Alba Campoy Martínez

FACULTAD DE FILOSOFÍA Y LETRAS MASTER’S DEGREE IN SPANISH AND ENGLISH AS SECOND LANGUAGES / FOREIGN LANGUAGES June 2020

Supervisor: María Martínez Lirola

Alba Campoy Martínez

FACULTAD DE FILOSOFÍA Y LETRAS MASTER’S DEGREE IN SPANISH AND ENGLISH AS SECOND LANGUAGES / FOREIGN LANGUAGES June 2020 The author, With the approval of the academic supervisor,

Alba Campoy Martínez María Martínez Lirola

ACKNOWLEDGEMENTS The realization of this project would not have been possible without the help of several fundamental pillars, to whom I wish to express my sincere appreciation and gratitude.

First and foremost, I would like to begin by thanking my supervisor Dr. María Martínez Lirola for her general work as a tutor, especially highlighting her constant attention, celerity and advice that have made this research more bearable and interesting. Undoubtedly, she has given me enough motivation that I am sure it will mark my future steps both in the field of research and in the teaching of foreign or second languages.

Additionally, I want to express my total gratitude to my parents, grandmother, and closest family, for having been supporting me since my decision to apply for this master’s until the end of it. Without their encouragement, particularly in the most critical moments of this new educational stage, I would not have managed to finish it.

Similarly, I am eternally grateful to my partner, who apart from being a great reference in my everyday life, he also immersed me in the world of anime and manga. Thus, he has become a huge source of inspiration, and he is the reason why I have carried out both this project and the master’s of education’s one.

Finally, I want to show my appreciation to my colleagues who have looked beyond their own interests and have dedicated themselves in order to create a full of fellowship, diversity of opinions and tolerant environment.

ABSTRACT The use of the cinematographic world in the English classroom as a support to learn a foreign language involves a very recent area of research due to the innumerable benefits that it entails. The present study aims to demonstrate that it is possible to teach a specific grammatical aspect as well as a cross-curricular theme as significant as feminism is. To that end, a mainly qualitative, but also quantitative analysis is carried out on the animated feature film Princess Mononoke (1997), directed by Hayao Miyazaki, in which the imperative mode, one of the grammatical aspects that most predominates in the interactions of both female protagonists – Lady Eboshi and San– is analyzed, apart from paying special attention to its implicit feminist discourse. The results are favorable regarding the possible teaching of the imperative mode and students’ awareness of feminism, even though the limitations which have been found suggest much more promising future avenues of research.

Keywords: Cinema, English Language Teaching, Anime, English as a Foreign Language, English as a Second Language, Hayao Miyazaki, Princess Mononoke (1997), Feminism, Gender Equality, Education, Imperative mood.

RESUMEN La utilización del mundo cinematográfico en la clase de inglés como apoyo para aprender una lengua extranjera supone un área de investigación muy reciente debido a los innumerables beneficios que conlleva. El presente estudio pretende demostrar que es posible enseñar un aspecto gramatical concreto a la vez que un tema transversal tan importante como es el feminismo. Para ello, se lleva a cabo un análisis mayoritariamente cualitativo, aunque también cuantitativo, acerca del largometraje animado La princesa Mononoke (1997), dirigida por Hayao Miyazaki, donde se analiza el modo imperativo, uno de los aspectos gramaticales que más predomina en las interacciones de ambas protagonistas –Lady Eboshi y San–, además de hacer especial énfasis en su implícito discurso feminista. Los resultados son favorables en torno a la posible enseñanza del modo imperativo y de la concienciación del alumnado en torno al feminismo, aunque las limitaciones encontradas sugieren futuras líneas de investigación mucho más amplias.

Palabras clave: Cine, Enseñanza del inglés, Anime, Inglés como lengua extranjera, Inglés como segunda lengua, Hayao Miyazaki, La princesa Mononoke (1997), Feminismo, Igualdad de género, Educación, Modo imperativo.

TABLE OF CONTENTS

1. INTRODUCTION ...... 1

1.1. Justification ...... 1

1.2. Structure...... 3

2. HYPOTHESIS AND OBJECTIVES ...... 4

3. THEORETICAL FRAMEWORK ...... 5

3.1. Using cinema in the English as a second or foreign language classroom ...... 5

3.1.1. One hundred years of anime history ...... 9

3.1.2. Hayao Miyazaki’s Princess Mononoke (1997) ...... 13

3.2. History of feminism ...... 17

3.2.1. The importance of gender equality in education ...... 21

4. METHODOLOGY ...... 26

4.1. Variables ...... 26

4.2. Instruments ...... 26

4.3. Procedure ...... 27

5. RESULTS ...... 28

5.1. Analysis of imperative forms through San and Lady Eboshi’s interactions in Princess Mononoke (1997) ...... 28

5.2. Analysis of Lady Eboshi and San’s feminist discourse in Princess Mononoke (1997) 32

6. DISCUSSION ...... 36

7. LIMITATIONS AND SUGGESTIONS FOR FUTURE STUDIES ...... 47

8. CONCLUSION ...... 49

9. REFERENCES ...... 51

APPENDIX

Appendix 1. Information about the film ...... 56

LIST OF TABLES

Table 1: Imperative categories pronounced by Lady Eboshi and San…………………………27 Table 2: Imperative categories pronounced by Lady Eboshi…………………………………28 Table 3: Imperative categories pronounced by San……………………………………………29 Table 4: Imperative usages in general…………………………………………………………30 Table 5: Lady Eboshi’s imperative usages……………………………………………………31 Table 6: San’s imperative usages...……………………………………………………………33

LIST OF FIGURES

Figure 1: “Wait till you see their mother.” (Miyazaki, 1997, 00:20:20)……………………….35 Figure 2: “Cut off a wolf’s head, and it still has the power to bite.” (Miyazaki, 1997, 00:48:22)……………………………………………………………………………………...35 Figure 3: “Tell me while you’re still alive.” (Miyazaki, 1997, 00:54:51)……………………...36 Figure 4: “Take that damn woman and just go away!” (Miyazaki, 1997, 01:55:37)…………...36 Figure 5: “Stay here. Help me kill the Forest Spirit, Ashitaka.” (Miyazaki, 1997, 00:41:58)….37 Figure 6: “Mind your manners, ladies.” (Miyazaki, 1997, 01:14:50)………………………….37 Figure 7: “You two, go on ahead now.” (Miyazaki, 1997, 00:57:20)…………………………37 Figure 8: “Mother! Please ask the Forest Spirit to save you.” (Miyazaki, 1997, 01:09:19)……38 Figure 9: “Let’s move!” (Miyazaki, 1997, 00:19:20)…………………………………………38 Figure 10: “Let’s get the living home.” (Miyazaki, 1997, 00:21:10)…………………………..39 Figure 11: “Let me just cut the damn thing off!” (Miyazaki, 1997, 00:51:03)…………………39 Figure 12: “Right. Let’s go.” (Miyazaki, 1997, 01:26:38)…………………………………….39 Figure 13: “Don’t let the oxen panic!” (Miyazaki, 1997, 00:19:33)………………………….40 Figure 14: “Don’t waste your sympathy.” (Miyazaki, 1997, 01:55:17)………………………40 Figure 15: “Don’t worry about them.” (Miyazaki, 1997, 00:57:18)…………………………..41 Figure 16: “Don’t let yourself become a demon!” (Miyazaki, 1997, 01:43:00)………………41 Figure 17: San’s leading skills (Miyazaki, 1997, 01:41:47)………………………………….42 Figure 18: Lady Eboshi warns her women not to trust men (Miyazaki, 1997, 01:18:20)……43 Figure 19: Lady Eboshi’s combat dexterity (Miyazaki, 1997, 01:12:52)…………………….43 Figure 20: San’s self-determination (Miyazaki, 1997, 01:42:20)…………………………….44 Figure 21: San’s affectionate side (Miyazaki, 1997, 01:06:35)………………………………44

1. INTRODUCTION

Nowadays, the cinema industry has established itself as an increasingly popular genre, and this is an inescapable fact. Traditionally, these audiovisual materials have been considered as superficial, or even linked to distraction exclusively in educational atmospheres. Notwithstanding, in this same educational context, its usefulness as a pedagogical resource has been highlighted, and this has been one of the main motivations for the realization of this final project. Despite any prejudice, movies are greatly present in our culture: although there are different themes and genres, I will focus on a Japanese animated film named Princess Mononoke (1997), directed by Hayao Miyazaki, since its visual nature makes it an attractive medium, not only to enjoy its watching, but also as an instrument of learning grammatical aspects and other cross-curricular topics, as it is feminism in this case. In regard to feminism, it is significant to note that it has always been a required social movement to escape the unfair and sexist oppression that many women have experienced through their lives. Throughout history, the figure of the woman has suffered countless injustices, including multiple discrimination in terms of gender. These motives inspired the creation of what feminism is nowadays, with its bases and its objectives founded from the first great feminist wave back in the nineteenth century. Even today, there are still many women who have to suffer abusive behaviors and discriminations for the simple fact of being women, and Princess Mononoke (1997) illustrates what the wrong-referred “weaker sex” is capable of. Therefore, along with what was aforementioned, the main objective of this project is to demonstrate that the anime film Princess Mononoke (1997) can be a productive tool for teaching English grammar and feminist issues. For this to be achieved, the main purpose of this paper revolves around two significant research questions: 1) What grammatical aspect is mostly used by the two female protagonists in the film? 2) What feminist features can be drawn with regard to the grammatical aspect?

1.1. Justification

Everything which is related with the so-called Japanese culture has grabbed my attention quite recently. In spite of the fact that when I was a child, I was not really aware that I already liked its audiovisual reference with television series such as Doraemon (1979), Captain Tsubasa

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(1983), and Shin-Chan (1992), among others, it was not until 2016 when I could discover thanks to my partner totally unknown anime series that I had never heard of. These audiovisual productions escaped the already known childish themes and went into other more psychologically mature ones. We started watching Fullmetal Alchemist: Brotherhood (2009), followed with Gurren Lagann (2007), and soon after came two of the three best films by Hayao Miyazaki, one of the most renowned directors belonging to the Japanese animation studio Studio Ghibli: Spirited Away (2001), and Princess Mononoke (1997) respectively. Once I watched Spirited Away (2001), I was surprised about the fact that the main character was a girl who did not need anyone’s help to manage her own adventures, but when I finished Princess Mononoke (1997), I knew I had to highlight her feminist implications somehow. Such was my interest for anime that I started introducing myself in the manga culture as well. Thus, when I was studying the Master’s Degree in Education in the academic year 2018-2019, I dedicated my final project to its use as a literary resource in the English classroom, whose didactic unit was based on reading and learning about Japanese culture along with four manga comics which were different with each other. When I applied for the Master’s Degree in Spanish and English as second or foreign languages in 2019, I did not know if I had to direct my research project in the field of manga again or change the topic for its audiovisual counterpart, and finally I decided to choose anime. As anime includes any type of audiovisual production, I had to limit the genre, choosing in the end that film from Studio Ghibli which fascinated me so much when I first watched it. Having said that, I also made the decision about doing research on a linguistic aspect which both female protagonists mostly used throughout the film. It is necessary to detail that I focused on these two main characters and not others due to the strong personality which they showed along this animated feature movie. The fact that they are women is totally strange if we think of the idea that the time in which the film is set is between 1336 to 1573 roughly, centuries in which women had no participation in the worldwide society. For this reason, an extensive analysis will be done in order to state which grammatical aspect prevails, as well as its implicit feminist discursive elements such as female leadership, strength and empowerment.

