tag:blogger.com,1999:blog-53221566608809533412024-03-13T22:21:03.472+09:00kazeto blogkazetohttp://www.blogger.com/profile/12361466935305597581noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-5322156660880953341.post-27425629195038098112024-02-19T19:22:00.009+09:002024-02-19T19:34:53.018+09:00"The Boy and the Heron" ──The Struggles of Hayao Miyazaki in Post-War Japanese Animation<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq5eeNKt3fx4i_KBodiNTqgFa3up92MWGyrhIUqtHOYeWr7RbdAoXLWEBTAOkCgatFmLgSLKcc5uq4kavXwIuGC9oqRpf166-npVHRAy1sVjnBudz1ez86fdPAFQ2g9jaOpjx2xmT197ruSf29IYvdzs1WFB1EATDwl-MgOdLnhwwcx124HPU-5JvnwKjS/s1200/Untitled-design-3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq5eeNKt3fx4i_KBodiNTqgFa3up92MWGyrhIUqtHOYeWr7RbdAoXLWEBTAOkCgatFmLgSLKcc5uq4kavXwIuGC9oqRpf166-npVHRAy1sVjnBudz1ez86fdPAFQ2g9jaOpjx2xmT197ruSf29IYvdzs1WFB1EATDwl-MgOdLnhwwcx124HPU-5JvnwKjS/w640-h336/Untitled-design-3.jpeg" width="640" /></a></div><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 0px 0px 1.25em; white-space-collapse: preserve;"><br /></p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 0px 0px 1.25em; white-space-collapse: preserve;">I watched "The Boy and the Heron."</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">Introduction</span></p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">While a detailed review from experts might come later, at this stage, there are only brief reviews available. I saw a review article praising the "return to fantasy" but felt it was overly simplistic, prompting me to write my thoughts. This is a rough draft written right after watching the film, so there might be inaccuracies or memory errors, but I wanted to capture the fervor of the moment.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">Hayao Miyazaki's Ego</span>
The opening scene features a boy running through a burning city amid air raid sirens, moving me deeply. In the first minute, there's a new expression by Miyazaki that hadn't been seen before, encapsulating the film's overall message.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Miyazaki has often depicted boys running, like in "Conan, The Boy in Future," "Lupin III," "Castle in the Sky," and "Princess Mononoke." However, these were usually captured from behind or the side. This time, Miyazaki likely for the first time depicted a "subjective viewpoint," where the world blurs into flames and twisted buildings, representing the protagonist's "inner landscape" in a way never done before.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; margin: 1.25em 0px; white-space-collapse: preserve;"><span style="font-size: 16px;">Miyazaki has declared his intent to make films for children, characterized by the vitality of running boys. But in what might be his final work, he depicted a landscape viewed from the "ego" of "Hayao Miyazaki" himself</span><span style="font-size: 12px;">[1]</span>.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Struck by the novelty of a landscape unlike any seen in Miyazaki's films before, I pondered how he had restrained his ego, the responsibility and resolve with which he approached animation, and how he finally unleashed those constraints to use his techniques for himself, leading to a moment of profound emotion. This shift in visual narrative and determination becomes the movie's core theme, directed not at children but at the adult world and the culture of "animation" as a whole.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Thus, this film could be seen as Miyazaki's "confessional literature." He has always used metaphor to express his inner desires without depicting them explicitly. However, his last two works, "The Wind Rises" and "The Boy and the Heron," confess his honest contradictions. These confessions represent two pillars of Miyazaki's life: the confession regarding "nature and civilization" ("The Wind Rises") and the confession about "animation (reality and fiction)" ("The Boy and the Heron").</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">"The Wind Rises" confesses the contradiction of desiring to depict the beautiful sky, ultimately linked to war. "The Boy and the Heron" is an admission of the contradictions within animation. What were these contradictions?</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">Animation and Self-Parody</span>
The protagonist, Mahito, wanders into a mysterious tower and into a world beyond this one. This setting, especially the world inside the tower, continuously depicts self-parodies of Miyazaki's past works.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">On social media, some criticized this as a mere patchwork of past works, while others enjoyed identifying the references. However, the importance lies not in "what" was redrawn but "how" it was redone. It's not about the content of each cut but its expression to grasp Miyazaki's true intentions.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">For example, the "Heron's" walk, overlaid on the "Deer God" from "Princess Mononoke," shifts from a gentle, life-giving gait to a creepy, creaking sound. This is just one example where the expression in this work was depicted with an atmosphere of "unease/fear," revealing an important confession from Miyazaki, the genius of animation.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">The Positives and Negatives of Anime Expression</span></p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Miyazaki's depiction of food is so delicious-looking it's unreal, a hallmark of his animation. Not just food, but "nature" too, is depicted with vibrant, juicy leaves and droplets of water. He has the overwhelming skill to depict "reality" as "excessively beautiful," turning the "fiction" of animation into "reality." This skill is a sort of "curse" that Miyazaki has freely wielded and embodied.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Isao Takahata has always pointed out that Miyazaki lies through animation, depicting food as unappetizing and plants as dead. Takahata's works force a direct confrontation with reality, as if telling Miyazaki not to lie.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Miyazaki, of course, understood this, yet he indulged in the pleasure of animation, depicting an ideal food and nature that don't exist in reality, likely struggling with this contradiction.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">A key episode to understanding Miyazaki's "confession" in this work involves a conversation with a mother who told him her child loved "My Neighbor Totoro" so much they wore out the video tape. Miyazaki was shocked, hoping children would watch the movie once and then play outside in nature. Imagining a child clinging to his animated video, Miyazaki recognized his contradiction. He created animations to show the beauty and wonder of reality, yet children were captivated by the beauty and pleasure of the animation, surpassing reality.