Miyazaki Hayao and the Aesthetics of Imagination

Nostalgia and Memory in Spirited Away

Datos Bibliográficos

ID12349793
AutoresAlistair Swale (0000-0001-8808-1965, University of Waikato, autor de correspondencia)
Año2015
Volumen39
Número3
Páginas413-429
Fecha de publicación2015-07-03
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaAsian Studies Review (JOURNAL)
Identificadores de la revistaISSN: 1035-7823 • E-ISSN: 1467-8403
EditorialRoutledge (PUBLISHER • GB)
DOI10.1080/10357823.2015.1056086
OpenAlexW1479801112
IdiomaEN
Citas recibidas2
Referencias citadas12

Miyazaki Hayao has achieved international renown for a succession of feature-long animations that have been noted for their visual flair and highly imaginative world-constructs. Many of the narratives in these films have been situated in fantasy worlds with often only a tenuous representation of the world as experienced in some conventional contemporary (or historical) sense. Yet beyond the surface of these figures and fantastical plot devices there is a clearly discernible stream of engagement with the past. Focusing primarily on Sen to Chihiro no Kamikakushi (Spirited Away) of 2001, this paper critically engages with the leading commentaries on nostalgia and memory in Miyazaki's work, contrasting the "culturalist" approach of Susan Napier with the "machinic" approach of Thomas Lamarre. In turn, the aesthetic theory of R.G. Collingwood, in particular his concept of "magic", is employed to demonstrate how certain aesthetic devices within the film facilitate an imaginative engagement with the past, one that is subtle but nonetheless highly evocative of distinctive nostalgic emotions

Aesthetics · Animation · Art · Fantasy · Literature · MAGIC (telescope · Narrative · Plot (graphics · Representation (politics · Situated · Sociology · Visual arts · Cinema and Media Studies · Computer Science · Japanese History and Culture · Media, Gender, and Advertising