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1.2. Structure

In order to achieve the aforementioned objective, this final project is structured in different parts. First and foremost, the theoretical framework in which this work is inserted takes place: the state of the issue revolves around the use of cinema in the English as a second or foreign language classroom, especially the Japanese animated genre. Therefore, I will also introduce the basics of anime history so that this industry is better understood, as well as a commentary on Hayao Miyazaki’s Princess Mononoke (1997) production. Afterwards, I will show a brief introduction about the history of feminism and its significance in the educational medium in a different section. Regarding the following development of this paper, I will introduce different aspects such as the methodology which was followed –mainly qualitative, but also quantitative, the results obtained from the analysis of the film and the consequent discussion. Once the discussion has been stated, some of the most potential limitations as well as their suggestions for future studies will be highlighted, presenting the conclusions which have been drawn about this project in the end.

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2. HYPOTHESIS AND OBJECTIVES

Before establishing the theoretical framework of this project, this section in which the assumed objectives and hypothesis are shown is introduced, since it defines the starting point of the current research. For this reason, before proceeding to a general explanation, it is important to indicate that this study consists of a starting hypothesis that is divided into two fundamental objectives in turn. First of all, the hypothesis from which the following paper begins is that the film Princess Mononoke (1997) contributes to the learning of both an English grammatical aspect and of a transversal theme or topic. Nevertheless, in order to prove this, the first research question that arises is stated as follows: 1) What grammatical aspect is mostly used by the two female protagonists in the film? Consequently, the previous research question leads to the first objective that appears in this final project: to know what grammatical aspect is mostly used by Lady Eboshi and San throughout this feature film. Thus, the benefits that movies –animated ones mainly– have in the English teaching classroom (see section 3.1.), as well as a review of the commencements of the history of anime and how this history influenced the Japanese director Hayao Miyazaki to carry out his famous film production, especially with Princess Mononoke (1997) (see sections 3.1.1. and 3.1.2.) are analyzed. Furthermore, the second research question that emerges from the starting hypothesis has to deal with a more cross-curricular element, being asserted the following way: 2) What feminist features can be drawn with regard to the grammatical aspect? According to this research question, a second objective is pursued in this work: to know what feminist discourse can be deduced from Lady Eboshi and San’s usage of that particular grammatical aspect. In order to achieve this, an extensive examination on feminism is needed in order to understand its reasons and ambitions throughout history, as well as the significance that gender equality has in the teaching spheres specifically. Eventually, the validity of using Princess Mononoke (1997) to learn grammar and feminism is tested in this study in order to check if it is certainly effective in the English teaching classroom, assisting students of English as a second or foreign language in this way.

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3. THEORETICAL FRAMEWORK

Researches have to be supported by a theoretical framework about the findings of other researchers from the same field and about the subject. In this paper, analyzing the film Princess Mononoke (1997) for the teaching of English as a second or foreign language has been chosen as a premise. Thus, the importance of cinema in an educational environment, as well as the brief history of the anime industry, apart from one of its greatest creations such as Hayao Miyazaki’s Princess Mononoke (1997) will be taken into account. In addition, both the history of the feminist movement and the necessity to integrate this type of current in the educational field will be studied in order to achieve a more egalitarian environment.

3.1. Using cinema in the English as a second or foreign language classroom

Cinema was born with great dependence on the arts which were close to it such as painting, music, literature, theater, among others (Gubern, 1973; Vidal, 2007). However, it ended up differentiating itself as an own discourse, and for this reason, the cinematic world is an independent medium nowadays. Therefore, what was a natural dependency originally, it would soon lead to an inevitable rivalry between all the already existing arts –which were willing to lend part of their groundings to the cinema– and cinema itself, being able to become a new artistic discourse. Bone and Johnson (1997) stated that there is a special communication between filmmakers and the spectators who are watching their movie. In this sense, anytime the audience understands the message that the director has tried to express throughout this particular medium, communication takes place. Furthermore, the cinematic world stands out due to its popularity: there are several traits such as the plots, the use of colors, the size of the image, the characters’ development, even the technical mastery of productions, among others, which contribute to its reputation. In the words of Bone and Johnson (1997), there are at least five reasons which are quite noticeable: The first one deals with the easiness to “become involved in a film because all it seems to require of you is that you let it pour into your head.” (p. 3). The second reason has to do with the fact that “films seem to be real, as if the action were taking place at the moment you watch.” (p. 3). This usually happens with live action movies rather than with animated ones; nonetheless, this should not signify a further problem. The next argument that the authors assert 5

is that “films are a part of our popular culture, influencing how we think and what we do.” (p. 4). According to Howell (2014), “it has been traditional to use elite rather than popular culture in foreign language teaching.” (p. 195). This means that there is a great prominence towards literary works such as novels, theatre and poetry –especially classic ones; however, in the twenty first century, cinema –also known as the most popular art form– is not covered that much yet. In the fourth claim, the idea of escaping from “the realities of life, if only for a short time” (p. 4) is discussed as well, since watching a captivating storyline makes people forget to distinguish between reality and fantasy for their total immersion in the cinematic plot. The final proposition is that “filmmakers create a tremendously entertaining and captivating product” (p. 5), and it is reached because they know how to get people into the theater. Therefore, bringing popular movies into English as a foreign language or second language classes entails positive effects, since films are another medium which teachers have been using to supplement their educational curriculum (Vetrie, 2004; Goctu, 2017; Nassar, 2018). In this way, teachers take advantage of both movies’ ability to train and inform in a relaxed and playful way, as well as their ability to increase students’ awareness by presenting them sociocultural topics. Among all the different genres and subgenres which can be found when referring to this popular culture, in this paper there is a special emphasis towards the use of animated movies in the English classroom, and in more detail, Japanese ones. Both cinema in general and Japanese animation in particular belong to the so-called popular arts as it has already been mentioned, and it is important to note the significance that they have in the educational medium. Regarding animated films, the creation of these cinematic mediums has brought about a continuous development of its own industry, and as a consequence, there are many different definitions which are given to animation films (Nassar, 2018). In particular, as it was stated in subsection 1.1., Japanese animated movies are usually referred to as ‘anime’ films or movies. There are myriad advantages when using animated films in the process of learning a foreign language. For instance, Nassar (2018) highlights some of the most significant ones, explained in more detail below: animated movies as a motivating technique, for teaching culture, and for teaching different language skills. The fact that films attract students’ attention is obvious. Vetrie (2004) explains that “choosing a film that strongly fits within the experience of the students and has relevancy for their lives creates a dynamic environment in which the students think about the film critically, express their opinions orally, and write profusely.” (pp. 42-43). Moreover, in the words of Goctu (2017), “movies are being used for pedagogical purposes in order to motivate language learners and they are easily available and popular entertainment form of teaching tool in English

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teaching as a foreign language.” (p. 122). With these two clarifications, the idea that films are seen just as an entertainment medium is redefined. There is a strong preference on considering them as a both educational and motivational tool which is able to make students more engaged with their learning. For this reason, a motivating movie is key in the teaching-learning process, as it should show situations that raise awareness and draw students’ attention as well, either because the cinematic medium meets their needs and experiences or because of its ludic and imaginary meaning. Before dealing with the notion which revolves about the fact that movies can be used for teaching culture, it is significant to note that it is not possible to define the concept of culture categorically and universally, since it is a totally subjective idea and it is found in a continuous transformation state. It would be impossible to know all the views, social realities, identities and, ultimately, ideas of culture which exist around the world, and this is the reason why the complexity and volatility of the term should be taken into consideration (Herrera, 2018). Therefore, rather than working on culture in the language classroom, teachers should focus on working with films which support the intercultural competence, since according to the institutions Bertelsmann Stiftung and Fondazione Cariplo (2006), it is “the ability to interact effectively and appropriately in intercultural situations; it is supported by specific attitudes and affective features, (inter)cultural knowledge, skills and reflection.” (p. 4). In other words, this competence focuses on encouraging students in order to develop a critical perspective of the different cultural realities that they may encounter, taking into account both cultures that are unfamiliar to them and those that they consider their own. Thanks to intercultural films, students will have enough resources to understand, at least generally, the complexity and diversity of all the existing cultures. Likewise, both students and teachers themselves will not realize clichés and simplifications when dealing with these subjects. In this globalized world, it is increasingly common to interact with people from different places and with different sensibilities, beliefs and customs. For this reason, the intercultural competence would help students develop a series of skills that will not only be useful in the foreign language class, but also in their daily lives. Furthermore, much attention has been given regarding the effectiveness of using films in order to develop the four different language skills: listening, speaking, reading, and writing. For instance, Stoller (1988) affirms that movies are recommended for improving speaking, writing and listening skills in English as a foreign or second language. For this reason, films should be viewed as classroom aids and support, as well as “a complementary tool in the process

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of teaching and learning.” (Nassar, 2018, p. 15). There have been multiple researches done about the use of movies in order to enhance language skills in that regard: According to the listening skill itself, many scholars have revealed that films give exposure to the so-called “real language”, a type of language which is “used in authentic settings and in the cultural context which the second language is spoken.” (Jamal, 2015, p. 12). As it can be assumed, this exposure helps students to increase their acquisition of the second language, apart from being familiarized with different tones and accents that may appear in the film. Qiu’s study (2017) analyzed the effects of using movies in order to enhance listening skills, showing that English teachers should consider using films in order to work on speaking and listening comprehension. Besides, in the words of Albiladi (2018), “listening to real language represented in the movies makes language learning more enjoyable and interesting.” (p. 1571). Metruk (2019) argues that “extensive listening and viewing indeed has its place in foreign language learning” (p. 229), but that at the same time, there should be even more research in that regard to prove it as an axiom. Regarding speaking, its main objective is “to be able to speak English accurately, fluently and contextually.” (Kusumaningrum, 2015, p. 15). Ismaili (2013) defends that this skill is certainly improved while using moving in the English as a foreign language classroom, apart from offering learners more opportunities to use it. Moreover, the fact that movies create a relaxing atmosphere for students is also supported, resulting in the elicitation of their own experiences when following the activities which are posterior to the projection of the film. Pronunciation is another key feature which is mentioned consistently by students when describing their experiences of utilizing movies as learning tools, as learners with an accurate English pronunciation “are likely to be understood even if they make errors in other areas.” (Albiladi, 2018, p. 1572). Not only listening and speaking, but reading comprehension has also become an interesting field of research. For instance, quoting Lee and Chang (2016), “improving the reading comprehension skills of students has become an important issue in educational and civilian institutes.” (p. 1501). For this reason, the written inputs such as subtitles also play a significant role in the development of reading, since what is being read is immediately supplemented with the movie features, which help them connect the new information that they are learning through the subtitles. The writing part can be seen as a posterior action once the movie has been watched, as students do not usually write while watching a film. However, this skill is interconnected with the previous one, as looking at subtitles assist students in their writing process (Albiladi, 2018).

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Furthermore, Vetrie (2004) suggests that teachers “use film as other literature is used: as a basis for anchoring most writing and critical-thinking activities” (p. 41) as well. Therefore, as the results from the study that Varga (2013) conducted, it was demonstrated that all the four listening skills are possible to develop throughout movies. However, in the words of Metruk (2019), not paying sufficient attention to all the previous skills in the foreign language both learning and teaching “may seriously impede the development of overall proficiency of EFL learners.” (pp. 227-228). For this reason, teachers should be highly encouraged to use films as a supportive medium in their classes. Once I have referred to the advantages of using audiovisual materials as movies in the English teaching classroom, I will concentrate on a brief overview of anime’s history, which is a crucial aspect in order to understand why the analysis of not only the film Princess Mononoke (1997), but also other Japanese animated series is so significant, as well as understanding what other productions were key in order to influence the creation of Miyazaki’s best awarded production.