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Why is the Heron's walk "creepy"? If his previous works' beautiful expressions were the "positive" of fiction, this self-homage can be seen as the "negative." Here lies Miyazaki's intent. By depicting scenes of decay, internal organs spilling from fish, and eyes bulging out, Miyazaki reinterprets the animation techniques he used for beauty into expressions of unease, disgust, and fear. This is a confession that these techniques can flip from positive to negative, revealing a terrifying admission: the beautiful worlds he created were pleasures hiding a negative.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">The depiction of the Heron as a creepy "uncle" might be a metaphor. Children delighted in Totoro, believing they could fly to a fantasy world. However, in this work, Mahito is led by the creepy Heron into the underworld.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">A clear visual contrast is seen in the depiction of food. The food Mahito eats in the "real world" looks unappetizing, unlike Miyazaki's usual depictions, even making Mahito call it "disgusting." However, this sets up a contrast when Mahito meets his mother in the "fantasy (fiction)" world, and she makes him a richly depicted bread. Mahito, with red jam smeared on his face like splattered blood, smiles broadly in the movie's happiest moment. Miyazaki, drawing such a stark contrast, must be aware of the virtues and sins of animation technique.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">The scene with fighter jet glass, likely inspired by Miyazaki's father's work in manufacturing airplane parts, is a confession. In the real world, these parts are cruel weapons, but in the animation world, they become treasures for girls flying on beautiful Mehve. Calling the fighter jet glass "beautiful" is a confession to his past works (Miyazaki has transformed killing machines into beautiful jewels through animation).</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Thus, each self-homage is not just a repetition of imagination or reuse but expressions of confession.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">The God of Animation, Post-War Japan</span>
Who is the "Great Uncle" creating the "world" with building blocks in the mysterious tower? Many say it's Miyazaki himself, or perhaps Isao Takahata<span style="font-size: 12px;">[2]</span>. However, this character might represent the "god of animation." If we consider the tower as the world of fiction=animation and the tower as "Ghibli," then the Great Uncle could be Miyazaki or Takahata. But since the tower "fell from the sky," it suggests a force arriving from outside our world, perhaps the allure/curse of "animation" that came with the war. Miyazaki, Takahata, and possibly even Hideaki Anno<span style="font-size: 12px;">[3]</span> and Mamoru Oshii<span style="font-size: 12px;">[4]</span>, were captivated by this mysterious tower that suddenly appeared, becoming trapped and unable to escape.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">The film's opening, reminiscent of the Tokyo air raids, likely signifies this. Both Miyazaki and Takahata's lives began from the ashes of a world burnt to the ground by war, starting from nothing. Post-war Japan, from this void, created a vast world of fiction, manga, and animation to fill the immense loss. Japan was scorned as a childlike nation without politics or violence by the international community, while "Japanimation" was the only source of pride in this twisted self-consciousness.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Miyazaki, through animation, wondered if we could reconstruct our sensory experiences, ways of living, and thoughts in this real world, albeit with ideals and contradictions.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">Fathers and Sons, or the Issue of Succession</span>
The scene of dialogue between the Great Uncle and Mahito is a meeting between father and son. Some see this as Miyazaki searching for a successor in Goro Miyazaki<span style="font-size: 12px;">[5]</span>. However, it also recalls the confrontation between Gendo and Shinji Ikari in "Neon Genesis Evangelion." The two meet in a low-ceilinged, light-filled, fantastical space.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">"Great Uncle (father) - Mahito (son)" could represent "Isao Takahata - Hayao Miyazaki," "Hayao Miyazaki - Goro Miyazaki," "Hayao Miyazaki - Hideaki Anno," or even "Hayao Miyazaki - Mamoru Oshii" and "Hayao Miyazaki - Makoto Shinkai<span style="font-size: 12px;">[6]</span>." In other words, the Great Uncle and Mahito symbolize not specific individuals but humans captivated by the culture of animation, believing they can create worlds within it, and those chosen to inherit this cycle of animation itself.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Thus, the father and son meeting in the mysterious tower represents not Ghibli's succession issue or Miyazaki's reincarnation but the structure of post-war Japan continuously inheriting the fantasy (fictional world) of animation, a metaphor for this system.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Considering this, the roles of the white fairies called "Warawara" and Mahito's stepmother, Natsuko, become clear. Warawara, resembling DNA's double helix structure, continues trying to "birth" from the dead "fictional world" into "reality." On the other hand, in the fictional world, Natsuko is summoned to give birth to a successor (the "reproduction" of the animation world), and the parakeet, which can only live in the fantasy world, sanctifies and protects her.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">However, as Pazu and Sheeta reject Muska, who tries to live using the "giant flying stone (fantasy's power)," and push him to the ground, Himi and Mahito reject the Great Uncle's inheritance and end the mysterious tower.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">The crumbling mysterious tower represents all of Miyazaki's animated worlds, from "Future Boy Conan," "Nausicaä of the Valley of the Wind," "Castle in the Sky," "Princess Mononoke," to "Ponyo on the Cliff by the Sea," collapsing. Miyazaki himself depicted this, sealing the worlds he devoted his life to creating, washing them away with water and burying them in the earth, embodying an unimaginable sorrow.