecologically collapse in the first place. But Secretary of Agriculture supposedly claiming that is this necessarily a bad thing- surely any display of because she was both attractive and single she must be environmentalism is positive despite the motivation? a communist (Lear, 1997). One critic and former Silent Encroachment upon the quality of human life can be a Spring collaborator (Allchin 2008), Edwin Diamond, powerful catalyst towards action, in the case of Rachel wrote a response to these claims in a 1963 article titled Carson, who took on American agricultural business in The Myth of The ‘Pesticide Menace’, arguing that these the 1960’s, incidentally leading to one of the first cases claims were preventative measures to stall any future of mainstream environmentalism. backlash: “anyone who questions ‘Silent Spring’ is obviously on Monsanto’s or Shell’s payroll. What it Rachel Carson’s infamous exposé of the synthetic doesn’t explain, is why an industrialist or a scientist [...] pesticides industry, Silent Spring (1962), is considered would poison our food and water- the same food and to be one of the most important pieces of early water he himself [consumes]” (Diamond, 1963). Despite environmentalist literature. Formally a marine this adversity the public outcry in support of the biologist, Rachel Carson synthesised, echoed, and published claims was unprecedented, and in 1972 DDT eventually actualised the uncertainty many Americans usage was banned across America and globally in 2001 had for synthetic pesticide usage (or biocides, as Carson under the Stockholm Convention on Persistent Organic labelled them) between 1940–1960. Much like Aldo Pollutants (Moyers, 2007). Leopold before her, Carson advocated for a renewed appreciation of the intrinsic interrelationship between End of Chapter 1 humans and nature, spending 4 years tirelessly compiling evidence and documenting both human and environmental cases where the widespread application of insecticide dichlorodiphenyltrichloroethane (DDT) had coincided with incidents of harm upon life, including (though later disproven) incidents of cancer within nearby residents and the rapid decline of native avian species (Dunlop, 2008).

Despite her years cataloguing and highlighting the many threats of using DDT, Silent Spring wasn’t solely published as a call to ban the use of pesticides outright, but it also sought to highlight the inconsistencies that lead to the use of an unchecked chemical compound being used in the first place. Amongst her other claims Carson also targeted leading chemical companies, arguing that their funding of insecticides in America’s universities was creating a direct pathway for future entomologists (study of insects) to become “the leading advocates of chemical control” from the moment they left higher education (Carson, 1962). Despite now being considered ahead of their time, the concerns Carson highlighted in Silent Spring sparked fierce adversity at

9 “In the need to make face and keep up, and drown out the many voices within, imagine a culture that has at its root, a more soulful connection to land and to loved ones. But I can hear the lie before you speak. There is nothing but progress to eat.”

Excerpt from ‘Blood of the Past’ by The Comet Is Coming featuring Kate Tempest, from the album Trust In The Lifeforce Of The Deep Mystery (2019).

10 WARNE, Kennedy. 2019. A Voice for Nature. National Bibliography for Chapter 1 Geographic [online]. Available at: https://www. nationalgeographic.com/culture/2019/04/maori-river-in- RANDOM HOUSE, 2005. Webster’s Unabridged Dictionary: new-zealand-is-a-legal-person/ The definition of ecology. Dictionary.com [online]. Available at: https://www.dictionary.com/browse/ecology GARN. 2008. Ecuador Adopts Rights of Nature in Constitution. The Rights of Nature [online]. Available at EGERTON, Frank. 2001. A history of the ecological sciences: https://therightsofnature.org/ecuador-rights/ early Greek origins. Bulletin of the Ecological Society of America, 82(1), pp. 93-97. ECUADORIAN CONSTITUENT ASSEMBLY. 2008. Constitution of the Republic of Ecuador: Article 71–74. DARWIN, Charles. 1859. On the Origin of Species. London: Montecristi: Republic of Ecuador John Murray LEOPOLD, Aldo. 1949. A Sand County Almanac. Oxford: DRENGSON, Alan. and INOUE, Yuichi. 1995. The Deep Oxford University Press. Ecology Movement: An Introductory Anthology. Berkeley: North Atlantic Books UNKNOWN, 2009. Dust Bowl. History [online]. Available at: https://www.history.com/topics/great-depression/dust- NÆSS, Arne. and SESSIONS, George. 1984. Basic Principles bowl#section_1 of Deep Ecology. Theanarchistlibrary.org [online]. Available at: https://theanarchistlibrary.org/library/arne-naess-and- DUNLOP, Thomas. 2008. DDT, Silent Spring, and The Rise of george-sessions-basic-principles-of-deep-ecology.lt.pdf Environmentalism. London: University of Washington Press