3.1.1. One hundred years of anime history

After introducing the benefits that the use of cinema in the English teaching classroom entail, this subsection focuses on a brief overview of one hundred years of anime history, as it is key in order to understand the precedents that led Miyazaki to create one of his most famous audiovisual productions. Nowadays, it is still impossible to affirm exactly when the history of anime –a Japanese abbreviation of the word ‘animation’– began. This is the reason why many scholars document this period to be the early nineteen hundreds (von Feigenblatt, 2007; Horno, 2012; Rivas, 2013; Martínez, 2016). Besides, it is significant to note that this period is far from being as captivating as the decades which followed. Unfortunately, most of the animation from this era was destroyed or lost, since the fact that there were only single copies on every released film contributed to their damaging or disappearing. Nevertheless, there are some records of early Japanese animation which can be traced back to the creation of Katsudō Shashin, also known as the Matsumoto fragment, in 1907 (Horno, 2012, 2013). This is considered the earliest piece of Japanese animation, consisting of a three-second duration where a boy who writes some Japanese characters on a wall can be spotted, then turning in order to tip his hat to the audience. Shortly after, there would be a substantial piece of Japanese animation with Namakura Gatana (1917), produced by Jun'ichi Kōuchi. In this clip, the Japanese style of the so-called

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anime technique –being referred to as ‘cutter animation’, since animators cut the drawings and moved them around in order to give them movement– started manifesting itself. This technique was obviously much cheaper than the high-quality celluloid animation which other countries were using at the time. Unfortunately, there was a massive mishap for Japanese animation in 1923, as the great Kanto earthquake destroyed myriad projects and truly forced the industry to go backwards, apart from letting The Walt Disney Company to progress throughout the world. This is one of the reasons why many Japanese animators decided to use celluloids which would give quality to their works, as in the case of Ugokie Kori no Tatehiki (1933), directed by Ikuo Oishi. Nevertheless, as von Feigenblatt (2007) states, “the production of animation was then discontinued for a relatively long period of time until the Nationalist Pre-war government thought that it could be a useful propaganda tool.” (pp. 5-6). Some of the most visual examples are Mitsuyo Seo’s Momotarō no Umiwashi (1943) and Momotarō: Umi no Shinpei (1945), being the latter Japan’s first length animated film. Right after the second world war, the basis for the still functional Toei Animation studio will be founded, first called Japanese Animated Films in 1948 and then renamed in 1956. The creation of the aforementioned studio entailed a great advantage for Japanese animation, and it will lead the industry towards worldwide competition, staying close to Disney and starting the next decade of anime (Horno, 2012). During this period, Japan was highly recognized in the animated world, and for this reason several animations were aired on television. For instance, some of the following franchises are considered the most significant on the development of anime in the sixties: Otogi Manga Calendar (1961) was Japan’s first anime television series, and it is featured by documenting different events of history through the use of animation (Horno, 2012). In the same year, Osamu Tezuka, who was working for the Toei Animation studio, created Mushi Production. Tezuka was the most creative figure of the twentieth century in Japan, apart from being also a phenomenon: he had the most extraordinary scope of technical graphic abilities, and what is more, his characters and themes varied so much. Mushi Production started working on a number of anime that turned to be the most important and influential of this and the following anime generations: the first being the renowned Tezuka’s Astro Boy (1963) television series, whose main plot “deals with the creation of a robot superhero that fights for democracy and peace.” (von Feigenblatt, 2007, p. 7). During the sixties, not only were there many new series created, but many other new genres as well. For example, the mecha variety –robots or vehicles which can be controlled by one or more pilots– was born with the release of Tetsujin 28-gō in 1963, and its popularity was

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such that it was successfully broadcast in America as well, under the name of Gigantor (Horno, 2013). A few years later, the release of Tezuka’s Kimba the White Lion (1965) was Japan’s first colored anime television show, “which also became a major hit” (Napier, 2001, p. 16) all over the world. In 1966, a show aired by the name of Sally the Witch was the first anime of the magical girl genre (Horno, 2013) that, together with the mecha one, will stand out in the following decades. Sally is stated to be the first shōjo anime –stories whose main character is often a teenage girl. As the decade came to a close in 1968, Tezuka stepped aside from Mushi Production in order to work on his own, provoking the company’s bankrupt in 1973 but its subsequent restoration later in 1977. The seventies are characterized by the origination of more anime studios and a huge peak of the amount of animation which was being released. This decade made way starting with Ashita no Joe (1970), a boxing anime that gained a renowned popularity because it represented “the fringes; the voice of the marginalized, of those left behind” (von Feigenblatt, 2007, p. 74), and also influenced myriad future sports’ anime series. Moreover, Lupin III (1971), another popular franchise from this period, contributed to the reputation of anime, apart from assisting the future success of Hayao Miyazaki, considered one of the most significant Japanese directors. One year after the release of Lupin III, after the cease of Mushi Production, many of its staff left in order to found two of the biggest studios in the anime industry: Madhouse and Sunrise, the latter being the main contributor of the mecha genre. However, one of the most influential mecha series is Mazinger Z (1972), which actually came from the Toei Animation studio. In this anime, many chore features that are still seen in mecha anime nowadays were introduced, converting it into the most significant mecha production at the time. With the release of Heidi, Girl of the Alps in 1974, Hayao Miyazaki and Isao Takahata entered the anime industry (Horno, 2013). Heidi entailed the arrival of a very influential and successful work, not only in Japan, but internationally. Moreover, in this same period, some important shows such as Space Battleship Yamato (1974) and Space Pirate Captain Harlock (1978), both directed by Leiji Matsumoto, gave anime more solid and serious storylines, apart from making the space a quite prominent theme. One of the last releases of the seventies was the anime film The Castle of Cagliostro (1979), which was the directorial debut for Hayao Miyazaki and is based on the aforementioned Lupin III (Horno, 2013). The eighties conform the most significant decade in the history of anime, beginning with Rumiko Takahashi’s Urusei Yatsura (1981), a series which used an approach of pop- culture references and a unique humor (Napier, 2001). A year later the franchise Macross

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(1982) took place as a key contributor to the space anime series from the eighties. Captain Tsubasa (1983) also made way in the sports anime genre, turning it into the most popular and influential series all over the world. In this decade, the born of original video animations – abbreviated as OVA– took place as well. OVAs, which should not be confused with movies and films, are productions which can be classified as miniseries and are characterized by existing in physical format (Rivas, 2013); consequently, there are no projections on television programs or theaters. The first OVA Dallos, directed by Mamoru Oshii, was released in 1983, although its unpopularity forced OVAs to being unknown until shortly after. The founding of the Gainax studio in 1984 should be highlighted for its importance in the next years, coinciding with the release of the film Nausicaä of the Valley of the Wind, directed by Hayao Miyazaki (Napier, 2001). In this moment, the creation of Studio Ghibli in 1985 would expand the anime industry more than ever thanks to its classics and to the earned amount of money. Simultaneously, multiple OVAs were released successfully despite Dallos (1983) production, letting studios delegate less funds and time to create more experimental productions. In 1986, there are two landmarks which should be accentuated: the premiere of the Dragon Ball series and the first Ghibli’s film Laputa. Dragon Ball (1986) opened up the martial arts shōnen –this term literally meaning “a boy, a youth” (Basic Japanese-English Dictionary, 1993, p. 683) genre (von Feigenblatt, 2007), apart from being one of the most commercial anime up to the current day. In the case of Laputa (1986), it was a revolutionary and influential movie, very different from the beginnings of anime films, and entailed a good starting point for the studio. Japan’s most expensive anime movie Akira (1988) was released. However, it did not sell well in Japan, provoking the end of releasing more experimental high budget films. Only Studio Ghibli continued making these types of productions such as Grave of the Fireflies (1988) and My Neighbor Totoro (1988), and sponsors returned to fund only safe projects. In spite of being a failure in Japan, Akira had a massive impact in the West, becoming one of the most significant and influential science-fiction films of all time regarding its stunning animation and amazing world. This is affirmed in the words of Napier (2001): “Akira is also a complex and challenging work of art that provoked, bewildered, and occasionally inspired Western audiences when it first appeared outside Japan in 1990.” (p. 5). The film also helped the anime industry to become a lot more popular overseas in the coming decades. The anime industry really had its peak in 1988. Nevertheless, the Japanese economical crash at the end of the decade forced more studios to close, and also provoked that few productions came out, affecting the industry even more. Despite this declining situation, the

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film Ghost in the Shell (1995), directed by Mamoru Oshii, supposed a positive relief for the anime industry, apart from giving more credit to experimental projects. At the same time, Hideaki Anno’s Neon Genesis Evangelion series was also released, giving anime more recognition and provoking a huge impact together with Ghost in the Shell. Both productions revived the industry, which had been struggling for almost half the decade, and they also pushed anime in a more cinematic direction, featuring it as more expressive and artistic instead of just a commercial purpose (Napier, 2001). Other important titles which should be mentioned as well are the anime series Sailor Moon (1996), Ghibli’s eleventh film Princess Mononoke (1997), the adapted video game Pokemon (1997) and Shinichiro Watanabe’s Cowboy Bebop (1998), influences together with all the previous ones which will shape anime today. Regarding Princess Mononoke (1997), it entailed such an innovation that it won several awards from the Japanese Academy. In the next section, I will highlight a bit more about its success, as well as other themes and topics that prevail throughout the projection.

3.1.2. Hayao Miyazaki’s Princess Mononoke (1997)

Once the brief overview throughout the history of Japanese animation has been explained, it is significant to continue this main section with the figure of the director Hayao Miyazaki and his most acclaimed work Princess Mononoke (1997). Miyazaki is a renowned Japanese animator, screenwriter, director, manga artist and author. Born on January 5, 1941 in Tokyo, Japan, he was the second son of Katsuji Miyazaki, who was the director of the Miyazaki Airplane, a company where aviation parts and accessories were built for the second world war. Her mother, Dola Miyazaki, affected by spinal tuberculosis, was hospitalized in different institutions for a long time. In this way, Miyazaki relies on his childhood memories in order to create his incredible stories. At first, Miyazaki did not want to do animation, but to become a ‘mangaka’; that is, he wanted to draw manga only, and under the influence of Osamu Tezuka, he tried to imitate him and started producing manga comics. However, it was in 1958 when his purpose changed once he watched the animated film called Panda and the Magic Serpent, also known as The Tale of the White Serpent, which opened Miyazaki’s eyes to create Japanese animation instead. He started working at Toei Animation, which is one of the oldest and famous animation companies in Japan as it was aforementioned. Afterwards, he decided to leave the studio in 1971, and once he was working at Mushi Production, he co-directed the first six chapters of the

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Lupin III series and also helped on Sherlock Hound. Moreover, with the release of Nausicaä of the Valley of the Wind in 1984 was the success with which Studio Ghibli was recognized, in spite of the fact that at this time the institution did not exist as such. Nevertheless, it can be stated that thanks to this first film, its acclaim was key (Bendazzi, 2003). Consequently, Miyazaki’s fame and path to the cinematic world continued with Laputa (1986), Castle in the Sky (1986), My Neighbor Totoro (1988), Kiki’s Delivery Service (1989), Porco Rosso (1992), and Whisper of the Heart (1995). Moving a little further in history, the creation of Princess Mononoke began in 1995, and it will be released two years later in 1997, achieving an unprecedented success all around the world (von Feigenblatt, 2007), apart from winning for the Best Picture in the Japan Academy Prize. After the great culmination which Princess Mononoke (1997) entailed, Miyazaki released Spirited Away (2001), which was the most prominent film and with which he won even more reputation and awards as well, such as the Golden Bear in 2002, another Best Picture in the Japan Academy Prize, an Academy Award for Best Animated Feature in 2003, among others. Some of his other titles also include Howl’s Moving Castle (2004), Ponyo (2008), and The Wind Rises (2013). Following his international success with both Princess Mononoke (1997) and Spirited Away (2001), in the words of Cavallaro (2006), “Hayao Miyazaki established himself as a masterful creator of both enchanting fantasies and thought-provoking scenarios, often more tantalizing for adult spectators than for children.” (p. 5). McCarthy (1999) also made emphasis on the idea that Miyazaki’s films are somewhere between adulthood and childhood: I would prefer to call Miyazaki “the Kurosawa of animation.” Not only does his work have the same rare combination of epic sweep and human sensitivity that the great live-action director possessed, but it also fails to fit into any of the neat, child-sized boxes into which the West still tends to stuff animation as an art form. (p. 10). Myriad scholars and critics have been interested regarding the director’s praised animation style. For instance, the north-American critic Chute (1998) starts his analysis by stating the following: The Japanese eco-fantasist Hayao Miyazaki is an animation magician, a crowd- pleasing storyteller who is also a builder of worlds. He designs meticulously engineered imaginary aircraft, sets their perfect gears spinning, and propels them over moss-green rolling landscapes, zipping between the sprung columns of