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Therefore, "The Boy and the Heron" is not a return to fantasy. Praising the film for its beautiful fantasy representations is too simplistic. This movie contains a confession filled with terrifying sadness, depicting an overly enchanting and beloved world, only to seal it away with one's own hands.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">If there's a message of "This is how I lived," it's not about expressing one's world recklessly, ignoring the audience. Instead, it's about the determination to take responsibility for having created a culture of animation with such a significant impact.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">The parakeets flying away from the collapsing tower become real birds once they exit. The birds that spoke, cried, laughed, and created the world scatter their droppings as they fly, becoming just "real birds." The mysterious tower crumbles like a graveyard of animation.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">Miyazaki, perhaps aware of his own mortality and the struggles of his life and post-war Japanese animation, hastened to collapse the enchanting mysterious tower, freeing the parakeets from magic and concluding the film.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">The Boy and the Heron</span>
This question, "How Do You Live?," likely isn't just from the book's title. It represents Miyazaki's way of life, living through an era when only the fiction of animation existed as a reliable entity after the war. However, he lived this life while struggling with whether it was the right way. "This is how I lived. There was no other way to live. But was it the right way? And how will you live?"</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;">This might have been the question Miyazaki wagered his life on, asking us.</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">Additional Notes</span>
Coincidentally, Haruki Murakami recently published "Killing Commendatore." Murakami, like Miyazaki, has continually depicted parallel worlds. It was surprising that in what might be his final magnum opus, Murakami, echoing Miyazaki, used self-homage to his past works to narrate escaping from a parallel world, unlike "Hard-Boiled Wonderland and the End of the World," where the protagonist remains in the parallel world. The closure of these two significant Japanese creators, resonating in such a philosophical manner, suggests the sincerity and importance of their questions to the new generation. What path will we take?</p><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin: 1.25em 0px; white-space-collapse: preserve;"><span color="var(--tw-prose-bold)" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; font-weight: 600;">Motherhood</span>
The theme of "mother/motherhood" is evident in this movie, requiring deep exploration. It relates to my personal philosophical issues, so I hope to write about it in detail elsewhere. This review focuses on the film's expressions and structure.</p><section class="footnotes" data-footnotes="true" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; background-color: white; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; color: #0d0d0d; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, "Segoe UI", Roboto, Ubuntu, Cantarell, "Noto Sans", sans-serif, "Helvetica Neue", Arial, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol", "Noto Color Emoji"; font-size: 16px; margin-bottom: 0px; white-space-collapse: preserve;"><h2 class="sr-only" id="footnote-label" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; clip: rect(0px, 0px, 0px, 0px); color: var(--tw-prose-headings); height: 1px; line-height: 1.33333; margin: 0px -1px 1rem; overflow: hidden; padding: 0px; position: absolute; white-space: nowrap; width: 1px;">Footnotes</h2><ol style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; counter-reset: list-number 0; display: flex; flex-direction: column; list-style: none; margin: 0px 0px 1.25em; padding: 0px;"><li id="user-content-fn-1" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; counter-increment: list-number 1; display: block; margin-bottom: 0px; margin-top: 0px; min-height: 28px; padding-left: 0.375em;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; margin: 0px;">[1]Hayao Miyazaki is a renowned Japanese animator, director, and co-founder of Studio Ghibli, known for his work on films such as "My Neighbor Totoro," "Spirited Away," and "The Wind Rises." </p></li><li id="user-content-fn-2" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; counter-increment: list-number 1; display: block; margin-bottom: 0px; margin-top: 0px; min-height: 28px; padding-left: 0.375em;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; margin: 0px;">[2]Isao Takahata was a Japanese film director, producer, screenwriter, and co-founder of Studio Ghibli. He is known for directing films such as "Grave of the Fireflies" and "The Tale of The Princess Kaguya." </p></li><li id="user-content-fn-3" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; counter-increment: list-number 1; display: block; margin-bottom: 0px; margin-top: 0px; min-height: 28px; padding-left: 0.375em;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; margin: 0px;">[3]Hideaki Anno is a Japanese animator and film director known for creating the popular anime series "Neon Genesis Evangelion." </p></li><li id="user-content-fn-4" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; counter-increment: list-number 1; display: block; margin-bottom: 0px; margin-top: 0px; min-height: 28px; padding-left: 0.375em;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; margin: 0px;">[4]Mamoru Oshii is a Japanese filmmaker, television director, and writer famous for his work on "Ghost in the Shell" and "Patlabor" anime series. </p></li><li id="user-content-fn-5" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; counter-increment: list-number 1; display: block; margin-bottom: 0px; margin-top: 0px; min-height: 28px; padding-left: 0.375em;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; margin: 0px;">[6]Goro Miyazaki is the son of Hayao Miyazaki and a director known for his work on Studio Ghibli films such as "Tales from Earthsea" and "From Up on Poppy Hill." </p></li><li id="user-content-fn-6" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; counter-increment: list-number 1; display: block; margin-bottom: 0px; margin-top: 0px; min-height: 28px; padding-left: 0.375em;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; margin: 0px;">Makoto Shinkai is a Japanese director, writer, producer, and animator, best known for his work on "Your Name" and "Weathering with You."
