![]() ![]() ![]() Magic is therefore interconnected with nature, allowing an ecocritical reading of the films based on their productions of space. As divergent forms of heterotopias, both the natural and the artificial worlds portrayed in these films appear as magical environments in which the objects acquire a sense of place and are conceptualized as autonomous and performative entities. These three films expose a refractive correlation with space, as they provide a contradictory resignification of magical places that have a rhetorical impact on their protagonists’ mindsets. In particular, I look at three different productions of the Japanese franchise, all of them directed and written by Hayao Miyazaki: Spirited Away ( Sen to Chihiro no Kamikakushi, 2001), Howl’s Moving Castle ( Hauru no Ugoku Shiro, 2004), and Ponyo ( Gake no Ue no Ponyo, 2008). In this chapter I delve into the many postmodern manifestations of Studio Ghibli’s productions in order to uncover the ‘shades of magic’ that engulf the fairy-tale genre and are re-told as parodical discursive manifestations of the anti-fairy tale.
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