DEVALL, Bill. and NÆSS, Arne. 2010. Ecology of Wisdom. CARSON, Rachel. 1962. Silent Spring. Boston: Houghton Berkeley: Counterpoint. Mifflin

ENGLISH WIKTIONARY. Unknown. Definition of LEAR, Linda. 1997. Rachel Carson: Witness for Nature. New posthumanism. YourDictionary [online]. Available at: https:// York: Henry Holt www.yourdictionary.com/posthumanism ALLCHIN, Douglas. 2008. Edwin Diamond. [online]. CAMBRIDGE UNIVERSITY PRESS, 1995. Cambridge shipseducation.net. Available at: http://shipseducation.net/ Advanced Learner’s Dictionary & Thesaurus: The definition pesticides/diamond.htm of kinship. Cambridge [online]. Available at: https:// dictionary.cambridge.org/dictionary/english/kinship DIAMOND, Edwin. 1963. The Myth of The ‘Pesticide Menace’. Saturday Evening Post, pp.16-18. HUMANE SLAUGHTER ASSOCIATION. Unknown. Frequently Asked Questions: How many animals are MOYERS, Bill. 2007. Rachel Carson and DDT. PBS [online]. slaughtered in the UK? Humane Slaughter Association Available at: https://www.pbs.org/moyers/journal/09212007/ [online]. Available at: https://www.hsa.org.uk/faqs/ profile2.html general#n1 HEISE, Ursula K. ca 2008. Publications, Books. Ursala OXFORD, Unknown. The definition of cultural relativism. K. Heise [online]. Available at: http://www.uheise.net/ Lexico [online]. Available at: https://www.lexico.com/ publications/books/ definition/cultural_relativism HEISE, Ursula K. 2008. Sense of Place and Sense of Planet: LÉVI-STRAUSS, Claude. 1974. Structural Anthropology. New The Environmental Imagination of the Global. Stanford: York: Basic Books Oxford University Press

LOVELOCK, James. 1967. Gaia as seen through the TEMPEST, Kate. 2019. Blood of the Past. Impulse Records atmosphere. Atmospheric Environment, 6(8), pp. 579-580

LOVELOCK, James, and MARGULIS, Lynn. 1974. Figure list Atmospheric homeostasis by and for the biosphere: The gaia hypothesis. Tellus, 26 pp. 2 01 - MOEN, Jørn H. Unknown. Mountain People: Arne Næss for Dagbladet. Hasle, Oslo OXFORD LATIN DICTIONARY, 1982. Latin definition for: anima, animae. Oxford: Oxford University Press 02 - SVOLD, Mathias. 2018. A Voice for Nature. Washington, United States MACFARLANE, Robert. 2019. Should this tree have the same rights as you? The Guardian [online]. Available at: https:// 03 - USFS REGION 5. 1936/1937. Aldo Leopold trip to the Rio www.theguardian.com/books/2019/nov/02/trees-have- Gavilan. California, Oslo rights-too-robert-macfarlane-on-the-new-laws-of-nature