<br /></p></li><li id="user-content-fn-6" style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; counter-increment: list-number 1; display: block; margin-bottom: 0px; margin-top: 0px; min-height: 28px; padding-left: 0.375em;"><p style="--tw-border-spacing-x: 0; --tw-border-spacing-y: 0; --tw-ring-color: rgba(69,89,164,.5); --tw-ring-offset-color: #fff; --tw-ring-offset-shadow: 0 0 transparent; --tw-ring-offset-width: 0px; --tw-ring-shadow: 0 0 transparent; --tw-rotate: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-scroll-snap-strictness: proximity; --tw-shadow-colored: 0 0 transparent; --tw-shadow: 0 0 transparent; --tw-skew-x: 0; --tw-skew-y: 0; --tw-translate-x: 0; --tw-translate-y: 0; border: 0px solid rgb(227, 227, 227); box-sizing: border-box; margin: 0px;">Kazeto Shimonishi
kazeto.jp
</p></li></ol></section>kazetohttp://www.blogger.com/profile/12361466935305597581noreply@blogger.com0tag:blogger.com,1999:blog-5322156660880953341.post-39890225304473580902018-05-04T18:25:00.004+09:002018-05-04T18:30:48.219+09:00絵本『10才のころ、ぼくは考えた。』(福音館書店)<span style="font-size: medium;"><br /></span>
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<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="https://www.amazon.co.jp/10%E6%89%8D%E3%81%AE%E3%81%93%E3%82%8D%E3%80%81%E3%81%BC%E3%81%8F%E3%81%AF%E8%80%83%E3%81%88%E3%81%9F%E3%80%82-%E6%9C%88%E5%88%8A%E3%81%9F%E3%81%8F%E3%81%95%E3%82%93%E3%81%AE%E3%81%B5%E3%81%97%E3%81%8E2018%E5%B9%B46%E6%9C%88%E5%8F%B7-%E4%B8%8B%E8%A5%BF%E9%A2%A8%E6%BE%84/dp/B07BZ3L77S/ref=zg_bs_492380_2?_encoding=UTF8&psc=1&refRID=9BXQ08J0E3PSJ8MF0N54" target="_blank"><img alt="https://www.amazon.co.jp/10%E6%89%8D%E3%81%AE%E3%81%93%E3%82%8D%E3%80%81%E3%81%BC%E3%81%8F%E3%81%AF%E8%80%83%E3%81%88%E3%81%9F%E3%80%82-%E6%9C%88%E5%88%8A%E3%81%9F%E3%81%8F%E3%81%95%E3%82%93%E3%81%AE%E3%81%B5%E3%81%97%E3%81%8E2018%E5%B9%B46%E6%9C%88%E5%8F%B7-%E4%B8%8B%E8%A5%BF%E9%A2%A8%E6%BE%84/dp/B07BZ3L77S/ref=zg_bs_492380_2?_encoding=UTF8&psc=1&refRID=9BXQ08J0E3PSJ8MF0N54" border="0" data-original-height="1600" data-original-width="1222" height="400" src="https://3.bp.blogspot.com/-w_JuDSAtEIo/WuwmEKWUSqI/AAAAAAAABMo/HUZ8bqtCDE4ojNvk6tnNMk6NerD8WvbZgCLcBGAs/s400/10boku_Amazon.jpg" width="305" /></a></span></td></tr>
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<span style="font-size: medium;"><span style="background-color: white; color: #515050; font-family: "helvetica neue" , "arial" , sans-serif;">はじめて執筆した絵本『10才のころ、ぼくは考えた。』(福音館書店)が発売されました! 何かを「考えよう」とするすべての子どもたちへ。そして、考えて生きることの喜びも悲しみも知った大人たちへ。多くの人に届くと嬉しいです。</span><br style="background-color: white; color: #515050; font-family: "Helvetica Neue", Arial, sans-serif;" /><a href="https://t.co/sgdax0zon1" style="background-color: white; color: #333333; font-family: "helvetica neue", arial, sans-serif;" title="http://amzn.to/2HngT2h">http://amzn.to/2HngT2h </a><br /><br />下記、出版社(福音館書店)に掲載されている説明です。<br />ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー</span><br />
<span style="font-size: medium;">若き哲学者による少年時代の思考の回想記。生とは? 死とは? ぼく/わたしとは? だれしもが出会い、いつしか忘れてしまう根源的な問いに、ひとり手探りでむかった。自然科学ではこたえてくれない“なぜ”の入り口に立つ小学生の子どもたちに、「考える」ことの可能性をとどけます。「哲学」は、生きることの意味を永遠に問い続ける学問です。 </span><br />
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<span style="font-size: x-small;">読んであげるなら ― </span></span><br />
<span style="font-size: x-small;">自分で読むなら 小学中学年から</span><span style="font-size: medium;"> </span><br />
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下西 風澄 文 / 浅井 美紀 写真</span><br />
<span style="font-size: medium;">ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー</span>kazetohttp://www.blogger.com/profile/12361466935305597581noreply@blogger.com0tag:blogger.com,1999:blog-5322156660880953341.post-90878550115629511402015-10-10T17:10:00.001+09:002015-10-10T21:31:37.888+09:00「纏われる心 Weared Mind ―モノと心の再縫合―」<br />
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<a href="http://www.amazon.co.jp/%E3%83%95%E3%82%A1%E3%83%83%E3%82%B7%E3%83%A7%E3%83%B3%E3%81%AF%E6%9B%B4%E6%96%B0%E3%81%A7%E3%81%8D%E3%82%8B%E3%81%AE%E3%81%8B-%E4%BC%9A%E8%AD%B0-%E4%BA%BA%E3%81%A8%E6%9C%8D%E3%81%A8%E7%A4%BE%E4%BC%9A%E3%81%AE%E3%83%97%E3%83%AD%E3%82%BB%E3%82%B9%E3%83%BB%E3%82%A4%E3%83%8E%E3%83%99%E3%83%BC%E3%82%B7%E3%83%A7%E3%83%B3%E3%82%92%E5%A4%A2%E6%83%B3%E3%81%99%E3%82%8B-%E6%B0%B4%E9%87%8E-%E5%A4%A7%E4%BA%8C%E9%83%8E/dp/4845915596" target="_blank"><img alt="" border="0" height="400" src="http://3.bp.blogspot.com/-rZf6H6FB4LA/VhjDnol2Q8I/AAAAAAAABDc/R-zeS730-38/s400/fashion_koushin.jpg" title="" width="250" /></a></div>
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8月25日フィルムアート社から発売された『ファッションは更新できるのか?会議』という本に、「纏われる心―モノと心の再縫合」という論考を書きました。<br />
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本自体は、ファッションに関する論考が並んでいますが、僕の論考にはブランド名さえ出てきません。代わりに、「ソクラテス」と「琵琶法師」のファッションを分析する、という思い切った文章を書きました。<br />
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なぜソクラテスは自分の外見を気にしなかったか、なぜ琵琶法師の衣服は神秘性を持ったのか?ファッションが制度化する以前の、純粋な「衣服を纏う」ことの意味について考えてみたものです。<br />
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テーマの中で自由に書かせてもらったので、実質的には「ソクラテスと琵琶法師の身体論」といったところです。この二人を比較することで、西洋と東洋の思想的な違いを浮かび上がらせることができたら面白いのではないかと書いたもので、なかなか見ない文章になっているのではないかと思います。<br />
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少しだけ、冒頭の文章を紹介しますので、気になった方はぜひ書店で手にとって見てください。<br />
