Disney,
Miyazaki, and Feminism:
Why Western
girls need Japanese animation
Christine
Hoff Kraemer
My childhood, like the
childhoods of almost all children who grew up during the Information Age, was
characterized by my insatiable urge to consume media. I watched hours upon hours
of television, listened to countless records, begged impatiently to be taken to
the movies, and devoured library books so quickly that I usually finished a
stack of books on the same day I'd checked it out. Sadly missing in this joyful
acquisition of new facts, ideas, and storylines, however, was one key
requirement that no young girl should have to go without – good female role
models. My early love of fantasy and science fiction left me watching
television series with the recurring motif of the 'token female' – a supporting
and often poorly-developed character that simply failed to appeal. In
neighborhood games of pretend, when we had exhausted the afternoon cartoon
shows' few possibilities for satisfying female characters (Wonder Woman and
She-Ra being about all there was), the more daring girls among us would simply
bite the bullet and play male roles instead. No one wants to be Teela to
someone else's He-Man for weeks on end. Even if we were too young to know the
word "degrading," we certainly understood the word "unfair"
– and perhaps better yet, "boring." To my disappointment, however,
fifteen years later the problem still hasn't been solved. While a few new
female faces have appeared in the world of children's cartoons and storybooks,
truly empowered female role models are still few and far between. One mother of
four recently told me that she routinely changes the gender of the main
character when reading to her children – otherwise, she says, there would be no
more than a handful of stories that feature women and girls in leadership
roles.
From the beginning of this century, America has had a
reasonably well-honored tradition of feminism, beginning with the suffrage
movement and coming to a climax in the radical Women's Lib movement of the
1970s. In the 1990s, Disney in particular has responded to parental demands for
positive female role models with a chain of films featuring increasingly
three-dimensional heroines, including environmentalist Indian princess
Pocahantas and the cross-dressing soldier girl Mulan. Westerners may be
surprised to learn that despite these efforts, perhaps the strongest female
role models in animation today are not American, but Japanese.
To the great relief of fans,
Japanese animation (or anime, as it is known to both Japanese and American
fans) is finally beginning to cast off its undeserved reputation in the West
for gratuitous sex and violence and exploitative portrayals of women. Americans
at last have begun to tune in to the fact that anime is probably the single most
important mode of artistic expression in Japan today – a medium rather than a
genre. As such, anime is created and marketed for both children and adults, in
every genre imaginable from history to romance to science fiction. Japan's
foremost creator/director of animation today is Hayao Miyazaki, whose
popularity and focus on family films have often invited comparisons to Disney.
In the creation of believable, empowered female characters, however, Miyazaki's
studio puts Disney to shame. Though Miyazaki comes out of a culture that may in
fact be historically far more oppressive of women than America's, his females
are allowed to assume and retain positions of power. In contrast, Disney's
heroines, though they may stray from their prescribed feminine roles, never
entirely free themselves from the comforting but constrictive sphere of male
authority.
A full comparison of
Miyazaki's films with Disney films from the same eras could easily take up a
book, so for the purposes of this essay I'll choose just a few: Miyazaki's Nausicaä of the Valley of Wind (1984)
and Princess Mononoke (1997), and
Disney's Pocahantas (1995) and Mulan (1998). Aside from featuring
female protagonists, these films have other parallels, allowing us to compare
Japanese- and American-created characters in similar contexts. Nausicaä, Mononoke, and Pocahantas all have strong environmental
themes; all four films feature an armed conflict between opposing groups, and
place the heroine in a unique position to influence that conflict. All four
also take place in fantasy worlds, though Disney's are more strongly
historicized. In each film, however, magic and/or spirits play an important
role in the plot.
The four heroines all fill
leadership roles in their respective films, but with significant differences in
the acquisition, the extent, and the duration of their authority. Nausicaä,
Pocahantas and San (of Mononoke) are
all royalty of one kind or another, and so enter the films with a certain
amount of prestige. Of these, Nausicaä is both the youngest and the most
powerful of the characters. We first encounter Nausicaä alone in the poisonous
forest of her post-apocalyptic world, collecting much-needed materials for her
village. Her competence with her gun and her tools is strangely belied by her
delighted girlish laughter when she finds a particularly treasured item, the
intact shell of a huge insect-like creature called an Ohmu. This strange
tension between femininity and competence is reinforced by the film's first
dramatic action scene, where Nausicaä skillfully speeds to her older mentor's
rescue when he is attacked by an angered insect. In many ways, the image of
Nausicaä flying alone on her glider epitomizes the freedom and independence she
demands. The villagers' reaction to her upon her return reinforces this
impression – they express both their concern for her safety during her jaunts
to the forest (which they admit they cannot refuse her) and acknowledge her
skill in returning with the valuable Ohmu shell. When her mentor, the
swordmaster Yupa, reaches the village, he finds her on a roof, helping an older
male worker fix one of the village's many windmills. For her people, Nausicaä
is an icon of both beauty and strength, a jack-of-all-trades whose skill at
flying and rapport with the natural world is second to none.