11 12 第 2 章：理論の適用 Chapter 2: Application of theory

13 Chapter 2.1 - Historical context & Chapter 2.2 - Studio Ghibli & eco-cosmopolitanism Nausicaä of the Valley of the Wind (1984) Author’s note: The figures in Chapter 2 have been slightly altered post-submission for the sake of Perhaps one of the most well known animation studios publication. in the world and certainly the most famous in Japan, Studio Ghibli’s earlier films often utilised elements of Japan was the first nation to experience the horror similar themes put forward by Lovelock & Margulis, of atomic weapons when the cities of Hiroshima and Leopold, Næss, and Heise. Officially founded in 1985, Nagasaki were targeted by the Allied forces in August the studio came into being following the success of the 1945. Effectively ending the second World War, the animated film Nausicaä of the Valley of the Wind, an bombings scarred the nation and to this day still original creation by studio founder Hayao Miyazaki. remains a fierce topic of ethical debate. In the following An already successful animator and illustrator in his decades it’s unsurprising that war, ecocide, facism, and own right, Miyazaki, alongside Animage (the magazine many other associated tropes became prevalent within in which Nausicaä of the Valley of the Wind was Japanese forms of creative media. On the other side of initially serialised) editor Toshio Suzuki and Nausicaä the coin, themes of ecological coexistence and eco- producer Isao Takahata formed Studio Ghibli. This cosmopolitanism became increasingly interchangeable came following the struggle to find a studio to animate with the concept of the utopian ideal. Nausicaä whilst sticking with its modest budget, with So what does it take for something to be eco- Topcraft eventually taking the reins (McCarthy, 1999). cosmopolitan? The word cosmopolitan generally Many of the Topcraft staff later went on to work for describes something that can be found worldwide, or Studio Ghibli following international interest and someone who is able to exist and thrive anywhere investment by companies such as The Walt Disney in the world. First proposed by Ursula K. Heise in Company (MEGNA, 2018). her 2008 book Sense of Place and Sense of Planet: The Environmental Imagination of the Global, the The studio’s output has slowed down over the past concept of eco-cosmopolitanism is described as decade, producing more introspective work, but an “emphasis on local identities and communities in between 1984–2010 the projects produced by Ghibli fell North American environmentalism by establishing more so into the fantasy and adventure genres, with conceptual connections between environmentalism and all bar one of their films finding acclaim both in local ecocriticism, on one hand, and theories of globalization, and international markets. Nausicaä of the Valley of transnationalism and cosmopolitanism, on the other” the Wind (1984) was the first to do so. Despite being (Heise, 2008). Choosing to look at globalisation created pre-studio founding, it’s widely regarded as with a more positive outlook, Heise questioned the Ghibli’s first project. possibilities of an international environmentalist The film centres around themes of coexistence and movement, one without borders imposed by nations: a imposition upon the natural environment. The opening global environmental awareness that doesn’t stop when moments of the film set a scene of fragile balance, with you leave your home. Heise described the ideal of eco- the titular character, Princess Nausicaä of the Valley of cosmopolitanism as “environmental world citizenship” the Wind, leading a solo-expedition into the so-called (Heise, 2008), with a vision of a transformed and ‘Toxic Jungle’. A product of an intense and cataclysmic united planet under the banner of environmentalism. war known as the Seven Days of Fire caused by the implosion of an industrialised society, the reactionary existence of the Toxic Jungle stands as a testament of 14 Figure 01 - Princess Nausicaä deep within the Toxic Jungle, surrounded by glowing plants, poisonous spores, and mutant insects.

15 16 Figure 02 - Lakes of clean water flow beneath the Toxic Jungle’s soil.

17 the consequences of living a shallow ecological life. evident as humans reveal themselves to be the true The harsh environment and spore-ridden atmosphere antagonists, attempting to utilise pre-fallout bio- allows for a multitude of wild creatures and mutated weaponry to destroy the Jungle and its inhabitants. A insects to thrive, but not humans, and as a result the removal of moral agency is justified in the eyes of the hostile nature of the Toxic Jungle sees it initially set up antagonists, who believe that the destruction of the to be the predominant antagonist. insect populations (effectively genocide) is essential to The film is set in the Valley of the Wind, a small the survival and prosperity of a united human society. settlement far away from the ever-growing poisonous This also demonstrates a key criticism of utilitarianism mass. As the Toxic Jungle spreads outward, spores (the belief that the morality of an action is determined released by the Jungle’s plants are carried by the by its outcomes), with the suffering and death of the wind and often appear within the valley, causing the insects being outweighed by the survival of humanity. residents to attack anything exposed with fire. The The attribution of lesser value to the insects by the character of Nausicaä is at heart an idealist, and her antagonists shows a lack of belief in the theory of frequent expeditions into the Toxic Jungle in search of kinship, though Nausicaä herself champions this belief new understanding are spurred by a desire to lead the throughout, and in the final moments of the film proves valley into a more eco-cosmopolitan lifestyle, coexisting to the humans that the creatures’ violent actions are together with the encroaching natural disaster instead merely a reflection of imposition by humans. of attacking it with hatred and fire. She even goes as far as to seal off a room in her house and fill it with plants Chapter 2.3 - Animism & Pom taken from the Toxic Jungle in an attempt to figure out what causes the toxicity. Poko (1994)