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ruined castles. He uses animation in a refreshingly direct and intuitive way, reveling in its capacity to lift things off the ground. (Organic Machine: The World of Hayao Miyazaki) Cavallaro (2006) supports the previous idea by pointing out that “Miyazaki’s wondrous worlds are as challenging as they are spellbinding due to their simultaneous evocation of an elating sense of freedom and of a harrowing vision of life’s darker facets.” (p. 5). Consequently, the previous statements are reinforced by the fact that any Miyazaki film is featured by means of charismatic characters, friendships, iconic and endlessly imaginative creatures and adventure, together with the settings in which all these creatures and characters inhabit. Additionally, Montero (2013) concludes her extensive analysis with a paragraph that perfectly summarizes the essential characteristics that consolidate Miyazaki’s works, referring to the idea that his style configures a discourse full of nuances which is featured by both the complexity and the beauty of his works. Princess Mononoke (1997) deals with themes and contents which are not usually related to those from Disney productions, since it addresses several predicaments and social criticisms. According to von Feigenblatt (2007), the film represents “the early struggle between Japan’s original peaceful coexistence with nature embodied by traditional beliefs such as Shinto and animism and the challenge to this symbiotic relationship brought about by early industrialization and anthropocentric view of the world.” (p. 75). Indeed, this film is based on the Japanese mythology, with strong roots in the Shinto religion –characterized by the veneration of nature spirits and ancestors–, and it can be seen in the kodamas, which conform the tree spirits; the Shishigami, which is the lord of the forest as well as the responsible one for the cycles of creation and destruction, life and death; and the mononokes, which are the animal spirits that protect the forest, even with their lives if necessary. Regarding its historical contextualization, the plot is set in the Muromachi period – running from approximately 1336 to 1573–, and quoting Cavallaro (2006), “it was a time of political and cultural instability, coinciding with the first deliberate attempts by humans to master nature rather than honor and appease it, that nevertheless saw the inception or perfection of many traditional arts, customs and institutions.” (p. 121). Then, it corresponds to one of the greatest themes which can be observed on the film: on the one hand, the confrontation between modernity or progress, symbolized by Lady Eboshi and Irontown, and on the other hand, nature represented by both Princess Mononoke and the Shishigami. Miyazaki tries to point out that the progress of society has resulted in environmental depredation and contamination. In order to clarify this, it should be emphasized that human

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beings are part of nature and they have to respect it and live in accordance to it, as the Shinto religion defends; that is, there is a conception of a profound spirituality about the need for a harmony between the humankind and the environment, since spirits inhabit there. However, another of the most significant ideas of the feature film also takes place: conceiving the human being as the one who dominates and controls nature, since humans are above any other living beings. For this reason, they can mold nature to their needs, regardless the possible damage that nature or other living beings could suffer. Thus, different perspectives about the conception of the world are confronted within the film, which leads towards another significant theme which revolves around the movie: hatred to what is different, –the ‘other’. This hatred is represented from the beginning of the projection with the curse that afflicts Prince Ashitaka, since he has to learn how to see life more positively and then destroy the curse that is killing him slowly. At the same time, he also has to comprehend the antagonistic behaviors of the both main female characters Lady Eboshi and San. Consequently, there are no ‘heroes’ or ‘heroines’ versus ‘villains’, as the film transcends the archetypal animation plots of the period by featuring its characters as deeply human, and therefore contradictory. For example, on the one hand, Lady Eboshi defends and helps marginalized groups such as prostitutes and lepers, but at the same time she does not pay attention to the fact that she is deforesting the woods. Moreover, her main purpose is to kill the lord of the forest in order to obtain what she considers progress and welfare for her society. San, on the other hand, is unable to accept herself as human, since she has been raised by Moro, the wolf god, repudiating humans in this way and trying to save the forest with her own life if necessary. However, her human side develops affective feelings towards Ashitaka. Overall, it can be asserted that, basically, incomprehension, lack of acceptance and respecting each other are main topics which revolve around the film, where the need to learn how to dialogue with others is underlined in order to understand each other, as well as there could be a sustainable development; that is, a progress that harms neither the environment nor diverse social groups. As a last note, special emphasis should be made on the role that women have in the film, where there are two leader women who fight for their ideals: Lady Eboshi symbolizing a modern female entrepreneur and San as the strong woman who defends tradition, thus showing that women can also play a relevant role within the traditional society which is portrayed along the movie. In conclusion, Miyazki’s Princess Mononoke (1997) has myriad reflective topics and themes from both a social and symbolic point of view. It also addresses the dignified treatment

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of less favored social groups, as well as the important position that women represent. Moreover, the film deals with the fact of raising awareness about the depredation that humankind does – and is doing– to nature, being learning to live in harmony with the environment and trying to understand otherness without relying on hatred the main message.

3.2. History of feminism

‘Feminism’, from the French word féminisme, was firstly coined in the late nineteenth century, referring to “the belief and aim that women should have the same rights and opportunities as men.” (Oxford Learner’s Dictionaries, 2020). Regarding Harrison and Boyd’s definition, it “attempts to analyse the social position of women, explain their apparent subsidiary role in history and offer the basis for reform and the advancement of women in all areas of society.” (2003, p. 296). Moreover, Bennett (2006) states that, in her opinion, “feminism is simply the conviction that women, like men, should be afforded the opportunity to realize fully their humanity.” (p. 8). For this reason, its meaning may seem obvious, since there is a general consensus about what feminism implies: everyone is treated fairly, no matter their gender. Hence, this fact shows that the term does not only apply to women in particular, and consequently, any person who is in favor of this way of thinking is called a ‘feminist’. This is the reason why Delmar (1986) describes being a feminist broadly: Many would agree that at the very least a feminist is someone who holds that women suffer discrimination because of their sex, that they have specific needs which remain negated and unsatisfied, and that the satisfaction of these needs would require a radical change (some would say a revolution even) in the social, economic and political order. (p. 8) The roots of feminism can be traced far back into humankind history. Special emphasis must be made according to the term proto-feminism –from Greek prōtos, meaning ‘first’–, since it refers to any thought or action which was characterized by being feminist, but prior to the existence of the feminist movement. Hence, it is important to note that before both the rise and peak of feminism, there were some significant personalities in the proto-feminist history that triggered the creation of this social movement throughout written accounts. Taking the previous statements into consideration, various proto-feminist compositions will be mentioned henceforth. The first text which gathers some proto-feminist features is found in Plato’s Republic (380 b.C.). Overall, the Republic is considered a utopia for its revolutionary tone: Plato wanted

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a new society based on a fair Athenian democracy where philosophers were not persecuted for their thoughts and reflections. Both the place and the role of Greek women in Ancient Greece were highly contemporary when compared to other succeeding historical periods: According to Socrates, women were only differentiated from men by the fact of giving birth to children, concluding with a statement that equals both sexes: Therefore, if the male sex is seen to be different from the female with regard to a particular craft or way of life, we’ll say that the relevant one must be assigned to it. But if it’s apparent that they differ only in this respect, that the females bear children while de males beget them, we’ll say that there has been no kind of proof that women are different from men with respect to what we’re talking about, and we’ll continue to believe that our guardians and their wives must have the same way of life. (Cooper & Hutchinson, 1997, p. 1082) The previous quotation is also supported by the analogy that Socrates uses when he shows Glaucon that female watchdogs have the same purpose in life as male ones, and therefore, so do women (Cohen, 1996), putting inequality aside in this way and showing humankind a modern approach to the so-called proto-feminism. Statements like these and the fact that Socrates belonged to such an ancient period still draws the attention of many researchers due to his contemporary thinking style. Regarding Renaissance proto-feminism, some authors agree that Christine de Pizan’s La cité des dames (1405) (The Book of the City of Ladies) was the first feminist tract according to the Western tradition (Bennett, 2006; Laurenzi, 2009; Cova, 2012; Adams, 2017). In her writing, there is a notable counter argument towards the work Roman de la Rose, written by Jean de Meun in the thirteenth century, and which is featured by the topic of courtly love. Furthermore, Pizan gives an accurate description of several well-known women from the past in her book, demonstrating that all those people who tried to revile women –considering them both inferior and wicked when compared to men– made such a serious mistake (Bennet, 2006). Some of the most significant figures that Pizan includes in her writing are “Queen Esther, who saved the Jews; the Sabine women who solidified peace between the Romans and their neighbors; Clothilda, who brought Christianity to the Franks; and of course, the Virgin Mary and various other notable female saints.” (Bennett, 2006, p. 6). Moreover, Pizan’s purpose was to call women’s attention in regard to the power that they had, although unconsciously, and also to denounce the strong sense of misogyny.

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The Age of Enlightenment in the eighteenth century is characterized by shedding a light on ignorance throughout both knowledge and reasoning. In this period, two of the most significant feminist writings take place: On the one hand, Olympe de Gouges wrote her Déclaration des droits de la femme et de la citoyenne (Declaration of the Rights of Woman and the Female Citizen) in 1791 as a response to the France’s National Constituent Assembly’s Déclaration des droits de l’homme et du citoyen de 1789 (Declaration of the Rights of Man and of the Citizen) text. In her declaration, De Gouges demanded the same rights for women, as she considered that the text published by the France’s National Constituent Assembly excluded them, asserting that “ignorance, omission, or scorn for the rights of woman are the only cause of public misfortunes and of the corruption of governments.” (Ishay, 2007, p. 176). On the other hand, A Vindication of the Rights of Woman with Strictures on Political and Moral Subjects (1792), composed by Mary Wollstonecraft, condemned the fact that women were not allowed to gain access to education, making them “weak, artificial beings raised above the common wants and affections of their race, in a premature unnatural manner.” (Wollstonecraft, 2018, p. 13). Moreover, Wollstonecraft goes beyond any other proto-feminist compositions: she requested that the laws of the government or the State had to end with the traditions of feminine subordination, apart from guaranteeing a national system of universal primary free education for both sexes. She also challenges the French revolutionary government so that it establishes an equal education which would allow women to lead both more useful and rewarding lives: The most respectable women are the most oppressed [...] How many women thus waste life away, the prey of discontent, who might have practised as physicians, regulated a farm, managed a shop, and stood erect, supported by their own industry, instead of hanging their heads surcharged with the dew of sensibility, that consumes the beauty to which it at first gave lustre. (Wollstonecraft, 2018, p. 170). As Harrison and Boyd (2003), state “it was wrong that women should be defined by their sex so as to be denied educational, legal, economic and political rights.” (p. 296). All women’s actions which took place in the past, all their previous thinking, together with the remaining inequalities that had more and more weight in society provoked the first feminist movement known as ‘first-wave’ feminism. It was extended in Europe and in the United States of America, from the nineteenth century until the early twentieth one. During the nineteenth century, women challenged the patriarchal society, hoping that “their interests could be advanced by means of vote and

