{"id":23987,"date":"2022-05-02T10:57:42","date_gmt":"2022-05-02T09:57:42","guid":{"rendered":"https:\/\/research.reading.ac.uk\/research-blog\/?p=23987"},"modified":"2023-02-23T09:47:38","modified_gmt":"2023-02-23T09:47:38","slug":"how-studio-ghibli-films-can-help-us-rediscover-our-connection-with-nature","status":"publish","type":"post","link":"https:\/\/research.reading.ac.uk\/research-blog\/2022\/05\/02\/how-studio-ghibli-films-can-help-us-rediscover-our-connection-with-nature\/","title":{"rendered":"How Studio Ghibli films can help us rediscover the childlike wonder of our connection with nature"},"content":{"rendered":"

Films with powerful environmentally centred narratives can\u00a0transform our thinking<\/a>\u00a0and connect us with nature in ways that scientific papers cannot. For example,\u00a0Studio Ghibli<\/a>, a renowned Japanese film studio co-founded by animator\u00a0Hayao Miyazaki<\/a>, creates complex visual stories about human-nature relationships that transcend barriers of culture or age. A key message of Miyazaki\u2019s work is that we must respect nature \u2013 or face our own destruction.<\/p>\n

\"\"
My Neighbor Totoro, Studio Ghibli. Photo by Kyla Duhamel on Flickr CC-BY-SA<\/span><\/figcaption><\/figure>\n

Miyazaki\u2019s films offer viewers moments of escape into fantastical worlds that nonetheless echo problems of modernity, demonstrating that it\u2019s possible to portray complex environmental issues through animation in a way that retains mainstream appeal.<\/p>\n

As a conservation scientist and Studio Ghibli enthusiast, I\u2019ve\u00a0analysed<\/a>\u00a0the environmental themes in three of its most well-known films: Nausica\u00e4 of the Valley of the Wind (1984), My Neighbour Totoro (1988) and Princess Mononoke (1997).<\/p>\n

Nausica\u00e4<\/h2>\n

Nausica\u00e4, released with a special recommendation from the\u00a0World Wildlife Fund<\/a>\u00a0for Nature, tells the story of an apocalyptic event that wreaks havoc on global ecosystems. Surviving humans must coexist alongside the\u00a0Toxic Jungle<\/a>, a dangerous landscape filled with poisonous fungal spores. Most humans fear the Toxic Jungle and seek to destroy it. But what they don\u2019t understand is that it\u2019s cleansing the environment for their benefit.<\/p>\n

 <\/p>\n

\"\"
Nausicaa of the Valley of the Wind: Official Trailer<\/figcaption><\/figure>\n

Miyazaki designed the film to mirror our society, where\u00a0prioritising<\/a>\u00a0short-term materialistic growth over long-term environmental sustainability is predicted to lead to collapse. The film reminds us that being at war with nature ultimately ends in our\u00a0demise<\/a>. To create a sustainable future, we must\u00a0work with nature<\/a>\u00a0rather than against it.<\/p>\n

My Neighbour Totoro<\/h2>\n

In\u00a0My Neighbour Totoro<\/a>, a pair of young sisters move to a house in the countryside with their father as their mother recovers from illness. The girls explore their new house and the surrounding forest, forming a friendship with a large forest spirit named Totoro.<\/p>\n

\n
\"A<\/div>
My illustration of Totoro (a forest spirit), as depicted in My Neighbour Totoro.<\/span>\u00a0Author provided<\/span><\/span><\/figcaption><\/figure>\n

During\u00a0UK lockdowns<\/a>, local green spaces became a\u00a0haven<\/a>\u00a0supporting my mental health and reminding me of my intrinsic connection to nature and to other humans. As I saw children spending more time playing on the grass or climbing trees, I realised the importance of\u00a0unstructured playtime<\/a>\u00a0in nature. Indeed, a growing body of\u00a0research<\/a>\u00a0suggests that children\u2019s interactions with the natural world are invaluable for their wellbeing.<\/p>\n

In Miyazaki\u2019s film, the young sisters become friends with Totoro, explore their surroundings, and discover their affinity for their environment. Totoro is depicted as a warm and nurturing mother figure, representing and encouraging the\u00a0healing effects<\/a>\u00a0of communing with nature: which have been\u00a0well-documented<\/a>\u00a0in research and culture.<\/p>\n

Princess Mononoke<\/h2>\n

Princess Mononoke is set in\u00a014th-century Japan<\/a>, a world where the constant battle between humans and\u00a0forest kami<\/em><\/a>\u00a0(spirits) leads to casualties on both sides. In\u00a0Shinto<\/a>, a traditional Japanese religion, these\u00a0kami<\/em>\u00a0are part of nature \u2013 but they\u2019re not soft-natured entities. When humans refuse to respect their environment, they can seek revenge.<\/p>\n

The film\u2019s most powerful\u00a0kami<\/em>\u00a0is the Forest Spirit (Shishigami<\/a>), who is neither good nor evil but represents the pure power of nature. During the day, Shishigami appears as a deer. At night, it transforms into the eerie Night Walker. This transformation represents the duality of nature as a bringer of life and death, echoing how the natural world has the ability to both\u00a0support and destroy<\/a>\u00a0humankind.<\/p>\n

\n
\"A\"<\/div>
My illustration of Shishigami and the Night Walker, two sides of the same coin.<\/span><\/figcaption><\/figure>\n

Similarly, the antagonist of the film, Lady Eboshi, isn\u2019t in fact a clear-cut villain. Although she wants to cut down the forest to feed iron mines, she\u2019s also the kind, generous leader of Iron Town, providing a haven for social outcasts and espousing gender equality. Yet despite her wish to build a better society, her actions \u2013 however well-intentioned \u2013 will destroy the forest and the homes of the\u00a0kami<\/em>.<\/p>\n

This situation is a microcosm of ongoing\u00a0environmental justice<\/a>\u00a0issues across the world, where poor and marginalised groups, including\u00a0Indigenous people and women<\/a>, suffer for the actions of the wealthy. In particular, although wealthy countries contribute the most to climate change, it\u2019s poorer countries that must carry the greatest\u00a0climate-related burdens<\/a>.<\/p>\n

As viewers of Princess Mononoke, we\u2019re being encouraged to move beyond dichotomies of \u201cus versus them\u201d, thinking which allows groups with more power to distance themselves from those without: or even to\u00a0dehumanise<\/a>\u00a0them altogether. Miyazaki\u2019s work is a lesson in seeking intrinsic commonalities \u2013 what connects us rather than what divides \u2013 and using these to imagine fairer, more equal societies that live in harmony with nature.<\/p>\n

 <\/p>\n

Yuan Pan<\/a> is Lecturer in Environmental Management, University of Reading. This article was originally published in The Conversation<\/em><\/a>.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Films with powerful environmentally centred narratives can\u00a0transform our thinking\u00a0and connect us with nature in ways that scientific papers cannot. 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