When the plants are nurtured with clean water and Pom Poko utilises anthropomorphism to highlight fresh soil it’s discovered that they no longer release the impact of urbanisation upon the environment toxic spores, with human pollution of the soil being from the perspective of native Japanese raccoon dogs, the main cause of the toxicity and also the cause of or tanuki. In Japanese animistic folklore tanuki are the Toxic Jungle to exist in the first place, implying known for their cunning nature and ability to alter that without continued human intervention, the their appearance at will, but are otherwise harmless. Jungle’s atmosphere may also be sustainable for human The film centres on a group of tanuki living on the existence. In a further discovery it’s revealed that the Tama Hills, situated on the edge of Tokyo in the 1960’s, Jungle actually self-regulates (drawing links with the whose peaceful lives centre around obtaining food and Gaia Hypothesis, with the toxic plants slowly purifying procreating. As urbanisation occurs behind the scenes, the poisoned soil, leading to the formation of large lakes the tanuki suddenly find their home threatened by a of clean water and soil deep below the Jungle (Miyazaki, suburban residential project, named New Tama. 1984). 30 years have passed, and territory and resources In the context of theory, the film highlights the shrink with each passing minute as deforestation runs familiar realities of living with the consequences rampant. Fights occur amongst rival groups, ending of a mainstream shallow ecological belief system, with the tanuki coming together to take action against and the unsustainable exploitation of the land prior the human threat. to the formation of the Jungle draws parallels to The tanuki resistance return to their cultural roots Leopold’s original basis for the urgency of a land and decide to reteach themselves the skill of illusion to ethic. The environment is used without any sense of halt the development, opting initially for simple pranks obligation, and when the environment fights back, the to scare workers into quitting, but after this proves lessons remain untaught. This becomes even more fruitless and more staff replace them, they go so far

18 Figure 03 - Tanuki, in their realistic forms, survey the early signs of development on Tama Hills.

19 20 Figure 04 - Tanuki, in their anthropomorphised forms and surrounded by development, prepare to transform into humans.

21 as to physically harm and cause the death of several of nature on Tama Hills, the area becomes sterile and construction workers. The development continues, and homogeneous, scarring the land with alien concrete so under the guidance of elder illusionists the whole structures. Using the example of Leopold’s governments, community stage a large-scale public performance to the tanuki and wider forests work in harmony with the try and reinvoke belief in the supernatural. Seemingly temples and farmhouses that came before, and without successful, the credit is then taken by local theme them the land becomes hollow and devoid of history park owners, much to the dismay of the tanuki. At this and life. Notions of eco-cosmopolitanism are explored point in the film division occurs, and the groups splits towards the final moments of the film, what would an into several factions. One impassioned group disguise idealised world of coexistence look like from the eyes themselves as eco-protestors and are slaughtered by of those with the most to lose? An act as simple as police in a fierce battle; some who can’t transform slowing down to let animals cross the road, or leaving form a cult and board a flying ship, sailing off to their food outside during the winter is all the tanuki feel they death; and others retreat into the city, researching the can ask for towards the end. An unsustainable hatred viability of living as humans. In the film’s penultimate becomes a simple desire to coexist, an act made without moments, the remaining tanuki take one last risk choice. In the case of the protesting tanuki militia, any and through the medium of illusion transform the resistance in the face of an impossibly large enemy is landscape back into the way it was for a short moment, quickly squashed. Even with the films somewhat upbeat before urbanisation destroyed the Tama Hills. With ending, the poignant message of Pom Poko remains. one final reminder, the tanuki depart into the city, leaving behind the ones unable to disguise themselves. Chapter 2.4 - Further animism In the film’s closing moments Shoukichi, the character narrating throughout the film, now disguised as a within Spirited Away (2001) & human follows another non-transformed tanuki onto a golf course, where he finds many of the remaining Princess Mononoke (1997) resistance members celebrating, just happy to be alive Animism as a trope is used frequently throughout (Takahata, 1994). Ghibli’s work, being applied to a range of inanimate or abstract things, from cats, to the written word. An Pom Poko reads as one last love letter to the areas lost example of this can be observed within Studio Ghibli’s to the rapid growth of cities, with the viewpoint of 2001 film Spirited Away, in which the antagonist, animals perhaps providing a more effective outlook on Yubaba, uses written words to lock the main character, the effects of global expansion and the often unseen Chihiro, into a contract. Within the written letters realities of habitat loss. The comical and whimsical contains an essence of Chihiro’s identity, and when tanuki become the perfect vehicle to carry this message, lifted off the page by Yubaba leaves behind a remnant, with what begins as an accessible and light-hearted crafting Chihiro a new identity as Sen. The symbiotic film quickly becoming one of urgency, with themes of nature of the written name means that without it, eco-terrorism and capitalism soon rising to the surface. Chihiro (now Sen) soon forgets her old name and life, The mere concept of animals having to abandon their and is informed that without it she won’t ever be able to tribes and transform into humans simply just to exist is leave and return to the human world (Miyazaki, 2001). a ludicrous one, which is exactly the point Pom Poko is trying to make. The ignorance of humans to the plight Themes of personification and animism are explored of the tanuki eventually turns into a blatant disregard even further within Princess Mononoke (1997). A for nature as the developers continue exploiting the distinctly more gritty angle in comparison to that of folklore-rich region for profit, driving home the Pom Poko, Princess Mononoke tells the tale of once warnings of Næss and Leopold. Without the presence