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ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー<br />
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<span style="font-family: Georgia, Times New Roman, serif;">いままで精神も徳も、百度も千度も試みては、誤った。そうだ、人間とは試みだったのだ。ああ、多くの無知と誤りが、わたしたちの身体となった! </span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">『ツァラトゥストラはこう言った』フリードリヒ・ニーチェ</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> 神話の時代、人は世界全体を衣服のように纏っていた。科学史家モリス・バーマンはそう指摘している。人々の心は自然や神と一体であり、「自己」という感覚は果てしなく希薄であった。湧き上がる意志や感情は取り憑いた神の指令であり、戦争は神々の争いの代理戦争であった。「魂(プシュケー)」は、純粋な精神であるよりは血や肉に近い言葉であり、また時には大地を吹く風(プネウマ)のようなものであった。 </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"> おそらく、神や自然から人間を切り離した最初の人物が、紀元前5世紀に登場した哲学者ソクラテスであり、ここに決定的な人間と自然の分離を促進したのが17世紀の科学革命である。歴史を通じて徐々に切り離された人間と世界、心とモノ。裁断されたこの心とモノの関係を再縫合することはできないか。人間と世界のまさに境界、インターフェイスとしての衣服、そして衣服を超えたファッションというテーマに向かって、あえてファッション論の外側から考えたい。本稿はそのために、「ソクラテス」と「琵琶法師」のファッションを分析する、という少し変わったアプローチを実験してみようと思う。</span></div>
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ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー<br />
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Amazonは<a href="http://www.amazon.co.jp/%E3%83%95%E3%82%A1%E3%83%83%E3%82%B7%E3%83%A7%E3%83%B3%E3%81%AF%E6%9B%B4%E6%96%B0%E3%81%A7%E3%81%8D%E3%82%8B%E3%81%AE%E3%81%8B-%E4%BC%9A%E8%AD%B0-%E4%BA%BA%E3%81%A8%E6%9C%8D%E3%81%A8%E7%A4%BE%E4%BC%9A%E3%81%AE%E3%83%97%E3%83%AD%E3%82%BB%E3%82%B9%E3%83%BB%E3%82%A4%E3%83%8E%E3%83%99%E3%83%BC%E3%82%B7%E3%83%A7%E3%83%B3%E3%82%92%E5%A4%A2%E6%83%B3%E3%81%99%E3%82%8B-%E6%B0%B4%E9%87%8E-%E5%A4%A7%E4%BA%8C%E9%83%8E/dp/4845915596" target="_blank">こちら</a>。<br />
Fashionsnapさんの紹介記事は<a href="http://www.fashionsnap.com/news/2015-08-12/fashion-koushin/" target="_blank">こちら</a>。<br />
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よろしくお願いします!<br />
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<br />kazetohttp://www.blogger.com/profile/12361466935305597581noreply@blogger.com0tag:blogger.com,1999:blog-5322156660880953341.post-63637363847897543872014-03-10T19:14:00.004+09:002014-03-10T19:15:05.160+09:00終わらない心、あるいは自然<div class="separator" style="clear: both; text-align: center;">
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<a href="http://2.bp.blogspot.com/-2DmINEj93lk/Ux2Px-HATAI/AAAAAAAAA7s/juWG-zGZh-M/s1600/owaranai.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-2DmINEj93lk/Ux2Px-HATAI/AAAAAAAAA7s/juWG-zGZh-M/s1600/owaranai.png" height="223" width="400" /></a></div>
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<span style="background-color: white; color: #444444; font-family: 'Helvetica Neue', HelveticaNeue, Helvetica, Arial, sans-serif; font-size: 14.44444465637207px; line-height: 21.77777862548828px;">昨年行われた、独立研究者の森田真生さんと哲学者の國分功一郎さんの対談レポートエッセイを書きました。写真は新津保建秀さんです。記事が公開されたので、ぜひご覧ください。</span><br />
<br style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0); background-color: white; box-sizing: border-box; color: #444444; font-family: 'Helvetica Neue', HelveticaNeue, Helvetica, Arial, sans-serif; font-size: 14.44444465637207px; line-height: 21.77777862548828px; outline: none 0px;" />
<span style="background-color: white; color: #444444; font-family: 'Helvetica Neue', HelveticaNeue, Helvetica, Arial, sans-serif; font-size: 14.44444465637207px; line-height: 21.77777862548828px;">「終わらない心、あるいは自然」 </span><br />
<a href="http://suiohsha.jp/report/cl131013.html" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.298039); background-color: white; box-sizing: border-box; color: #444444; font-family: 'Helvetica Neue', HelveticaNeue, Helvetica, Arial, sans-serif; font-size: 14.44444465637207px; line-height: 21.77777862548828px; outline: none 0px;" target="_blank"></a><a href="http://suiohsha.jp/report/cl131013.html" style="-webkit-tap-highlight-color: rgba(26, 26, 26, 0.298039); background-color: white; box-sizing: border-box; color: #444444; font-family: 'Helvetica Neue', HelveticaNeue, Helvetica, Arial, sans-serif; font-size: 14.44444465637207px; line-height: 21.77777862548828px; outline: none 0px;">http://suiohsha.jp/report/cl131013.html</a><br /><br /><br /><br />kazetohttp://www.blogger.com/profile/12361466935305597581noreply@blogger.com0tag:blogger.com,1999:blog-5322156660880953341.post-39313314376359612952013-03-13T20:41:00.000+09:002015-10-10T18:15:36.210+09:00『なめらかな社会とその敵』をもっと理解するための10冊。<br />
鈴木健さんの近著『<a href="http://www.amazon.co.jp/gp/product/4326602473/ref=as_li_qf_sp_asin_il_tl?ie=UTF8&camp=247&creative=1211&creativeASIN=4326602473&linkCode=as2&tag=kazetobook-22">なめらかな社会とその敵</a>』の5刷が決まったようです。<br />
勁草書房の歴史では、浅田彰氏の『構造と力』以来の売れ行きだそうです。<br />
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このブログでも「<a href="http://blog.picsy.org/2013/02/nameraka_publishing/">思想の散種</a>」の一貫として<a href="http://kazetoblog.blogspot.jp/2013/02/blog-post_23.html">書評</a>を書きましたが、そろそろみなさん手にとって読まれた方も多いと思いますので、本書をより深く理解するためにオススメの本を10冊ほどあげてみました。<br />
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民主主義、メディア論、認知科学、哲学、など幅広い領域に関わる本書を理解するには、どこかの専門分野を勉強するというよりも、ある方向を目指した「思考の型」を共有しているような本を読むことが理解の鍵のような気がします。<br />
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そこで、あくまで個人的なオススメですが、以下に10冊ほど挙げてみたいと思います。<br />
