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Miyazaki, H ( 2009) Hayao Miyazaki in conversation with Roland Kelts, UC Berkeley Center for Japanese Studies. In: Hauke, C, Alister, I (eds) Jung and Film. Lennihan, L ( 2001) The alchemy of pulp fiction. Jaffe, A ( 2012) Symbolism in the visual arts. Jacobi, J ( 2012) Symbols in an individual analysis. Indick, W ( 2004) Movies and the Mind: Theories of the Great Psychoanalysts Applied to Film. Hauke, C, Alister, I ( 2001) Jung and Film: Post-Jungian Takes on the Moving Image. Hamilton, N ( 2014) Awakening through Dreams: The Journey through the Inner Landscape. Forum for Modern Language Studies 44(4): 394– 411. Novato: New World.Ĭhen, FF ( 2008) From hypotyposis to metalepsis: Narrative devices in contemporary fantastic fiction.

Available at: (accessed 20 November 2015).Ĭampbell, J ( 1949) The Hero with a Thousand Faces. Dallas: Dallas Institute Publications.īoyd, JW, Nishimura, T ( 2004) Shinto perspectives in Miyazaki’s anime film Spirited Away. Saarbrücken: Lambert Academic Publishing.īachelard, G ( 2011) Earth and Reveries of Repose: An Essay on Images of Interiority, trans. Alluding to Gaston Bachelard’s phenomenological perspective, the study aims to look into the textual aspects of the three cases, demonstrates how Miyazaki renders the film frame to exert persuasive impact upon the audience, and describes Hayao Miyazaki’s persuasive artistry.Īkimoto, D ( 2014) ‘War and Peace’ in Studio Ghibli Films: Director Hayao Miyazaki’s Messages for World Peace. Finally, the article examines the narrative oscillation in Ponyo (2008). In this article, the narrative highlights that render Spirited Away (2001) an archetypal quest will be discussed.

The present study proposes reading Miyazaki’s animated tales by means of the audience’s internal projection onto the signs in the film frame. His narratives are often based upon graphical details and a calculated emplotment. Miyazaki’s animated realm infuses the audience with a bright outlook for the future. The director portrays relatable human actions and a reasonable amount of setbacks during the (heroic) spectating process. Some of Miyazaki’s mythic narratives, rendered within dreamlike figurations, are certainly not detached fantasy.