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parliament.” (Harrison & Boyd, 2003, p. 297). For this reason, first-wave feminism dealt mainly with suffrage –in this case, women’s right to vote–, proper working conditions, marriage and property laws, reproductive rights and educational rights for women and girls. One of the most significant events that took place during this period is the Suffragette movement in 1903, inspired by the American ‘National Women’s Suffrage Association’ from 1869, which consisted on the ‘Women’s Social and Political Union’ campaign fighting for female suffrage (Harrison & Boyd, 2003). Nevertheless, there was still a need to change the position of women in society. Even though women gained a better status than in previous years, their political participation, wages, and job opportunities remained inferior to those regarding men (Harrison & Boyd, 2003). This discomfort provoked the so-called ‘second-wave’ feminism, a new movement occurring between the sixties and the eighties, featured by the response not only to the inequality of laws, but also to the cultural inequalities and the poor role that women had. Two of the most significant figures regarding this new wave were Betty Friedan, pioneer of the movement in the United States of America and author of The Feminine Mystique (1963), and the philosopher Simone de Beauvoir, author of the influential The Second Sex (1949). Some other key concerns related to this second-wave movement also included women’s liberation from male oppression, including abortion legalization and birth control. Apart from taking into consideration the disconformities from the ‘first-wave’, the ‘second-wave’ also aimed at the importance that women held in “the psychological, cultural and anthropological fields.” (Harrison & Boyd, 2003, p. 298). In the words of Harrison and Boyd (2003), there were new legislations which showed an advance towards gender equality in Britain, such as the “Abortion Law Reform (1967), Divorce Law Reform (1969), Equal Pay Act (1970), Sex Discrimination Act (1975), Employment Protection Act (1975) and Domestic Violence Act (1977).” (p. 298). Once again, however, there was a limited progress regarding women’s role, still disputed during the third-wave. The third-wave of feminism was born as a solution to all the failures from the previous feminist waves. The term was coined by Alice Walker’s daughter, Rebecca, in a 1992 Ms. Magazine (Evans, 2007). As it has already been mentioned, women were still in a disadvantaged position inside society: although the principle of equality was spread and accepted by legislation, there was a strong sense of acting rather than just focusing on theory (Harrison & Boyd, 2003). This movement was set during the nineties, with a strong claim on intersectionality – focus on gender, sexuality, class, race, among other aspects, not as a way of discrimination, but

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integration–, sexual identities such as pursuing the liberation of the body itself and the control that women should have of themselves, as well as changes on stereotypes and language used to refer to women. This is the reason why the concept of third-wave feminism “has been central to describing a new generation of critical insurgent feminists” (Hammer & Kellner, 2009, p. 225). According to Maclaran (2015), “this recognition reflected the cultural turn across the social sciences more widely, a turn that heralded in identity politics and the questioning of binary understandings of men and women” (p. 1733), thus deconstructing the sexist ideology that had been present throughout history. Some scholars argue about a fourth-wave feminism as the continuation of the third one (Maclaran, 2015; Chamberlain, 2017; Kowalska, 2018). Being a very recent phenomenon, this fourth wave, despite not being globally considered as such by consensus –as it happens with the previous three–, has its roots in the development of social media, roughly starting at 2008 and moving forward until the present. Consequently, this fourth wave is characterized by activism through social networks such as Facebook, Instagram and Twitter, including not only a new generation of feminists belonging to both the late Millennial and Z Generation, but also “people of all ages who share feminist values and are willing to adapt to this form of activism.” (Kowalska, 2018, p. 2). The message of fourth-wave feminists is once again identical to the aforementioned ones: civilization should be aware of women’s empowerment, and therefore society should reject any sex discrimination, hence considering all human beings as equals.

3.2.1. The importance of gender equality in education

The previous section aimed to present the condensed history of feminism, and this is the reason why special emphasis will be made regarding the importance of this social movement in education. As it has been aforementioned, the feminist movement has taken many different forms throughout the years (Harrison & Boyd, 2003; Evans, 2007; Hammer & Kellner, 2009; Maclaran, 2015; Chamberlain, 2017; Kowalska, 2018), but its goal has never changed. Surprisingly, understanding feminism has become an obstacle in the daily life, and this is one of the most relevant motivations why feminism should be present in academic institutions, since education entails a key factor in order to instruct tolerant citizens. The terms ‘feminism’ and ‘feminist’ have had myriad negative connotations since the beginning of their existence. Walters (2005) shows that the Athenaeum magazine defined being a feminist despectively in 1895, apart from including the Daily Chronicle’s criticism of “suffragists, suffragettes and all the other phases in the crescendo of feminism.” (p. 1) in 1908.

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In this same period, there was even an alternative concept which was used in order to refer to this movement: ‘womanism’. It was employed by some authors who were against feminist women, as it was the case of “one long-forgotten writer” who met an intellectual woman “whose writings reflected ‘the strong-minded womanism of the nineteenth century’.” (Walters, 2005, p. 1). Back in the nineties –when the third wave took place–, there had already been different objections towards the implementation of feminist ideas in the classroom. According to Bauer (1990), there were many students “who insisted that the classroom ought to be an ideologically neutral space free from the instructor’s interests and concerns.” (p. 385), highlighting the difference between the private or personal –in this case, the feminist ideas that a teacher may support– and the public space –educational institutions. Some of their complaints were the following ones: I feel this course was dominated and overpowered by feminist doctrines and ideals. I feel the feminist movement is very interesting to look at, but I got extremely bored with it and it lost all its punch & meaning because it was so drilled into our brains. I also think you shouldn’t voice your “feminist” views because we don’t need to know that—It’s something that should be left outside of the class. I found it very offensive that all of our readings focused on feminism. Feminism is an important issue in society—but a very controversial one. It needs to be confronted on a personal basis, not in the classroom. I didn’t appreciate feminist comments on papers or expressed about a work. This is not the only instructor—others in the English Dept. have difficulties leaving personal opinions out of their comments. (Bauer, 1990, p. 385) The prior thoughts are clearly dominated by a patriarchal perspective, since these students are positioning feminist advances as meaningless topics in the educational sphere. In this context, patriarchy neither refers to “the ecclesiastical power of men recognized as Christian leaders, particularly within the Greek Orthodox tradition”, nor “the legal powers of a husband/father over his wife, children, and other dependents” (Bennett, 2006, p. 55). As Rich (1976) defined it, patriarchy is “a familial-social, ideological, political system in which men –by force, direct pressure, or through ritual, tradition, law, and language, customs, etiquette, education, and the division of labor, determine what part women shall or shall not play, and in which the female is everywhere subsumed under the male.” (p. 57). In the nineties, Walby (1990) pointed out that patriarchy is “a system of social structures and practices in which men dominate, oppress and exploit women.” (p. 20). Moreover, Johnson (2005) referred to it

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as “not simply another way of saying ‘men’”, but as “a kind of society [...] in which men and women participate”, therefore characterized by being “male dominated, male identified, and male centred.” (p. 5). It is true that students had been aware of the different waves through which the feminist movement had gone throughout history, but they preferred the topics mentioned by Bauer (1990) to be isolated and not included in the classroom. After all, introducing gender issues in the classroom contributes not only to political responsibility, but also to critical thinking. Nevertheless, some relevant prejudices which are found about feminist ideas have a great weight in society. One of the most extended ones has to do about the misconception that women want privileges rather than equal rights; in fact, according to the European Network Against Racism (ENAR), “feminists want women to participate fully in society as women and on equal terms with men.” (2016, p. 6). Unfortunately, many anti-feminist people support these types of no-reasoning assertions. For instance, the ENAR also states that another significant myth surrounding this social movement is that “there is no longer any need for feminism” because “equality has been achieved.” (2016, p. 8). However, the aforementioned waves of feminism have been key in order to make women freer from oppression; otherwise, the current place of women would have been more or less the same as it was back in the 1900s. As there has been a constant battle for equality, women have accomplished what was thought to be impossible, and it is important for people to know that this fight needs to continue. Furthermore, the threat that the peak of the far-right movement entails nowadays is another significant reason for which gender equality in education should be prioritized. These types of political parties demonstrate an irrational hatred towards feminism, since they rely on anti-feminist politics and practices: for example, as Berg (2019) points out, far-right movements oppose, on the one hand, “equality policies, gender studies, feminists and same-sex marriage”, and on the other hand, they also support “normative ‘traditional’ gender roles and concepts of family.” (p. 80). Even though Berg mentions the election program of Alternative für Deutschland (AfD) directly, the following statements can also be applied to different right-wing political parties such as Vox in Spain, Golden Dawn in Greece and National Rally, in France, just to name a few: 1. The ‘traditional family’, as a heterosexual marriage with children, is attacked and abolished by a gender ideology that is present in all areas of life (work, school, science). 2. Gender ideology contradicts people’s perception of gender and sex and endangers the natural development of gender and sexuality in children.

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3. The ‘traditional family’ ensures the continued existence of the ‘pure people’, which is precisely what is threatened by the existence of gender ideology. 4. The governing parties promote the instruments of gender ideology and thus the abolition of ‘their own people’. (Berg, 2019, p. 82) In order to face the previous objections towards gender equality, educators should take into consideration the power that they have in the classroom. Thus, activities and exercises dealing with the subject of gender are highly recommended, transforming students’ far-right prejudices towards feminism into objective information and data. For this reason, teachers are highly discouraged to legitimize declarations which are based on right-wing perspectives. There is also criticism when educators make special emphasis on the importance of writing while using inclusive language. In the words of Bauer (1990), “it represents the fear of gender issues invading the public world of the classroom during an era in which it is necessary for most students to insist on rationalizing intellectual labor.” (p. 386). Some studies (Carreiras, Garnham, Oakhill & Cain, 1996; Sarrasin, Gabriel & Gygax, 2012; Sczesny, Moser & Wood, 2015) have demonstrated that the English language, as any other, can be sexist as well: the United Nations Educational, Scientific and Cultural Organization (UNESCO) advises writers to avoid certain words which show a strong preference towards the masculine. First and foremost, it points out some ambiguous terms which make direct allusion to men such as ‘mankind’, ‘primitive man’, and other neutral nouns followed by a masculine determiner, as in “The individual is strongly influenced by his family’s values.”, instead of “As individuals, we are strongly influenced by our families’ values.” (UNESCO, 1999, p. 10). Secondly, the UNESCO also includes eluding stereotyping utterances and lexis, as in the exemplifications of “John and Mary both have full-time jobs; he helps her with the housework.” (p. 11) –as a woman is supposed to be in charge of the housework–, “The doctor… he” whereas “The nurse… she” (p. 12), and “Outspoken men but strident/shrill women”, “emotional men but hysterical women” (p. 13), among others. Lastly, some titles and forms of address such as “Mr and Mrs John Smith” or “Chairman” are not encouraged at all either. Instead, there should be an inclination towards the use of “Jane and John Smith, Mr and Mrs Smith, Mr and Ms Smith” and “Chairperson, chair, president, presiding officer. When addressing the individual: Madam Chairperson, Mr Chairperson” (p. 15) respectively. As Bennett (2006) defends, there is a need to make a balance between two agendas: first of all, “to eradicate the misogynistic traditions of academia in their many, entrenched forms”, and then, “to explain to feminists more generally –from our privileged position as researchers

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and teachers– how history can help us understand women’s oppression and work toward its final eradication.” (p. 153). Therefore, these are the reasons why “feminist history will not be worth the effort if we do not compare and generalize.” (Bennett, 2006, p. 154). Indeed, the aforesaid recommendations will contribute to a both multifaceted and dynamic knowledge of the world, apart from giving students the opportunity for a serious engagement with feminist issues which will help them realize that gender equality has always been necessary.