22 Figure 05 - Once abstract animism becomes tangible as Chihiro’s name is stolen, leaving behind a single character and a new identity: 千 (Sen)

23 Figure 06 (above) - The Forest Spirit, an embodied Figure 07 (below) - As day turns to night the Forest extension of the vast Cedar Forest. Spirit becomes the Night-Walker and walks the landscape, treading the crux of life and death.

24 stoic and wise gods falling victim to rage as a result Chapter 2.5 - Nature & Ronja, the of human interference. As resources are stolen from sacred lands for use in wars and military slaughter, Robber’s Daughter (2014–2015) the harmonic balance between humans and the environment crumbles. Forests are given essence The trope of eco-cosmopolitanism can be observed (animism) through the vehicles of deities, with the within a variety of Ghibli’s films, particularly lending murder and acquisition of the Cedar Forest (main itself towards fantasy adventure films like Princess setting) Spirit’s head being the primary objective for Mononoke, but the theme is also touched upon in less the film’s antagonists. This is enacted at the expense typical animated projects. Alongside their portfolio of the wider environment, as the spirit of life and of films, an animated 26-episode run of a show co- death eradicates everything in its vicinity in hope produced with Polygon Pictures by Hayao Miyazaki’s of reclaiming its head. The film draws parallels son, Goro Miyazaki, titled Ronja, the Robber’s Daughter with Nausicaä of the Valley of the Wind in that the is one of the few recent examples of Ghibli work that protagonist, Prince Ashitaka, sees the world from a showcases distinct themes revolving around the perspective of responsibility, over both the protection environment and ecology. of their own tribes, and the wider environment. Their unwavering desire for coexistence and drive for post- The show’s characters, a band of robbers led by humanist consideration is ultimately what causes them chieftain Mattis and his stern, yet loving wife Lovis, to be successful. grapple with both human and natural adversaries for the survival of their clan. Their daughter (and

