A look at the representation of females in Ghibli films
We must ask that with the responsibility of opening children’s minds to the world, rather than confining them, should they not be exposed to characters with more diverse looks, personality and goals? Miyazaki’s films don’t over sexualise the female form; he provides a space for children to embrace imagination and creativity, rather than forcing gender roles upon them. I believe a childhood should be exactly this; it does not mean destroying the idea of princess’ altogether, it means fuelling them with ambition and versatility instead. My Neighbour Totoro is indicative of this; it speaks of fantastical beings which can only be kept alive by the imagination of a child.
Speaking of Spirited Away, Miyazaki said “I would like to make this film something through which ten year old girls can encounter what it is they truly want”. He provides a healthier reflection of a child character for viewers; the style of animation is often referred to as Shojo, meaning wide eyes, narrow waists and high foreheads. There is no attempt to sexualise the characters, in fact a designer working with Miyazaki claims that he “would constantly flatten Lin’s chest line, making her look boyish”; and the androgynous male characters argue that Miyazaki films do not centre around gender archetypes but the strength of the story. Unlike Disney, we are not shown females who aim to marry and find love, in Spirited Away she “will survive by making full use of her brain” and not by relying on a male counterpart. The young protagonist Chihiro quickly learns that to save her parents and be a heroine she must demand work; and it is resolved that Haku, the boy who originally helped her merge into the spirit world is finally freed by Chihiro’s intuitive deductions.
On the other hand, Miyazaki provides us with indisputable heroines. In Howl’s Moving Castle, Sophie may be cursed with an aging spell but she shifts in forms depending on mood and she does not rely on her younger face to attract Howl. The shifts she makes are powerful in” revealing that she has control over the spell” and undeniable mental strength, contrary to the vain, weak minded male lead, Howl. Likewise, Princess Mononoke provides a cast of very influential women where romance and marriage is not their driving force. Lady Eboshi is a refreshing villain; she is ruthless and encourages violence in the women that she supports. However unlike Disney villains, she is allowed to maintain her femininity- wearing a pink ribbon and the only female to wear red lipstick. Contrary to this, Disney’s villains are created so that ambitious, powerful females are associated with being vulgar and unattractive. Whereas in Princess Mononoke, the “women prove to be more adept at...keeping their community together”; the wolf princess San is somewhat violent and short tempered which are often portrayed as masculine traits, yet this films shows no gender constraints and allows the women to be emotional and opinionated in their fight through their stories. “Any woman is just as capable of being a hero as any man”.
Miyazaki is a creator who refuses to remain submerged in gender roles and believes in nourishing the imagination of children, not encouraging them to grow up too fast with over sexualised propaganda. Sexuality and womanhood is approached subtly with metaphors of flames and blossoming flowers, which are untouched by the young minds of the audience.
Miyazaki’s films are progressive with themes that are pro feminism, this could be because he lives in a time where female embodiment is being questioned and revolutionised and therefore he gets more female positive influences.
