隣のトトロ：パート２

Sorry again for the late post. My computer went out of commission because of a blown battery - don't worry, we're all good now.

On Monday, we discussed the double-function that the film Totoro seems to serve.
On one hand, as many of you mentioned, a harmless and fun adventure; a good childhood memory.
On the other hand, there is a more desperate, sinister current (as shown through Miyazaki's chilling interview here) that implies that even the creation of the film Totoro is a sort of escapism for adults.

Questions!

1) How could Totoro possibly be escapist for adults?
2) Regarding your answer to (1), what are the implications of that idea on the integrity of the film, for you? As in... does that make the film more meaningful, or more

Also, we talked about fantasy and reality, the overlay between the two worlds and if that's portrayed as a positive thing or not.

3) What do you think about the mesh between the fantasy and real worlds?
4) How does spirituality factor in? As a crutch, or as something that is necessary, beneficial, and essential to growing up? (or, as we discussed, the concept of childish belief in providence or "good things" to solve real problems?)

.: . :. .: . :. .: . :. .: . :. .: . :. .: . :. .: . :. .: . :.

This week, we'll be doing Kiki's Delivery Service. disclaimer: I know that I crow over it but seriously don't feel pressure to *love* it. I don't want people to feel obliged to praise any of the films if they don't feel that way - that's the point of the class, to understand people's differing opinions about the issues that Miyazaki raises.

Read this before class:

.: Miyazaki's foreword to the 1989 魔女の宅急便 (Witch's Delivery Service - Kiki's Delivery Service) Artbook
http://www.nausicaa.net/miyazaki/interviews/kiki_foreword.html
(This is actually really interesting, since 1989-90 is exactly when the Japanese economic bubble crashed in a very similar situation to the one that we are in now.)

" In this era, poverty is not so much material as spiritual... In an era when leaving the security of one's home is no longer anything special, and living among strangers means nothing more than going to a convenience store for anything you need, it might be more difficult than ever to achieve a real sense of independence since you must go through the process of discovering your own talents and expressing yourself."

.: An excerpt from a book called "Unmasking Japan Today: The Impact of Traditional Values On Modern Japanese Society," written in 1996 in collaboration of a Japanese and non-Japanese woman. I don't necessarily agree with the reasoning behind all of the statements made, but I definitely think it's indicative of the kind of struggles that people thought 90's youth in Japan were facing. Hopefully we can get some input from our classmates :)
Book excerpt here
Please read the section from bottom of page 75 - 82, from Junior High to High school students.

I don't usually assign reading but I'd like you guys to take a look at it before class. It's interesting and very short stuff, so don't be lazy please! (Even though it took me till Saturday to post this....)

隣のトトロ：パート１

So! Sorry about the super super late post.

Last week we talked about kind of the idyllic, nostalgic feel of Totoro. How he seems to capture the elements of childhood, fantasy, kindness, and imagination so well, and how he uses the overlay between fantasy and reality to delight and disarm us.

So I want to ask, what is your personal connection to the movie Totoro? It can be
1) insight
2) experience from your past
3) things that make it seem mostalgic
4) Miyazaki's message
5) particular parts that hit you
6) etc...

whatever.

Post away!

Nausicaa of the Valley of the Wind: Part 2

No school on Monday guys... that means no class :( But think about these questions, and then when you come back, we'll close up Nausicaa and be ready for Totoro!

.: Here are the discussion questions for this week. It's pretty much the ones that were on the board during the movie, and like we said last time, you don't have to answer them all, but think about them be prepared to talk a little about them.

1) Compare the femininity of Nausicaa and that of Princess Kushana. To what extent are they feminine, masculine, strong, frail, etc?
2) Why do you think Nausicaa needs to die? What is the implication of the sacrifice?

Or, think about the circular way that the story is told: starting with the beginning credits, with the post-apolcalyptic history, to the ancient tapestries, then fade to Nausicaa herself.
3) Do you think that she is "free" or "bound?" And what is the role of predestination and submission of will? Is there something greater that controls her, and why does she obey it? Contrast it to other people's approach. Why would Miyazaki make it this way?

Or, a personal question, if you want to answer it.
4) Do you think that Miyazaki is right in saying that part of Nausicaa's beauty lies in her being bound by her destiny? She almost can't escape it, and she's obligated to keep her oaths even when she doesn't want to. Is she obeying a greater power or her own convictions?

See you next Monday!

Nausicaa of the Valley of the Wind: Part 1

So here's our discussion question for Monday's class, sorry that it's so late. Having a bit of technical difficulty. Read this article, there's a lot of great information about Miyazaki's views on women's roles. Remember, you don't have to respond to all of the questions for the weeks, but it'd be great if you guys participated.

http://www.nausicaa.net/miyazaki/interviews/heroines.html

"When I think about making a male a lead, it gets really intricate. The problem isn't simple. I mean, if it's a story like, "everything will be fine once we defeat him," it's better to have a male as a lead. But, if we try to make an adventure story with a male lead, we have no choice other than doing Indiana Jones. With a Nazi, or someone else who is a villain in anyone's eyes."

You can choose to respond in a number of ways

Relating to last week's discussion.
1) How are Miyazaki's heroines "real?" Are they more so than, say, a Disney Princess? And if so, how?
2) Is having a female lead "more complex" than having a male lead?

Relating to this week's discussion (a bit of a preview)
1) Why does Nausicaa have to die?
2) Is the implication of the ending nihilistic or hopeful in terms of human nature and identity?
3) If Nausicaa is the "proper response" to life, then what is Miyazaki saying?

Okay! post away! This time we'll be a bit more lenient about it especially since this is posted so late. See you tomorrow!

hi guys

So previously, the class was listed as only being able to enroll 10 people, so it's now a changed time and location.

254 Dwinelle
6-8 PM
Mondays.

(still starting on January 26th, though!)

let's be legal and try not to download... or at least if we download, be nice and delete it right away. I know it's tempting...

Enrollment

Please come to the first day of class on January 26th, 2008.
Enrollment will be determined and CCN's distributed afterward.

See you guys there!

Welcome!

This is Sarah Yuen, one of the facilitators for the Spring 2009 "Hayao Miyazaki and the Contemporary World" DeCal. If you are interested in taking the class next semester, please email us at miyazaki.decal@gmail.com.

here is some of the information:
Mondays, 7-9 PM
104 Dwinelle