Princess Mononoke is symbolic of a wider critique of only other female clan member), Ronja, acts as the exploitation and capitalism, with Ashitaka’s motivation show’s protagonist. The series begins slowly, focusing stemming from the negative consequences of ore on the fort in which she lives and the community extraction via deforestation abruptly entering his Ronja surrounds herself with, however the setting life when his village is attacked by a large boar god, soon begins to expand into the neighbouring forest turned into a demon of rage by a bullet lodged in its (itself an interesting connection to philosophical body. This willingness to upset the natural balance of post-humanism). At one point Ronja and Birk, the life in order to attain a goal is a poignant criticism of secret child of the rival Borka clan decide to renounce war from Miyazaki, who along with Suzuki refused their robber heritage and flee into the forest together to cut anything from the international release of the following an intense confrontation between clans. film (helmed by Harvey Weinstein) [Ashcraft, 2018]. For the duration of the spring and summer, the Princess Mononoke draws further parallels to Pom pair coexist alongside the forest with ease, obtaining Poko by appealing to an interest in mythology and supplies in a sustainable manner and relying on a wild animistic Japanese folklore as a means of conveying mare for milk. A romanticised notion of adventure and a post-humanist message. If showing ecocide from independence spur the children on, and for a time the the perspective of cute, innocent animals doesn’t thought of a truly eco-cosmopolitan lifestyle seems to work, perhaps reminding others of the enormity of be a reality. However as the signs of the approaching nature is an option. The film ends with the primary winter months begins to creep closer it becomes antagonist Lady Eboshi, now missing an arm at the evident that the pair’s cave dwelling won’t be enough hands of a disgruntled wolf god, advocating for the to keep them warm. The seasons become symbolic implementation of a land ethic, beginning with the of the crux between life and death in the eyes of the construction of a new town, a better one, that coexists robber children. With the Borka tribe almost yielding with and respects the land it sits upon (Miyazaki, 1997). to starvation the winter before, the children find themselves at a crossroads. For Ronja returning home

25 means facing a father who disowned her; whilst for Birk Chapter 2.6 - The ocean & Ponyo it symbolises another uncertain winter, succumbing to the winter in their cave at least ensures dying with (2008) sense of dignity. Now fully at the mercy of autumn, Ronja comes to the realisation that life is more than just Ponyo is another fantasy film from Studio Ghibli told a thing to be thrown away, and dying in the wilderness from the perspective of children, drawing parallels whilst they have the option of survival to Ronja means with Ronja. When a young goldfish (later named Ponyo) doing just that. When her father tracks the pair down meets a human boy, she cannot help but wish to become and finally apologises for his wrongs, Ronja is then left human too. As her transformation begins, fueled to convince a hesitant Birk to return with her to the fort. purely by desire, the equilibrium of the natural world Together they return and unify the two clans, deciding tips out of balance. Vast tsunamis batter the human to spend the following spring and summer months once boy, Sōsuke’s hill-top house and flood the nearby port again living amongst nature, returning home come towns. When the pair reunite, they must venture out winter (Miyazaki, 2014–2015). into a vastly different world to find Sōsuke’s mother, surrounded by ancient sea creatures who return and

The forest is to an extent personified as a mysterious, thrive in the newly flooded world as the past and vast, wonderful, and sometimes formidable being, in a the present collide. Unlike previous examples the similar manner to the Toxic Forest in Nausicaä of the dominant position of ‘nature/environment’ is usually Valley of the Wind. Ronja initially believes it to be her characterized by vast and mystical forests, however in friend and even naively refers to it as her forest (subtly Ponyo the scope is expanded into the entire ocean, and showcasing an unsustainable ignorance touched upon the effects are seen outside of the setting of the film, by Leopold in Land Ethic). As the characters fight with the widespread environmental shift bringing down against mythical creatures and natural forces- such as satellites and drawing the moon closer as though it bears, dangerous rivers, and snow -the forest becomes were metal to a magnet. so much more in the eyes of both the viewer and Ronja. In a similar fashion to the Forest Spirit ruling the What was once a friendly and familiar place of solitude Cedar Forest in Princess Mononoke, the ocean is ruled and beauty, characterised by mesmerising landscapes by a powerful goddess named Gran Mamare, Ponyo’s and intermittent scenes of fox mothers caring for their mother, who appears towards the middle of the film to kits, gradually becomes a hostile and unpredictable survey the symptoms of the environmental shift caused force. The forest’s self-sustaining ability to survive by Ponyo’s transformation. Being a anthropomorphised drives home a message that nature, whilst seemingly embodiment of the ocean, Gran Mamare is also known being an equal adversary, maybe even a friend, will by sailors as the Goddess of Mercy. Her husband, a never be on a scale equal to ours. We are ultimately former human named Fujimoto, is less kind, harbouring guests in the forest we call Earth. disdain for other humans and the pollution they In the context of the Gaia Hypothesis, the environment release into the ocean. He advocates for the removal of and setting of Ronja is almost a parallel world in Sōsuke, for without the lead character their daughter comparison to the world of today, ravaged by greed and will have no reason to remain human, and the balance exploitation. Ronja’s world more accurately describes will theoretically be restored. The duality of the two the symbiotic relationship we should have with our characters brings up once more the notion of a self- planet: a system born out of respect and appreciation sustaining planet: for Fujimoto, held back by the of the power of nature, not one consumed with a desire cynicism of his past life, the removal of humans will to control the uncontrollable. This delicate equilibrium return the planet back to the way it should be. This view is also explored within other Ghibli films, such as Tales aligns itself with the belief that humans are a plague from Earthsea (2006) and Ponyo (2008). upon the planet, but despite the pollution visible in the

