Napier, Susan Jolliffe. Miyazakiworld: A life in art. Yale University Press, 2018.
Susan J. Napier has taught at Tufts University for 16 years and has many publications on Japanese culture and anime, with this work being the most recent. Her wealth of experience as an educator in Japanese culture and author affirms the source’s reliability. In his book, she reminds her audiences of what they already know that Miyazaki Hayao has been drawing viewers into his astounding animated universes for decades. These universes have varied from the fanciful and distant unknown to the ancient and ordinary. Each is packed with human and nonhuman people who are alternately fascinating, innovative, and informative. In her biography of Miyazaki, Napier uses the filmmaker’s life and background to construct a discourse of the “Miyazakiworld.” She argues that “Miyazakiworld” may change over space and time, identifying a specific theme in his movies as “Miyazaki’s cherished Euroworld” (Napier 247). This is seen by his propensity to place his films in imaginative representations of European capitals, mixing and combining them to construct exotic, frequently historical settings for his tales. In this manner, she connects the director’s fantasy-building to his real-world experiences.
Napier’s book will be fundamental in answering my research question. Miyazakiworld provides an opportunity to explore and refine perspectives of Miyazaki’s movies and animations in general. For instance, I will use Napier’s reasoning to refute the opinion of certain fans that Totoro is a shinigami (god of death). Notably, in her other works, Napier proposes that the passageways that commonly appear in Hayao Miyazaki’s films may be interpreted as portals to the hereafter, situating several of the director’s worlds as transitional spaces. This will support my argument that the creature is harmless and a protector figure. Overall, the book gives a chance to resolve misconceptions regarding Miyazaki’s works and world creation.
Lin, Eddie. “Fans Have a Dark Theory behind the Story of Totoro.” NextShark, Web.
This article is written by Eddie Lin, one of the contributors to the popular website NextShark. NextShark is a major news site for Asian and Asian American culture, business, entertainment, technology, politics, and lifestyle stories. Lin has written two articles for the website, with the other focusing on food. Accordingly, it can be said conclusively that he is an authority on the subject, especially Japanese Anime. Nonetheless, Lin delivers an in-depth and insightful analysis of the creature Totoro, which cannot be ignored. The article primarily discusses fan theories about Totoro being a death god. According to Lin, “Totoro fan theorists point out the unnamed fictitious country village in the film is similar to 1960s Sayama.” Furthermore, he observes that, according to fan assumptions, Mei is the only character who sees the creature due to her impending death at the film’s beginning. They further contend that Satsuki begins seeing Totoro just as she approaches her demise. This death was self-harm since she realized that her younger sister had perished, and she could not prevent it (Lin). Indeed, fans liken this to the gruesome actual Sayama tragedy.
This source is important to my research because it provides the genesis to the backstory of Totoro being a death god. Understanding the essence of fan theories regarding the creature is crucial to contextualize the purpose of the movie. Lin’s analysis gives a contrasting view to my assumption that Totoro is a protector animal, not an angel of death. This notion is further complicated by the disclaimer at the conclusion of the article, in which a key Studio Ghibli producer invalidates fan speculations regarding the creature (Lin). These perspectives are essential to the development of my research since they are not just conspiracies but hypotheses that represent the profound connections Japanese people have with animes.
Vértigo Films. “MI VECINO TOTORO – Clip #2 Subtitulado ‘Paraguas.’” YouTube, Web.
This video shows the movie trailer approximately two weeks before its release. The trailer was posted on the video-sharing site Vertigo Films. The company’s headquarters are in London, England, and its primary focus is film and TV production. Vertigo Films has produced and distributed StreetDance 3D, Bronson, and Monsters motion pictures. The trailer is authentic since a renowned production company posted it. The trailer begins by showing Satsuki and Mei out and alone on a dark rainy night. Satsuki is carrying Mei, who is visibly asleep on her back. An umbrella over her left shoulder is covering them from the rain. Satsuki is startled when she hears footsteps approaching in the dark which turns out to be Totoro.
This scene is significant because Satsuki and the audience witness the creature’s razor-clawed feet and limbs. Satsuki is terrified by Totoro’s claws but is astonished when he stands next to her in the rain instead of attacking. She looks at the creature for an extended period before uttering its name, “Totoro!” When Totoro reacts, Satsuki is happy, and she gives him an umbrella to protect him from the rain. The monster accepts the umbrella, and the trailer concludes with the two characters standing by the road in the rain, maybe awaiting a bus. The video’s depiction of Totoro’s innocence supports my research premise that it is a child protector. Indeed, this is because the monster appears out of nowhere to keep the little girl and her sister company during the night. In addition, instead of using his sharp claws to rip them apart, Totoro uses them to scratch his body. Lastly, the video is fundamental because I can read through the comments posted by other users to understand their perspectives of the scene.
Angeles, Liane Louise. “How Studio Ghibli’s Greatest Films Reach Fans’ Deepest Emotions.” CBR, CBR, Web.
The article seeks to understand the unique attraction behind Studio Ghibli’s Greatest Films that makes viewers crave realms different from theirs. The writer, Liane Louise Angeles, is a fan of movies, TV, anime, and a writer. These qualities reinforce the importance of her opinion on Studio Ghibli Films. The article begins by noting that countless anime and cinema enthusiasts have had the unforgettable sensation of seeing a Studio Ghibli film. Angeles opines that whether it is the feeling of reminiscence or the bittersweet wonders of a captivating plot, there is a particular reaction to these famous films that retain their importance and attraction in popular culture (Angeles). She argues that they are aesthetically distinctive due to the animators’ ability to produce a portrayal of real-life via the nuances of their actions, emotions, and impact. These characteristics provide a feeling of nostalgia and continuity while preserving a level of creative freedom and uniqueness that enables personalities to “stand out as individuals” (Angeles). This is evident in their stories, cinematography, unique music, as well as adored action figures.
The source will add important insights into the motivations behind the production of “My Neighbor Totoro.” Often, the success of a movie cannot be attributed to one person since directors and producers work with teams. In this case, Studio Ghibli has been linked with the production of some iconic animes in the past. Understanding how such films were created can help me to analyze Totoro as a character in his universe and as a creation of a group of individuals from diverse backgrounds. In this context, it will not complicate my research but give it a unique perspective.