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4. METHODOLOGY

Once the bibliographic review on, on the one hand, the use of films in the English classroom, a short introduction about the history of anime and consequently, the figure of Hayao Miyazaki and one of his most notable works Princess Mononoke (1997) and, on the other hand, the history of feminism and its importance in educational spheres and contexts has been explained, the methodology which has been executed is detailed in this section. In order to know the benefits of the application of feminist animation cinema in the learning and acquisition of the English language, an extensive study has been carried out. For this reason, the present project follows not only a qualitative paradigm by means of a film analysis –Princess Mononoke (1997) specifically–, but also a significant quantitative approximation of the data obtained in the aforementioned study. Moreover, this paper will be guided by the following research questions: 1) What grammatical aspect is mostly used by the two female protagonists in the film? 2) What feminist features can be drawn with regard to the grammatical aspect? As a consequence, the initial hypothesis of the current study lays on the idea that the anime film Princess Mononoke (1997) contributes to the learning and better understanding of both a grammatical aspect and a cross-curricular topic –as it is feminism– at the same time.

4.1. Variables

The present research takes into account both independent and dependent variables. For instance, the independent variable would be the implementation of an anime film, whereas the dependent variables would be divided into the learning of a particular grammatical aspect and also the learning about feminism. As it can be assumed, the dependent variables are deeply interrelated, since the learning of the grammatical feature implicitly entails the direct realization of feminist issues.

4.2. Instruments

The present study was carried out by means of observation, which was employed in order to collect the data and analyze the coming results. First and foremost, the observation of the audiovisual materials allows obtaining information about the phenomena or events as they

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occur in the film. Along with this process, the interpretation that has been made regarding what was observed is also found; thus, it is significant to know what is going to be observed and how for a better interpretation of the coming results. According to Hernández (2009), in order to plan an effective observation, it is necessary to take into account the following aspects: a) The question or problem under observation. All observations aim to obtain information on a specific matter; in this case, on the grammatical aspect that most abounds in the interactions of the two female protagonists, and the feminist characteristics that can be derived from the aforementioned personalities. b) Sample selection. In the sample selection, there is a set of decisions related to the total duration, its time distribution and the specification. In this way, the duration of the observation is a total of six hours approximately, distributed in three different intervals of two hours each, being these intervals defined by a general overview of the film, the grammatical aspect which was analyzed and the feminist features in the end. c) Observation system. Everton and Green (as cited in Hernández, Fernández and Baptista, 1991) stated that there are four different observation systems: categorial, descriptive, narrative and technological. Given the nature of the following study, the descriptive system features the whole project, since it is an open observation method in which the identification of the problems was carried out in an explanatory manner.

4.3. Procedure

In this section, a focus on the overall procedure is explained. As it was aforementioned, the process for obtaining the crucial information for the project is composed of three different phases. The first phase consisted of a first viewing of Princess Mononoke (1997), which served as an initial contact with the audiovisual material. In this first viewing, the author of the project decided to focus her study on the two female protagonists –San and Lady Eboshi–, since these two personalities showed a high level of empowerment, and therefore, they could contribute to the coming feminist analysis. The researcher, then, moved on to the second phase, which was featured by the analysis of a particular grammatical aspect which both protagonists were mostly using throughout the film, with a more quantitative approach by means of analytical tables. Finally, the third phase can be summarized as a feminist emphasis on the way San and Lady Eboshi use that grammar aspect instead of a different one.

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5. RESULTS

Since the project revolves around two research questions, the results will be presented in two different subsections consequently. The first subsection refers to the analysis of all the imperative forms that have been used by the two female protagonists along the projection of the film, whereas the second subsection shows the interpretation of the aforementioned imperatives together with their feminist tone.

5.1. Analysis of imperative forms through San and Lady Eboshi’s interactions in Princess Mononoke (1997)

After rewatching Princess Mononoke (1997) for a second time, the data that has been collected regarding the first research question –“what type of grammatical aspect is mostly used by the two female protagonists?”– is explained below. First and foremost, it is crucial to indicate that Lady Eboshi, ruler of Irontown, and San, princess of the forest, made themselves clear by using myriad imperative forms: they both share a total of seventy. Surprisingly, there is nearly a balance between both female protagonists and their participation in the orders and commands that they articulate: Lady Eboshi surpasses San with thirty-six out of seventy imperatives, while San enunciates thirty-four out of seventy. All those forms are analyzed according to a general classification, which is influenced by Alexander’s (1997) explanation of imperatives, and is composed of six components: 1) imperatives featured by containing the base form of the verb, 2) phrasal verbs, 3) negative short forms using don’t plus a base form, 4) addressing someone by means of a vocative, 5) some structures with let, and 6) other imperatives joined by the conjunction and. The following table shows the frequency of every category and its percentage to the whole number of imperatives used by both Lady Eboshi and San:

Categories Frequency Ratio Base form of the verb 33 47,83 % Phrasal verb 9 13,04 % Negative short form (Don’t + base form) 7 10,14 % Addressing someone (vocative) 13 18,84 % Structures with let 6 8,70 %

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Imperatives joined by and 1 1,45 % Total 69 100 % Table 1: Imperative categories pronounced by Lady Eboshi and San.

Note that there is a total of sixty-nine imperatives instead of seventy, since even though there are two imperatives featuring the category “joined by and”, they count just as one. As it can be seen, base forms of the different verbs represent a high percentage in the whole corpus (47,83 %), being followed by the usage of vocatives (18,84 %), phrasal verbs (13,04 %), negative short forms (10,14 %), structures with let (8,70 %) and ending with those imperatives joined by and (1,45 %). However, in Table 2, the number of imperatives that Lady Eboshi uses in her speech is displayed:

Categories Frequency Ratio Base form of the verb 17 47,22 % Phrasal verb 3 8,33 % Negative short form (Don’t 3 8,33 % + base form) Addressing someone 8 22,22 % (vocative) Structures with let 5 13,90 % Imperatives joined by and 0 0 % Total 36 100 % Table 2: Imperative categories pronounced by Lady Eboshi.

According to Eboshi’s categories, there is a huge number in her interactions when using base forms of the verbs (47,22 %), coinciding with the same predominance as in Table 1. Overall, her mostly pronounced base forms are highly related with direct orders such as “fire”, “come”, and “stay”. This category is followed by Eboshi’s addressing someone (22,22 %), also referred to as the vocative form: there are some people with whom she makes direct allusion to, such as the main male protagonist Ashitaka, the girls and women that she saved from the brothels, her right-hand soldier Gonza and the rascal Jigo. According to the structures with let, they represent a 13,90 % of all the categories, and she pronounces this type of structure in order

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to show her people that she is as equal as them, despite being their leader. Regarding both phrasal verbs and negative short forms, Eboshi makes use of them the same ratio (8,33 %). Moreover, these two categories are featured by being mainly warnings and pieces of advice, so she does not utilize them to threaten or give orders. San’s categories are a bit more different from Lady Eboshi’s in terms of the number of uses that she gives each one of them; a significant aspect that is necessary to highlight below due to her consequent interactions. Her categories are gathered the following way:

Categories Frequency Ratio Base form of the verb 16 48,48 % Phrasal verb 6 18,18 % Negative short form (Don’t 4 12,13 % + base form) Addressing someone 5 15,15 % (vocative) Structures with let 1 3,03 % Imperatives joined by and 1 3,03 % Total 33 100 % Table 3: Imperative categories pronounced by San.

In the case of San, there is also a nearly coincidence in terms of her interactions when using base forms of the verbs (48,48 %) as well as Lady Eboshi. However, San’s mostly pronounced base forms are highly related with direct orders such as “stop”, “leave”, and “stay”, being characterized by a predominant sense of threat. Her base forms are continued by her use of phrasal verbs (18,18 %), which are featured by being direct orders such as “go away”, “get back”, and “go on”, contrary to Eboshi’s ones. According to San’s vocative forms, they represent the 15,15 % of the total, and these are divided into her mother Moro, her wolf brothers and Lord Okkoto. Now, her negative short forms take place (12,13 %), and San’s negative forms share Lady Eboshi’s ones in terms of purpose, as San makes use of these negative forms in order to give pieces of advice or suggestions. Eventually, there is the same number of structures with let and imperatives joined by and, being the let category pronounced when referring to her wolf brothers in scene 18 and the and one found nearly at the end of the film

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and pronounced as a threat towards Ashitaka: “Take that damn woman and just go away!” (Miyazaki, 1997, 01:55:37). Furthermore, Alexander (1997) gathers some common uses of the imperative mood in his book, in which we can find nine different classifications: 1) Direct commands, requests, suggestions; 2) Warnings; 3) Directions; 4) Instructions; 5) Prohibitions; 6) Advice; 7) Invitations; 8) Offers; 9) Expressing rudeness. (p. 195). I preferred to divide the first one into three different, as I distinguished them as being discursively distinct. Once the imperatives were analyzed according to the previous groupings, it is important to highlight that there were some usages that did not appear along the two female protagonists’ interactions: there were no prohibitions nor moments where the characters were expressing themselves in a rude manner. For this reason, the seventy imperatives are divided as follows:

Usage Frequency Ratio Direct commands 33 36,67 % Requests 8 8,89 % Suggestions 13 14,44 % Warnings 9 10 % Directions 5 5,56 % Instructions 4 4,44 % Advice 9 10 % Invitations 7 7,78 % Offers 2 2,22 % Total 90 100 % Table 4: Imperative usages in general.

Observe that in this case, there are more than seventy imperatives: some of them shared two different usages at the same time, either because they were very related or because they shared a similar interpretation (See Appendix 1). As it can be noticed, direct commands represent the highest percentage in the whole classification (36,67 %), being followed by the usage of suggestions (14,44 %), both warnings and advice (10 % each), requests (8,89 %), invitations (7,78 %), directions (5,56 %), instructions (4,44 %) and offers (2,22 %).

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5.2. Analysis of Lady Eboshi and San’s feminist discourse in Princess Mononoke (1997)

As it was aforementioned, this subsection gathers all the information related to the feminist tone that both female protagonists express throughout their imperative usages. Before moving on to the analysis, it is important to clarify that the intention of this project is to review both female protagonists –Lady Eboshi and San–, and incidentally, to realize how significant they are in the whole movie. Pan (2020) stated the following in a research article: Miyazaki has said in an interview: “Many of my films have strong female leads –brave, self-sufficient girls that don’t think twice about fighting for what they believe in with all their heart. They will need a friend, or a supporter, but never a savior.” (p. 6). As it can be noted, Hayao Miyazaki strongly believes that a woman is as capable as any man of being a hero. As a consequence, the role of women in Princess Mononoke (1997) is one of the themes that stands out the most, and one of the main topics which makes this film unique. The fact that both Lady Eboshi and San make special emphasis on the use of the imperative mood is not a coincidence. On the one hand, as it can be seen in Table 3, the frequency of imperative forms used by Lady Eboshi is displayed as follows:

Imperative usage Frequency Ratio Direct commands 17 36,17 % Requests 4 8,51 % Suggestions 5 10,64 % Warnings 5 10,64 % Directions 3 6,37 % Instructions 2 4,26 % Advice 4 8,51 % Invitations 5 10,64 % Offers 2 4,26 % Total 47 100 % Table 5: Lady Eboshi’s imperative usages.