26 Figure 08 - Ronja lives off the land. Figure 09 - Ronja finds herself trapped in the snow, exposed and fully at the mercy of winter.

27 Figure 10 - Ponyo swims amongst polluted waters.

28 early moments of the film caused by shallow ecological practitioners, Gran Mamare, who would benefit more than most from the removal of humans, still advocates for the potential of human kindness. In contrast to the powerful and at times unforgiving forest in Ronja, Gran Mamare, the role of nature in this case adopts a more maternal temperament (drawing direct links back to Gaia herself, known as the mother of all life) [Miyazaki, 2008].

Chapter 2.7 - Conclusions

Studio Ghibli’s work is rife with potential to apply ecosophical theory, ranging from flagrant (shallow ecological implications of industrial pollution in Nausicaä of the Valley of the Wind vs the deep ecological philosophy of Prince Ashitaka and the posthumanist journey in Princess Mononoke; animism of the ocean in Ponyo vs the literal anthropomorphism of nature in the face of habitat loss in Pom Poko), to subtle and slight (animism of the written word in Spirited Away; Ronja’s short-lived viewing of the forest as a possession). As Studio Ghibli begins to scale down operations, we’re left with a legacy of unparalleled thematic breadth, a body of work rich with ecosophical thought that will inspire for generations. The lessons taught within Ghibli’s work are alive and kicking in the modern environmentalist movement, but much like the knuckling under of the tanuki in Pom Poko, it’s often because we’re left with little choice. Going forward, there is a wealth of opportunity for further exploration of the relationship between Japanese animated cinema and the environment. Space restraints prevent additional discussion of further intersections of anthropological schools of thought and ecosophy, such as eco-facism vs eco-terrorism, but their relevance remains significant.

End of Chapter 2

29 30 Figure 11 - Gran Mamare, Ponyo’s mother and embodiment of the ocean, rises out of the sea to meet her husband, Fujimoto.

31 “Modern life is so thin and shallow and fake – I look forward to when developers go bankrupt, Japan gets poorer and wild grasses take over.”

Hayao Miyazaki, 2005.

32 09 - Still from Ronja, the Robber’s Daughter - S01E10: The Vow Bibliography for Chapter 2 to Be Brother and Sister (2014) MIYAZAKI, Gorō. 2014. Ronja, the Robber’s Daughter [TV MCCARTHY, Helen. 1999. Hayao Miyazaki: Master of Series] Japanese Animation. Berkeley: Stone Bridge Press, pp. 72-92 10 - Still from Ponyo (2008) MEGNA, 2018. How The Japanese Studios Were Born. MIYAZAKI, Hayao. 2008. Ponyo [Film] MEGNA [online]. Available at: http://xoomer.virgilio.it/ fedgrame/english.htm 11 - Still from Ponyo (2008) MIYAZAKI, Hayao. 2008. Ponyo [Film] MIYAZAKI, Hayao. 1984. Nausicaä of the Valley of the Wind [Film]

TAKAHATA, Isao. 1994. Pom Poko [Film]

ASHCRAFT, Brian. 2018. The Time Studio Ghibli Stood Up To Harvey Weinstein With A Katana. Kotaku [online]. Available at: https://kotaku.com/the-time-studio-ghibli-stood-up-to- harvey-weinstein-wit-1823223914

MIYAZAKI, Hayao. 2001. Spirited Away [Film]

MIYAZAKI, Hayao. 1997. Princess Mononoke [Film]

MIYAZAKI, Gorō. 2014–2015. Ronja, the Robber’s Daughter [TV Series]

MIYAZAKI, Hayao. 2008. Ponyo [Film]

TALBOT, Margaret. 2005. The Auteur of Anime. New York: The New Yorker, 17 January, pp. 64

