The creation of any piece of art is
going to create fans and critics. Some might not understand the piece. Others
might understand the piece and then feel betrayed, that they’re particular
understanding of the story was not respected by the author. The transition of a
piece across cultures means that a greater understanding can only be achieved a
greater understanding of different cultures, art techniques and transitions and
can offer a greater understanding of what it means to be gothic or anime or a
remake.
The most obvious element of
Japanese influence is the presentation of the story. Howl’s Moving Castle was adapted from a book, written by a
Westerner, into a movie, directed and written by a Japanese man. The film version does not occur in a
traditionally Western format but is instead remade into the Japanese animation.
The tropes of Japanese animation are then combined into the tropes exhibited in
the written story. The audience member must not only take into account the
effect that the original text had on the making of the film, but also the
similar features that Japanese animation films would have in common.
The appearance of Japanese culture
exhibited in this film and held in common with other animation I have seen
(which is limited to two films, heavily influenced by the Gothic agenda being
promoted) have included similar Japanese supernatural elements. These Japanese
gothic animation films make heavy use of recognizable but also unfamiliar
supernatural elements. The shikabane is not just a zombie, but also a zombie
with a Japanese twist that can only be understood with an understanding of
Japanese culture. In Howl’s Moving Castle
supernatural elements include witches and wizards, demons, and curses. These
pieces are obviously Western; they first appeared in a Western book. However,
they have been reimagined and placed in Japanese cultural, gothic, and
animation traditions. When they are placed in this new environment they acquire
aspects that may be unfamiliar to Western audiences. The idea of these things might not be
unfamiliar but what is unfamiliar is how these ideas are delivered, which is in
a traditionally Japanese animation way.
Miyazaki’s message about war might
is Japanese and might be hard for a Western audience to understand. The
Japanese as the “losers” in WW2 and the experience of mass destruction
certainly shapes viewpoints on war. The Western audience, especially Americans
have a much different viewpoint on WW2 and a much different view on war
overall. This stance on war might be overlooked completely by Western audiences
and if it is understood, it may be disagreed with.
Those who may not have issue with
the war message, or might approve of Miyazaki’s message would be interested in
this film. This film might appeal to other viewers who have a vested interest
in the gothic, fantasy, remakes, or Japanese animation. The film combines
various elements and genres and would appeal to fans of each genre. The variety
of genres also opens the film up to critics that feel that their genre is
misrepresented. Arguments might also be made from those who do not properly understand
the film, or the direction that the director wanted to take this specific
interpretation.
There is a lot of room for misunderstanding
and misinterpretation. Unfamiliarity with any of the genres of traditions can
result in an incomplete understanding of the film, and the creation of issues
that might not really exist. To understand the film as Miyazaki meant it to
would probably mean being Miyazaki himself. A Western viewers perspective might
mean that Miyazaki’s interpretation of Western elements into eastern elements,
the experience of war, and supernatural elements might be misunderstood. A
viewer who has broad but shallow knowledge might be able to understand better
than a viewer who has narrow and deep knowledge and who would have problems
with Miyazaki’s direction and the perceived disregard of traditional or
appropriate traditions of Japanese gothic, Western literature, Japanese
animation, filmmaking, and storytelling in general.
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