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According to the previous table, out of the forty-seven imperatives, the complex personality of Lady Eboshi prefers to communicate throughout direct commands more than any other type (36,17 %). These commands are found throughout different situations inside the film: when she first appears with the men and the oxen fighting the wolves in the forest (scene 5), when she is back in Irontown and about to fight San (scenes 8, 10 and 11), when she is fighting Lord Asano’s samurai hosts (scene 16) and when she is prepared to kill the Forest Spirit (scenes 23 and 24). As it can be assumed, these four situations are not usually thought to be starred by a woman, since back in those ancient times women had a passive role. However, Lady Eboshi escapes this passivity by being a well-prepared leader, capable of fighting the princess of the Forest, the samurai army and even forest gods and spirits. Moreover, Eboshi states the same amount of suggestions, warnings and invitations (10,64 % each type). Suggestions are mostly found when she refers to her people (scenes 5, 7 and 8), as well as when she addresses Ashitaka (scenes 7 and 24). Regarding her warnings, they take place when telling her men not to scare the oxen, since otherwise they may lose the whole herd (scene 5); once San has fallen from a roof in Irontown and Eboshi alerts her people to still be cautious (scene 10); the moment when Eboshi is about to leave Irontown in order to set off for the Forest Spirit’s head and she reminds her women not to trust men (scene 17); and the last warning is given when she has ended up with the Forest Spirit and informs the others not to approach it (scene 24). The invitations that Eboshi makes, however, are featured by being directed towards Ashitaka, as she sees that he has the same potential as her (scenes 8 and 9), and also towards some of the women from Irontown when she is about to ask them for their opinions on a specific matter (scene 16). Both requests and advice share the same amount of interactions (8,51 % each) as well. Despite being arrogant, Eboshi shows her polite side when begging Ashitaka’s pardon in scene 8; also, when she offers herself to end up with his arm curse in scene 11; and, of course, when she addresses her women in scene 16. According to the pieces of advice that Eboshi suggests, they are also featured by being towards Ashitaka (scenes 7 and 24), and towards her people from Irontown (scenes 8 and 10). In this way, it can be seen that Eboshi presents her more human side towards both the male protagonist and the society of Irontown, but refuses to act like this when facing San or the other men. Lady Eboshi gives three different directions (6,37 %) when she is guiding her men and the flock in scene 5; and when she orders one of her women to bring Ashitaka to her later on (scene 7), proving her leader skills in front of both her men and the people from Irontown, including Ashitaka. Instructions and offers are also part of Eboshi’s interactions, being

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characterized by sharing the same ratio (4,26 % each). The instructions are found when she tells her men how to act towards the wolves in scene 5, and also when she wants to meet Ashitaka, whereas offers take place once she addresses Ashitaka and asks him to stay there in Irontown with both her and her people (scene 9). The frequency of imperative forms pronounced by San is displayed in the following table:

Imperative usage Frequency Ratio Direct commands 16 37,21 % Requests 4 9,30 % Suggestions 8 18,61 % Warnings 4 9,30 % Directions 2 4,65 % Instructions 2 4,65 % Advice 5 11,63 % Invitations 2 4,65 % Offers 0 0 % Total 43 100 % Table 6: San’s imperative usages.

Regarding the so-called princess of the Forest, she has nearly the same amount of direct commands as Lady Eboshi, being a total of sixteen out of forty-three imperatives. It is significant to note that the ratio changes due to the smaller number of imperatives when compared to Eboshi’s. For this reason, San’s direct commands (37,21 %) are divided according to the different scenes: some of her commands which are interpreted as threats can be found in scenes 5 and 24 towards Ashitaka, and also in scene 21 when she is facing a group of soldiers on her own; other of her commands take place when she refers to her wolf brothers (scenes 11, 12 and 21), as well as in the moment when the ape tribe appears in order to finish Ashitaka, a scene which shows the spectator that she is capable of persuading them not to kill him by only relying on her strong personality (scene 12). The next type of imperative that is mostly used by San is the one dealing with suggestions (18,61 %). Even though San has a fiercer personality than Lady Eboshi, she shows a strong composure in scene 12 when telling the ape tribe to continue their plantations; when

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she talks with her wolf brothers –as well as in scene 18– and also when she convinces Yakul – Ashitaka’s loyal red elk– to approach her. The last suggestion is found in scene 21, in which she tries her best so that Lord Okkoto does not turn into a demon. Moreover, regarding San’s advices (11,63 %), they also take place in the same situations from the aforementioned scenes 12 and 21, since her attitude tends to be more compassionate. In the case of requests and warnings, they share the same frequency and ratio (9,30 %) according to San’s interactions. San requests and warns Ashitaka when she orders him to tell her about what he knows before he probably dies in scene 12. Besides, San begs her mother Moro to ask the Forest Spirit to save her from dying in scene 15, apart from asking Lord Okkoto to pay attention to her so that he can survive in scenes 21 and 22. However, San’s warnings have a more aggressive tone: she shows her strong character traits when facing both the whole boar tribe by herself in scene 15 and the men who killed the majority of those boars in scene 21. The imperatives that San used the least are directions, instructions and invitations (4,65 % each), since there are no registered offers in regards to her interactions (0 %). Nevertheless, even though there are a few directions, they prove to be interesting in the story, as she is the one who leads her wolf brothers in scene 12. Regarding instructions, these are found almost at the end of the film, where the spectator can see a distraught San for all the damage and hostility that she has witnessed in her forest. It is in scene 24 where San gives Ashitaka unequivocal instructions about what he must do if he does not want to be killed by her. Finally, the invitations made by San are referred to Yakul and her mother, showing a calmed and tolerant figure rather than a savage one.

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6. DISCUSSION

After this extensive analysis, the results obtained undoubtedly show that the main female protagonists –Lady Eboshi and San– mostly interact while using imperative forms. In order to explain this mood in an English as a foreign or second language classroom, it is highly recommended that teachers introduce their students this type of grammar theory by projecting the animated movie Princess Mononoke (1997), or at least some of its scenes where the imperative is pronounced by these protagonists (see Appendix 1), as the film has proven to be successful in this regard. According to Table 1 (see subsection 4.1.), students should be aware of the fact that in English, the imperative mood is mostly formed by the base form of the main verb. This means that there will not be any third person singular endings, nor gerunds, nor tenses. However, base forms can also accompany a preposition, turning them into imperative phrasal verbs. Some examples are displayed in figures 1, 2, 3 and 4:

Figure 1: “Wait till you see their mother.” (Miyazaki, 1997, 00:20:20)

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Figure 2: “Cut off a wolf’s head, and it still has the power to bite.” (Miyazaki, 1997, 00:48:22)

Figure 3: “Tell me while you’re still alive.” (Miyazaki, 1997, 00:54:51)

Figure 4: “Take that damn woman and just go away!” (Miyazaki, 1997, 01:55:37)

Another significant feature about imperatives relies on the fact that they have an implicit or understood ‘you’ subject, even though their main feature is that they lack a grammatical subject. For this reason, the basic form of the imperative remains the same whether it is addressed to just one or more people. If the person addresses explicitly another speaker, this is referred to as a vocative case, as it happens with figures 5, 6, 7 and 8:

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Figure 5: “Stay here. Help me kill the Forest Spirit, Ashitaka.” (Miyazaki, 1997, 00:41:58)

Figure 6: “Mind your manners, ladies.” (Miyazaki, 1997, 01:14:50)

Figure 7: “You two, go on ahead now.” (Miyazaki, 1997, 00:57:20)

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Figure 8: “Mother! Please ask the Forest Spirit to save you.” (Miyazaki, 1997, 01:09:19)

Moreover, there is a special type of imperative which is featured by the use of let at the beginning of the order or command, being mostly used when the speaker includes him/herself in the conversation, as in figures 9, 10, 11 and 12 below:

Figure 9: “Let’s move!” (Miyazaki, 1997, 00:19:20)

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Figure 10: “Let’s get the living home.” (Miyazaki, 1997, 00:21:10)

Figure 11: “Let me just cut the damn thing off!” (Miyazaki, 1997, 00:51:03)

Figure 12: “Right. Let’s go.” (Miyazaki, 1997, 01:26:38)

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Eventually, in order to make a negative imperative, the auxiliary do not –or don’t in its contracted form– is needed, and then the base form continues the rest of the command or sentence, as it can be noticed in figures 13, 14, 15 and 16:

Figure 13: “Don’t let the oxen panic!” (Miyazaki, 1997, 00:19:33)

Figure 14: “Don’t waste your sympathy.” (Miyazaki, 1997, 01:55:17)

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Figure 15: “Don’t worry about them.” (Miyazaki, 1997, 00:57:18)

Figure 16: “Don’t let yourself become a demon!” (Miyazaki, 1997, 01:43:00)

Moreover, another important aspect to take into account in this analysis is the fact that it was only a few years ago that Western animated cinema made the effort to show female characters that were more than just the typical Disney princesses’ pattern. For instance, Pixar Animation Studios has only three films out of twenty-two in which the main character is a female one, being these three Brave (2012), Inside Out (2015), and Finding Dory (2016), whereas Studio Ghibli has three-quarters of its films starred by girls or women. Having a look at Princess Mononoke (1997) specifically, the two female protagonists are women escaping the Japanese woman model stereotypes which are often evidenced: wives subjected to the judgment of their husbands, obedient daughters, self-sacrificing mothers, or just characters that are eroticized through the fan service method –“random and gratuitous display of a series of anticipated gestures common in manga and anime”, including “panty shots, leg spreads and glimpses of breast” (Russell, 2008, p. 105)– at any moment.

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As it was aforementioned in subsection 1.2, the film deals with a world in which gods and men lived in constant coexistence. It is also said that in that world, a wolf goddess adopted a human baby who was previously abandoned by her father. The goddess named the child San, a beautiful and fierce young girl raised among wolves whose main goal is to protect the forest she inhabits, apart from killing Lady Eboshi, the woman who will try to destroy it.

Figure 17: San’s leading skills (Miyazaki, 1997, 01:41:47)

Nevertheless, Lady Eboshi is the antagonist, capable of making the spectator doubt whether she is completely evil or not, showing different complexities in this way. She is the main reason why humans are destructing nature, and her excess of arrogance entails a huge danger throughout the film. Even though Eboshi is undoubtedly the villain of the story, she is presented with intriguing nuances derived from her feminine condition, turning her a character far from the traditional evil. Consequently, the fact that she saved women from human trafficking in brothels, helped lepers and tried to do her best for her people should not be ignored. For example, figure 18 below shows a compassionate Eboshi rather than a bossy one:

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Figure 18: Lady Eboshi warns her women not to trust men (Miyazaki, 1997, 01:18:20)

Having complicated, flawed and independent female protagonists, Princess Mononoke (1997) shows its vision of femininity with the right degree of aggressiveness that any male hero would be supposed to have, and also the reflection of this femininity which escapes the already mentioned eroticism that is quite evidenced in adventure and action cinema genres around female characters. Furthermore, Princess Mononoke (1997) presents two female personalities that achieve their purposes without constantly resorting to male help and assistance. There is evidence in the fact that they are leaders, rebellious, self-determined, hard-working and wise, since both Lady Eboshi and San are women with combat dexterity, enough wisdom to understand their destinies and accept them without a tearful outcome, or even to guide the male protagonist –in this case, Ashitaka– to fulfill his own destiny. This can be noted in figures 19 and 20 below:

Figure 19: Lady Eboshi’s combat dexterity (Miyazaki, 1997, 01:12:52)

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Figure 20: San’s self-determination (Miyazaki, 1997, 01:42:20)

These two empowered women are constantly growing and evolving throughout the film, not relying on the typical happy ending model which usually involves a man and a marriage. This is an interesting point of view, because when there is a male character in a story, the majority cliché which is summarized by the marriage of this male character and the female protagonist is present. However, romantic interests do not have to appear compulsorily, and Princess Mononoke (1997) is a great example for that. For instance, San and Ashitaka’s relationship is established in its most mature phase as a complicity of team spirit and affection, far removed from romantic, classic and Hollywood-featured relationships.

Figure 21: San’s affectionate side (Miyazaki, 1997, 01:06:35)

As it was pointed out in the literature review (see section 2 in this master’s thesis) of the current paper, the employment of Princess Mononoke (1997) as a resource for learning both a grammatical aspect and a cross-curricular topic responded favorably, giving the analysis an

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immediate field of application. As a matter of fact, the results derived from the research tables established not only the different structures of imperatives which could be found during the film, but also their discursive register by means of differentiating between orders, commands, suggestions, among others. For this reason, the analysis is considered useful to teach the imperative mood and feminist traits within it. Nevertheless, as far as language acquisition, motivation, and other aspects are concerned, the following section will deal with some of the limitations which were encountered, as well as providing some suggestions for future studies.

