Anime and Historical Inversion in Miyazaki Hayao's Princess
Anime and Historical Inversion in Miyazaki Hayao’s Princess Mononoke John A. Tucker East Carolina University Introduction If box office receipts are any indication of cultural significance, then Miyazaki Hayao’s Princess Mononoke (Mononokehime, 1997) surely stands as one of the most important works of late-twentieth-century Japanese popular culture: currently it remains the highest-grossing (¥16.65 billion, approximately $150 million) domestic film in Japanese history. Prior to the release of The Titanic, Princess Mononoke eclipsed E.T. and reigned as the biggest box-office hit ever, domestic or foreign, in Japan. While The Titanic has since surpassed Princess Mononoke in overall ticket sales, over 13.53 million Japanese, or more than one-tenth of the population, have watched Princess Mononoke in theatres, and over five million copies of the video have been sold domestically (Yoneda, 204). Princess Mononoke also stands as the most expensive animated movie ever made in Japan, with a 3 billion yen (approximately $30 million) production cost (Wakita et al., 168). Critics have lauded it in literally hundreds of media reviews, especially in Japanese film and popular culture publications such as Kinema junpō, SAPIO, Nyūmedeia, AERA, uirumumeekaazu, Bessatsu Comicbox, Bessatsu Takarajima, Tech Win, Shunkan Kinyōbi, Video Doo!, Yurika, Cinema Talk, and SPA!, as well as in the major newspapers, periodicals, and regional media. Additionally, Princess Mononoke has been awarded numerous prizes, most notably the 21st Japan Academy Award for Best Film (Kuji, 3-4; Schilling, 3). Not surprisingly the film has been released internationally, with an English language version, featuring numerous familiar American voices, including that of Gillian Anderson and Billy Bob Thornton, thus making it exceptionally accessible in the United States for anime fans, and those interested in Japanese history and culture.
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