※僕自身の関心領域である生命論・科学史あたりが中心になっています。他にも数学や経済学、あるいは政治思想の領域にも関連する書籍があると思います。それぞれの分野の方にオススメの本をあげてもらうと、より本書を楽しめるのではないかと思います。<br />
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<b>1.『<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;">現れる存在―脳と身体と世界の再統合<span style="text-transform: capitalize;">』(NTT出版,2012)</span></span></b><br />
<span style="color: black; font-family: inherit;"><span style="background-color: white;">アンディ・クラーク</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">池上 高志</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(翻訳)</span><span style="background-color: white;">, </span><span style="background-color: white;">森本 元太郎</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(翻訳)</span><span style="background-color: white;"> </span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/4757102674/ref=as_li_qf_sp_asin_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4757102674&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4757102674&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4757102674" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br />
・アメリカの認知科学や心の哲学周辺で活躍する哲学者Andy.Clarkの邦訳書。人工知能やロボティクスの研究を通じて、人間の心が脳だけでなく身体や環境に依存していることを明らかにしていく、この分野の入門にして先端の書。<br />
・本書の第三章『心と世界−移ろう境界』は、鈴木健氏が翻訳を担当している。「心は漏れ出しやすい組織である。絶えず「自然な」境界を抜けだして、臆面もなく身体や世界と混じりあってしまう。」と始まる本章は、鈴木氏の文体と思想の土壌を垣間見ることができる。<br />
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<b>2.『<span style="background-color: white; font-family: inherit;">動きが生命をつくる―生命と意識への構成論的アプローチ』(青土社,2007)</span></b><br />
<span style="font-family: inherit;"><span class="contributorNameTrigger" style="background-color: white;">池上 高志</span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;"> </span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/4791763513/ref=as_li_tf_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4791763513&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4791763513&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4791763513" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br />
・複雑系の分野を切り開き続ける物理学者、池上高志氏の研究と思想をまとめた一冊。主にコンピュータシミュレーションの実験と力学系の理論を通じて、構成的に生命と意識を探る必読の一冊。<br />
・鈴木健氏は、本書の著者である池上高志氏の研究室出身である。鈴木氏の理論的バックボーンに複雑系の思想があることも踏まえて、本書は大きな手がかりになると思われる。<br />
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<b>3.『<span style="background-color: white; font-family: inherit;">オートポイエーシス―生命システムとはなにか<span style="text-transform: capitalize;">』(国文社,1991)</span></span></b><br />
<span style="font-family: inherit;"><span style="background-color: white;">H.R. マトゥラーナ </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span class="contributorNameTrigger" style="background-color: white;">F.J. ヴァレラ</span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, 河本 英夫 </span><span class="byLinePipe" style="background-color: white;">(翻訳)</span><span style="background-color: white;"> </span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/4772003673/ref=as_li_tf_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4772003673&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4772003673&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4772003673" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br />
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・1970年代初頭に生物学者マトゥラーナ、ヴァレラによって提唱され、その後社会学者ニクラス・ルーマンによって世に知れ渡り、思想界にまで議論が波及した異端の生命論。自己複製や進化を中心とした生命理解ではなく、「境界」の問題を生命理解の中心に置いた。<br />
・『なめらかな社会とその敵』では、本書が提案する「オートポイエーシス理論」をベースに議論が展開されている。「境界とは何か」という問題に対する核心をついた本書は、やや難解ではあるが、ひとつの歴史を作ったと言ってよいほどの隠れた影響力を持つ。<br />
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<b>4.『<span style="background-color: white; font-family: inherit;">身体化された心―仏教思想からのエナクティブ・アプローチ<span style="text-transform: capitalize;">』(工作舎,2001)</span></span></b><br />
<span style="font-family: inherit;"><span style="background-color: white;">フランシスコ ヴァレラ </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span class="contributorNameTrigger" style="background-color: white;">エレノア ロッシュ </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, エヴァン トンプソン </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, 田中 靖夫 </span><span class="byLinePipe" style="background-color: white;">(翻訳)</span><span style="background-color: white;"> </span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/4875023545/ref=as_li_tf_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4875023545&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4875023545&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4875023545" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br />
・『オートポイエーシス』の著者でもあるフランシスコ・ヴァレラの書いた新しい認知科学の方法論を提供する一冊。第三人称的記述と第一人称的な記述を、神経科学と現象学を相互制約的に活用することで架橋しようとする挑戦的な書。また、その方法論と思想的背景に仏教を用いるという極めてラディカルでスリリングな一冊。<br />
・『なめらかな社会とその敵』は、単に社会システムを技術によって更新するだけではなく、そのことによって社会システムを環境とする人間を拡張しようとする試みでもある。本書は人間の経験が生物学的・認知的なレベルでどのように構成されるかを提供し、またそれが仏教的な思想に近づく可能性を示唆する。「なめらかな社会は“仏教哲学のひとつの実装形態”かもしれない」と言う鈴木氏のイメージをリアルにするだろう。<br />
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<b>5.『<span style="font-family: inherit;">建築する身体―人間を超えていくために<span style="text-transform: capitalize;">』(春秋社,2004)</span></span></b><br />