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7. LIMITATIONS AND SUGGESTIONS FOR FUTURE STUDIES

Both the results and the discussion of this study have been favorable regarding the project’s research questions. Apart from this, the current research has presented a successful case with evidence encouraging the use of Princess Mononoke (1997) in the English as a foreign or second language classroom in order to introduce students the imperative mood as well as feminist features along with it. However, it is true that some limitations have been found and have shown that greater efforts should be made in future studies. The first limitation that needs to be highlighted deals with the idea that the present project lacks a real quantitative approximation of the results; that is to say, the scenes have not been projected in a real classroom, and therefore there is only an analytic point of view regarding the imperative mood. Perhaps, students would have let me know their better understanding –or maybe not– of the different imperative uses if I had carried out a lesson featured with these audiovisual materials and by means of a questionnaire. Nevertheless, the idea of taking this analysis into a real environment is still resounding in my head, since I am considering applying for a future PhD program to do a doctoral thesis in which I could extend this study to other different perspectives. The second limitation that has been found in this study has to do with the fact that only a single audiovisual material –Princess Mononoke (1997)–, a single grammatical aspect– imperative mood–, and a single cross-curricular or transversal theme joined to the grammatical trait –the use of imperative forms to show the empowerment of both female protagonists– have been analyzed. For a greater amount of results and information, it is also recommended to analyze other linguistic aspects –lexical, stylistic, discursive– as well as transversal topics– society, ecology, among others– within this same film. Moreover, it is highly encouraged to put these analyses into practice with other animated films, either from the same director or studio –Miyazaki’s Spirited Away (2001) and Howl’s Moving Castle (2004)– or from other productions such as The Walt Disney Company, DreamWorks, Pixar Animation Studios, just to name a few. Regarding the third limitation, it is related to the first one in terms of real input and exposure in an English teaching classroom, since I have not been able to present these topics by using active methodologies and multimodal materials. In my opinion, multimodal materials together with the implementation of active methodologies display great advantages in the study of English as a second or foreign language, since students’ learning process would be benefited

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thanks to the implementation of this type of dynamics. However, as I have already mentioned, this aspect is not covered in the case of this project, since there were no participants exposed to the analytic process in any moment. For this reason, the obtained results are expected to constitute a point of departure for further implementation and research, as suggested in each limitation. As a matter of fact, being the investigation centered specifically in just one grammatical aspect, one cross-curricular topic, as well as one movie as it was aforementioned, future lines of study could take into account other variables, and hopefully I will be able to do more research on all what was highlighted in this section in a doctoral thesis.

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8. CONCLUSION

Thoughtfully, after this long journey through the myriad advantages that the use of animated cinema implies, as well as cross-curricular topics such as feminism, especially in the subject of English as a second or foreign language, the conclusions drawn throughout the research project will be detailed. Throughout the writing of this research study, the possible benefits that the use of a Japanese animated film can provide in the English language classroom have been analyzed. It is undeniable that the project has intended to demonstrate how beneficial an animated feature film as it is Princess Mononoke (1997) can be for learning different grammatical aspects and transversal themes. Therefore, the achievement of both the research questions and the hypothesis implied the observation and posterior analysis of the film Princess Mononoke (1997). The bibliographic review allowed the in-depth knowledge about aspects related to two different traits: the use of films in the English classroom and students’ awareness towards feminism. As it was already explained above, at this point, and after all the corpus that has been read, no one can doubt about the benefits of a film-based both teaching and acquisition method. The same happened with all the literature regarding feminism: it has been demonstrated that feminism is still key in our society. Contrary to what was desired from the beginning, the project has not been applied in a real classroom or environment, so everything related to its possible application has been theorized. However, although it is true that this work has not been put into practiced in a real educational context, it has been possible to state that theory can be obtained along with other transversal contents thanks to a film. With respect to the major assumption which stated, on the one hand, that the anime film Princess Mononoke (1997) contributes to the learning and better understanding of a grammatical aspect and, on the other hand, a cross-curricular topic –as it is feminism– at the same time, it is eventually confirmed. Additionally, regarding the general objectives of the project –“what grammatical aspect is mostly used by the two female protagonists in the film?”, and “what feminist features can be drawn with regard to the grammatical aspect?”–, we conclude that they have been successfully achieved. This is proven by the observations which were made throughout the projection of the movie, and the results which were extracted from the interpretations revealed that the purpose of this paper was fully accomplished: Princess

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Mononoke (1997) is a powerful and indispensable tool for learning grammar and for feminist awareness. Unfortunately, this research has been reduced to just a few aspects of the film due to the length of this project. A wide variety of topics that I think are as important as those which have been analyzed in this paper have been left uncovered, but realistically, being able to deal with all the essentials from the film was a utopian situation. This is the reason why it is significant to point out, as it has been already explained, that this master’s thesis has focused only on a grammatical aspect and on a global topic. However, I am hardly determined to continue the study in order to demonstrate whether indeed students would learn this grammatical mode better and also would be aware of the importance of feminism in our daily lives.

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APPENDIX

Appendix 1. Information about the film Scene 5

Timings Use of imperative forms Imperative Count Category Usage 00:19:20 Lady Eboshi: Let’s move! Let’s move 1 Let Suggestion 00:19:33 Lady Eboshi: Don’t let the oxen panic! Stay calm! Take up your Don’t let 2 Negative Warning positions! Stay 3 Base Command Take up 4 Phrasal Direction/Command 00:19:48 Lady Eboshi: Ready! And fire! Fire 5 Base Command 00:20:08 Lady Eboshi: Second round! Fire! Fire 6 Base Command 00:20:20 Lady Eboshi: Wait till you see their mother. Wait 7 Base Instruction/Command 00:20:37 Lady Eboshi: Come on. Come on 8 Phrasal Command 00:21:10 Lady Eboshi: Let’s get the living home. Let’s get 9 Let Direction/Suggestion 00:23:03 San: Go away. Go away 10 Phrasal Command

Scene 7

Timings Use of imperative forms Imperative Count Category Usage 00:32:15 Lady Eboshi: Bring the stranger to me later. Bring 11 Base Direction/Instruction 00:32:43 Lady Eboshi: Get some rest, traveler. Get 12 Vocative Advice/Suggestion

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Scene 8

Timings Use of imperative forms Imperative Count Category Usage 00:36:29 Lady Eboshi: Forgive me for keeping you waiting, stranger. Forgive 13 Vocative Request 00:36:39 Lady Eboshi: Let’s have a rest. Let’s have 14 Let Advice/Suggestion 00:37:42 Lady Eboshi: Come. I’ll show you all my secrets. Come 15 Base Invitation 00:37:45 Lady Eboshi: Gonza, take over for me. Take over 16 Vocative Command

Scene 9

Timings Use of imperative forms Imperative Count Category Usage 00:38:52 Lady Eboshi: Follow me if you wish to learn my secret. Follow 17 Base Invitation/Offer 00:41:58 Lady Eboshi: Stay here. Help me kill the Forest Spirit, Ashitaka. Stay 18 Base Invitation Help 19 Vocative Invitation/Offer

Scene 10

Timings Use of imperative forms Imperative Count Category Usage 00:46:46 Lady Eboshi: We’ll see about that. Come on. Come 20 Base Command 00:47:54 Lady Eboshi: Leave him be. Let him do what he likes. Leave 21 Base Command Let 22 Let Command

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00:48:20 Lady Eboshi: Stay back. Stay 23 Base Command 00:48:22 Lady Eboshi: Cut off a wolf’s head, and it still has the power to Cut off 24 Phrasal Warning/Advice bite. 00:48:26 Lady Eboshi: Take aim where she falls. Take aim 25 Base Command 00:48:46 Lady Eboshi: Open fire. Open 26 Base Command

Scene 11

Timings Use of imperative forms Imperative Count Category Usage 00:51:03 Lady Eboshi: Let me just cut the damn thing off! Let me cut 27 Let Request 00:54:26 San: Stop it! Stop 28 Base Command 00:54:29 San: Leave him! He’s mine Leave 29 Base Command

Scene 12

Timings Use of imperative forms Imperative Count Category Usage 00:54:51 San: Tell me while you’re still alive Tell 30 Base Request/Warning 00:56:26 San: Stop this. Stop 31 Base Command 00:56:49 San: Go on planting your trees and someday we’ll beat them. Go on 32 Phrasal Suggestion/Advice 00:57:05 San: Stop! Wait! Come back! Stop 33 Base Command Wait 34 Base Command Come back 35 Phrasal Command

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00:57:08 San: Leave them alone! Leave 36 Base Command 00:57:18 San: Don’t worry about them. Don’t worry 37 Negative Suggestion/Advice 00:57:20 San: You two, go on ahead now. Go on 38 Vocative Direction/Suggestion 00:57:32 San: Go home! Go 39 Base Direction/Suggestion 00:57:40 San: Come over here. Don’t worry. I’m a friend. Come over 40 Phrasal Invitation Don’t worry 41 Negative Suggestion/Advice 00:57:43 San: Don’t be shy. Don’t be 42 Negative Suggestion/Advice

Scene 14

Timings Use of imperative forms Imperative Count Category Usage 01:06:35 San: Eat this. Eat 43 Base Command 01:06:42 San: Chew. Chew 44 Base Command

Scene 15

Timings Use of imperative forms Imperative Count Category Usage 01:09:19 San: Mother! Please ask the Forest Spirit to save you. Ask 45 Vocative Request/Invitation 01:09:40 San: Quiet! Watch what you say, you filthy pig! Quiet 46 Base Warning Watch 47 Vocative Warning

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Scene 16

Timings Use of imperative forms Imperative Count Category Usage 01:12:52 Lady Eboshi: Get ready now. Little bit closer. Fire! Get 48 Base Command Fire 49 Base Command 01:14:50 Lady Eboshi: Mind your manners, ladies. Mind 50 Vocative Request 01:16:07 Lady Eboshi: Girls, come here. Come 51 Vocative Request/Invitation

Scene 17

Timings Use of imperative forms Imperative Count Category Usage 01:18:20 Lady Eboshi: Remember, you can’t trust men. Remember 52 Base Warning

Scene 18

Timings Use of imperative forms Imperative Count Category Usage 01:26:38 San: Right. Let’s go. Let’s go 53 Let Suggestion

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Scene 21

Timings Use of imperative forms Imperative Count Category Usage 01:41:37 San: Stop, Lord Okkoto, please! Stop 54 Vocative Request 01:41:47 San: Tell mother that the humans are setting a trap for the Forest Tell 55 Base Command Spirit. 01:41:59 San: Go on now. Go on 56 Phrasal Command 01:42:20 San: Stay back or you die! Stay 57 Base Warning 01:42:44 San: Get back! Get back 58 Phrasal Command 01:43:00 San: Don’t let yourself become a demon! Don’t let 59 Negative Suggestion/Advice

Scene 22

Timings Use of imperative forms Imperative Count Category Usage 01:43:58 San: Please stop, Okkoto! Stop 60 Vocative Request

Scene 23

Timings Use of imperative forms Imperative Count Category Usage 01:51:56 Lady Eboshi: Now watch closely, everyone. Watch 61 Vocative Command

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Scene 24

Timings Use of imperative forms Imperative Count Category Usage 01:53:34 Lady Eboshi: Quick, Jigo! Bring me that box of yours! Bring 62 Vocative Command 01:53:42 Lady Eboshi: Be careful not to touch the spirit’s body! Be careful 63 Base Warning Not to touch 64 Negative Warning 01:55:05 San: Give her to me! Give 65 Base Command 01:55:17 Lady Eboshi: Don’t waste your sympathy. Don’t waste 66 Negative Suggestion/Advice 01:55:37 San: Take that damn woman and just go away! Take 67 And Instruction Go away 68 Instruction 01:55:49 San: Stop it! Stop 69 Base Command 01:55:53 San: Stay back! Stay 70 Base Command

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