Figure list

01 - Still from Nausicaä of the Valley of the Wind (1984) MIYAZAKI, Hayao. 1984. Nausicaä of the Valley of the Wind [Film]

02 - Still from Nausicaä of the Valley of the Wind (1984) MIYAZAKI, Hayao. 1984. Nausicaä of the Valley of the Wind [Film]

03 - Still from Pom Poko (1994) TAKAHATA, Isao. 1994. Pom Poko [Film]

04 - Still from Pom Poko (1994) TAKAHATA, Isao. 1994. Pom Poko [Film]

05 - Still from Spirited Away (2001) MIYAZAKI, Hayao. 2001. Spirited Away [Film]

06 - Still from Princess Mononoke (1997) MIYAZAKI, Hayao. 1997. Princess Mononoke [Film]

07 - Still from Princess Mononoke (1997) MIYAZAKI, Hayao. 1997. Princess Mononoke [Film]

08 - Still from Ronja, the Robber’s Daughter - S01E20: With the Wild Horses (2015) MIYAZAKI, Gorō. 2015. Ronja, the Robber’s Daughter [TV Series]

33 Parting notes

If you’re a student currently in the thrall of writing their dissertation and looking to this for inspiration, or if you’ve been forced to turn this into a publication/ magazine for a second year module, or if the world succumbed to COVID-19 in 2020 and you’re an alien who found this on a library shelf, here’s a couple nuggets of advice.

Firstly, pick a topic you actually like, seriously. I’m one of the few people I’ve met that actually enjoyed writing their dissertation, and that’s because I was interested in the topic I was writing it on. It’s scary to see everyone around you writing about semiotics in advertising, or the history of typography, especially if you’re not that interested in design as an academic subject. You have the freedom to write about whatever you wish (within reason), make it work for you, just like you would a design brief. If I can get a first writing about anime for a Graphic Design course, you can too.

Secondly, take risks and stand up for yourself. I had friends telling me to compare my topic to Donald Trump’s stance on climate change, American politics, Brexit, Extinction Rebellion. I remember thinking at the time about how I’d rather jump off the pier, but I kept working on my research until I’d found a niche that worked for me. You’ll know when you’ve found your angle, just keep working on it.

34 Further watching *If the characters sound brutally British, you’re watching the StudioCanal dubbing, keep searching for the Disney version. Not even Olivia Coleman can Fantasy and magic sustain me: redeem this shrill and grating rendition. I’d like to think that this was a precursor to Brexit, proof that Howl’s Moving Castle (2004): A young girl gets a the British people can’t make good decisions about curse laid upon her by a witch, aging her beyond anything, and that decision was casting Tom Holland. recognition. A series of fortunate events leads her to a huge mechanical moving structure where she meets a handsome wizard named Howl (voiced by Christian Bale in the English dub), honestly what more could you ask for?

Porco Rosso (1992): Set in the Adriatic Sea, the film follows the escapades of a war veteran turned pig turned bounty hunter. Best quote: “I’d rather be a pig than a fascist”.

Kiki’s Delivery Service (1989): Coming-of-age tale revolving around a teenage witch moving away from home for the first time, kind of like being a student but much cooler because she can fly and there’s no loans.

Arriety (Japanese with Sub. or Disney Dubbing*) [2010]: A unique offering on the borrower concept (tiny people living in houses and stealing resources from the owners). Beautifully lush and green, the human and borrower house settings are fantastic, well worth a watch, but don’t prioritise it.

Want something a bit more settled and relatable?

Ocean Waves (1993): A visually stunning tale set in Japan (and for a moment Hawaii) which really highlights Studio Ghibli’s ability to turn even the most mundane of settings into something magical.

Only Yesterday (Japanese with Sub.) [1991]: Slightly slower than Ocean Waves, similar sense of magic. The film focuses on nostalgia, with the main character sporadically recounting a year from her childhood throughout the film. An English dubbed version exists, but I like to pretend it doesn’t, and for anyone interested, you should pretend it doesn’t either.

35 Alexander Forsey BA (Hons) Graphic Design Written in January 2020

Layout designed in March 2020 when the world buckled under the weight of a microscopic pathogen. As governments forced their citizens inside and grounded planes, the planet breathed, if only for a short moment.

See more of this project at: alexforsey.uk