<span style="font-family: inherit;"><span class="contributorNameTrigger" style="background-color: white;">荒川 修作 </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span class="contributorNameTrigger" style="background-color: white;">マドリン ギンズ </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">Madeline Gins</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(原著)</span><span style="background-color: white;">, </span><span style="background-color: white;">河本 英夫</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(翻訳)</span><span style="background-color: white;"> </span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/4393955056/ref=as_li_tf_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4393955056&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4393955056&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4393955056" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br />
・建築家・芸術家、荒川修作の代表的著作。「人間は死なない」と言い続けた荒川修作は、まさに新しい生命、新しい身体を「建築」しようとした人物であった。本書はほとんどの文章が独自の術語で書かれており、まともに読むのは難しい。しかし、本書に触れつつ、何より実際の建築物である《三鷹天命反転住宅》や《養老天命反転地》に行くことをオススメする。<br />
(荒川修作については、<a href="http://kazetoblog.blogspot.jp/2013/02/blog-post_23.html">書評</a>第Ⅳ部と、住宅に住んだ際の<a href="http://kazeto.tumblr.com/post/28251474084/3-1">日記</a>などを参照して頂ければ。)<br />
・建築とは、建物のことではないというのが本書のテーマである。建築とは生命が自分自身を構成する働きのことである。そのインターフェイスが身体であり、衣服であり、建物であり、情報環境であり、社会システムである。『なめらかな社会とその敵』はその意味において「生命にとって建築とは何か」が隠れたテーマであり、本書とはその根底において深くつながっている。<br />
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<b>6.『<span style="background-color: white; font-family: inherit;">思想としてのパソコン』(NTT出版,1997)</span></b><br />
<span style="font-family: inherit;"><span style="background-color: white;">西垣 通</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">フィリップ ケオー</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">A.M. チューリング</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">ダグラス・C. エンゲルバート</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">テリー ウィノグラード</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">ヴァネヴァー ブッシュ</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">J.C.R. リックライダー</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">テッド ネルソン</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/487188497X/ref=as_li_tf_il?ie=UTF8&camp=247&creative=1211&creativeASIN=487188497X&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=487188497X&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=487188497X" height="1" style="border: none !important; margin: 0px !important;" width="1" /><br />
・コンピュータ/WWWの黎明期における創始者たちの設計思想を集めた論文集。冒頭には西垣通氏の解説が収録されている。コンピュータだけで知能を実現するAI(Artificial Intelligence)から、人間の知能を増幅するものとしてのコンピュータ=IA(intelligence amplifier)へ、というテーゼが示されている。<br />
・新しい技術の持つ設計思想がいかに人間や社会を変えていくかという観点から言えば、本書は『なめらかな社会とその敵』ともっとも親和性が高い本かもしれない。本書に収録されたチューリングやブッシュ、エンゲルハートらの著書への影響はとても大きいと思われる。<br />
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<b>7.『<span style="background-color: white; font-family: inherit;">グーテンベルクの銀河系―活字人間の形成<span style="text-transform: capitalize;">』(みすず書房,1986)</span></span></b><br />
<span style="font-family: inherit;"><span class="contributorNameTrigger" style="background-color: white;">マーシャル マクルーハン</span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">森 常治</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(翻訳)</span><span style="background-color: white;"> </span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/4622018969/ref=as_li_tf_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4622018969&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4622018969&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4622018969" height="1" style="border: none !important; margin: 0px !important;" width="1" />
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・言わずと知れたメデイア論の古典的名著。活版印刷技術が西欧近代の形成に果たした役割の分析を通じて、新たなメデイアの登場が私たちの身体性、そして社会システムを変えてしまうことを明らかにする。アカデミックな批判を受けることもあるが、その批評性と想像力は現在もひときわ目立つ。<br />
・「なめらかな社会」を実現するために、著者は「300年くらいかけてやりましょう。」というメッセージを発しているが、それは15世紀における活版印刷の発明から、市民社会の形成までの歴史も念頭に置いている。新しいメデイアが時間をかけて、身体性と社会を変えてしまうことへのリアリティが本書によって増すはずである。<br />
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<img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4756101070" height="1" style="border: none !important; margin: 0px !important;" width="1" />
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<b>8.『</b><span style="background-color: white;"><span style="font-family: inherit;"><b>ised 情報社会の倫理と設計 設計篇</b></span><span style="font-family: inherit; font-weight: bold; text-transform: capitalize;">』(</span><span style="font-family: arial, helvetica, osaka, MS PGothic, sans-serif;">河出書房新社,2010</span></span><b><span style="background-color: white; font-family: inherit;"><span style="text-transform: capitalize;">)</span></span></b><br />
<span style="font-family: inherit;"><span style="background-color: white;">東 浩紀<span style="background-color: white;"> </span></span><span class="byLinePipe" style="background-color: white;">(著, 編集)</span><span style="background-color: white;">, 濱野 智史<span style="background-color: white;"> </span></span><span class="byLinePipe" style="background-color: white;">(編集)</span><span style="background-color: white;"> </span></span></div>
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<a href="http://www.amazon.co.jp/gp/product/4309244432/ref=as_li_qf_sp_asin_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4309244432&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4309244432&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4309244432" height="1" style="border: none !important; margin: 0px !important;" width="1" />
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・思想家、東浩紀氏を中心とした国際大学GLOCOMでの研究会の記録。プログラマーやIT企業経営者などの情報社会の設計者たちと、法学者や社会学者らの情報社会の分析者たちの協働討議。インターネットや情報技術の問題や可能性を先駆的に議論している。合わせて『倫理篇』もオススメ。<br />
・鈴木健氏はこの研究会のサブ司会も担当。「なめらかな社会」についてのプレゼンテーションや、様々な議論が収録されている。「鈴木健の構想は宗教に他ならない。」という法学者の指摘に、「生態環境を根底から書き換える意味で、むしろ生態学的。」と応える鈴木氏など熱い議論を見ることができる。<br />
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<b>9.『<span style="background-color: white; font-family: inherit;">デカルトからベイトソンへ―世界の再魔術化<span style="text-transform: capitalize;">』(国文社,1989)</span></span></b><br />
<span style="font-family: inherit;"><span style="background-color: white;">モリス・バーマン</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">柴田 元幸</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(翻訳)</span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/4772001719/ref=as_li_tf_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4772001719&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4772001719&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4772001719" height="1" style="border: none !important; margin: 0px !important;" width="1" />
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・17世紀のヨーロッパで起こった科学革命、あるいはデカルト的哲学によって、人間と自然の関係が決定的に変わってしまった。人間と自然が分離せずに共に生きていた「魔術的世界」が近代科学によって追放されてしまった現在、G.ベイトソンなどに見出される新たな科学的認識論によって世界を「再魔術化」することは可能かを問うた。<br />
・本書との関係は<a href="http://kazetoblog.blogspot.jp/2013/02/blog-post_23.html">書評</a>第Ⅲ部に詳しく書いたので、そちらを参照してもらいたい。<br />
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<b>10.『<span style="background-color: white; font-family: inherit;">異邦人』(新潮社,1963)</span></b><br />
<span style="font-family: inherit;"><span style="background-color: white;">カミュ</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(著)</span><span style="background-color: white;">, </span><span style="background-color: white;">窪田 啓作</span><span style="background-color: white;"> </span><span class="byLinePipe" style="background-color: white;">(翻訳)</span><span style="background-color: white;"> </span></span><br />
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<a href="http://www.amazon.co.jp/gp/product/4102114017/ref=as_li_tf_il?ie=UTF8&camp=247&creative=1211&creativeASIN=4102114017&linkCode=as2&tag=kazetobook-22"><img border="0" src="http://ws.assoc-amazon.jp/widgets/q?_encoding=UTF8&ASIN=4102114017&Format=_SL160_&ID=AsinImage&MarketPlace=JP&ServiceVersion=20070822&WS=1&tag=kazetobook-22" /></a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4102114017" height="1" style="border: none !important; margin: 0px !important;" width="1" />
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・サルトルによって絶賛され、若干43歳でノーベル賞を受賞したフランスの小説家・劇作家アルベール・カミュの出世作。母を亡くした主人公ムルソーが巻き込まれた不運の事故とその裁判を巡る物語。<br />
・「この複雑な世界を、複雑なまま生きることはできないのだろうか。」と始まる『なめらかな社会とその敵』の最初の扉文にはカミュの文章が掲載されている。まさに、この主人公ムルソーは「複雑な世界を、複雑なまま」生きようとした人物そのものであり、そしてそれが叶わない社会に生きた人間であった。<br />
(本書は小説であるし、直接的に著書に関係するわけではないが、「複雑な世界を、単純化して生きてしまわざるを得ない人間。」のイメージが、この物語の中に実に生々しく描かれているため、オススメしておく。)<br />
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以上で、オススメの10冊は終わりである。<br />
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ここに挙げた10冊のうち、何冊かは著書の中でも直接言及され参考文献にも載っているが、それ以外のものも、極めて本書と関わりが深いと思われる。<br />
同時に、これらの本は生命論や科学史においてではあるが、現代においてどれも非常に重要な著作たちである。その意味でも、これらの多くの思想の影響を受けながらそれをオリジナルな方法で紡ぎ上げている『なめらかな社会とその敵』は、たしかにこれからの時代にひとつの指針を投げかけている一冊ではないだろうか。<br />
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僕が未読であったり、専門外であって著書と関係するものも多い。<br />
とりわけ、カール・シュミット『<a href="http://www.amazon.co.jp/gp/product/4624300122/ref=as_li_tf_tl?ie=UTF8&camp=247&creative=1211&creativeASIN=4624300122&linkCode=as2&tag=kazetobook-22">政治的なものの概念</a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4624300122" height="1" style="border: none !important; margin: 0px !important;" width="1" />
』、岩井克人『<a href="http://www.amazon.co.jp/gp/product/4480084118/ref=as_li_tf_tl?ie=UTF8&camp=247&creative=1211&creativeASIN=4480084118&linkCode=as2&tag=kazetobook-22">貨幣論</a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4480084118" height="1" style="border: none !important; margin: 0px !important;" width="1" />』
、カール・ポパー『<a href="http://www.amazon.co.jp/gp/product/4624010523/ref=as_li_tf_tl?ie=UTF8&camp=247&creative=1211&creativeASIN=4624010523&linkCode=as2&tag=kazetobook-22">開かれた社会とその敵</a><img alt="" border="0" src="http://www.assoc-amazon.jp/e/ir?t=kazetobook-22&l=as2&o=9&a=4624010523" height="1" style="border: none !important; margin: 0px !important;" width="1" />
』、あるいはジョン・ロックやクレッグイーガンらの著作は、挙げておいたほうがよいかもしれない。<br />
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簡単ではあったが、これらの本が読まれ、より深く著書に迫るきっかけになれば嬉しい。<br />
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<span style="background-color: white; color: #444444; font-family: 'Open Sans', Helvetica, Arial, sans-serif; line-height: 24px;">(追記 : 03/17)</span><br />
この選書は、2013.4.7〜5.14まで、紀伊國屋書店新宿南店にて、<a href="http://www.kinokuniya.co.jp/contents/pc/store/Shinjuku-South-Store/20130407175706.html">ブックフェア</a>として書評・解説のリーフレットとともに展示して頂きました。<br />
多くの方に見て頂いたとのことで、みなさまありがとうございました。<br />
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