Our first glimpse of
Pocahantas is similar in that, like Nausicaä, she leaves her village by herself
to commune with the forest. When her sister comes to fetch her back to the
village to welcome the returning warriors, Pocahantas executes a perfect dive
off a high cliff into the water below, then overturns her sister's canoe in a
girlish act of mischief. This sequence emphasizes both Pocahantas's appealing
youth and her competence, as does a later scene where she joyfully braves rough
river rapids, skillfully navigating the rocks with a single oar. Her role in
her village, however, is much less central than Nausicaä's. She is not present
for the victorious return of the warriors, an extremely important event in the
life of the tribe, and her escapades into the forest alone are seen as a
child's irresponsible dreaming. Further, though she is both adventurous and
competent, she is not pictured as contributing to everyday village life, as
Nausicaä does. Seen as too independent and a daydreamer, Pocahantas's father
pressures her to marry sensibly and settle down – something Nausicaä's father,
especially ailing as he is, would not ask her to do. Nausicaä is considered too
valuable to her people to be put so early to the mundane task of bearing children,
while Pocahantas is seen as needing the calming effect of a family in order to
fully join the life of her tribe: "Even the wild mountain stream,"
advises her father, "must someday join the big river."
Our first glimpses of San
and Mulan are considerably different than the above. San is not integrated into
any human community; she is instead a child of the forest, the adopted daughter
of the wolf goddess Moro. San's authority is second only to her mother, and she
is the deadly cornerstone of the forest's war against the polluting industrial
human town. We first see San riding on the back of a wolf, her face covered
with a terrifying tribal mask and a knife in her hand. Almost more animal than
human, she is a savage fighter, striking absolute terror into the hearts of the
townsfolk. When Ashitaka, the male protagonist, stumbles across her in the
forest, the audience is struck by her appearance of defiant strategy – her fur
clothing and bone jewelry, her face smeared with blood where she has been trying
to suck the poisoned bullet from her wolf mother's wound. Though hers is not
Nausicaä's nurturing leadership or Pocahantas's independence on the periphery
of her society, San's fierce devotion to the forest and power over the wolves
makes her a formidable figure. Mulan is the only one of the four to begin with
no authority at all. She is clumsy and a bit lazy, frustrating her parents and
embarrassing her ancestors. She makes a fool of herself at the matchmaker's,
leading the furious woman to scream at her, "You may look like a bride,
but you will never bring your family honor!" In Mulan's world, a wife is
all she is allowed to be, and it is a role she is terrible at playing. When
Mulan protests her father's entering the army despite his poor health, she is rebuked
sternly for not knowing her place. For Mulan, the only path to any kind of
control over her own life is to go against both her family's and society's
wishes by posing as a young man and becoming a soldier – and, to her credit,
this is what she does.
Nausicaä, though she began
her film in a strong position of leadership, also develops the farthest as a
leader. Her transformation from a still-girlish adolescent to an introspective,
charismatic, and compassionate young woman is triggered by the death of her
father at the hands of an invading army. Arriving at the scene just moments too
late, Nausicaä is filled with rage and seizes a weapon, viciously slaughtering
five fully armed guards. Only the intervention of her mentor, the swordmaster
Yupa, stays her hand. In the aftermath, she is silent and disturbed, but
focused on what is best for her people – she prevents the villagers from
attempting to rise up against the much-better-equipped army with the firm
statement that she wants no more deaths. Only in private do we see her inner
anguish – she buries her face in Yupa's chest, crying out, "I'm afraid of
myself. I lost my temper and killed in spite. I don't know what I will
do."
Nausicaä's struggle with the
impending destruction of her people and the mystery of the forest leads her on
a journey to discover both herself and the forest's secret. Nausicaä's
experience of the violence in her own nature, however, seems only to make her
more gentle and compassionate. At one point, she saves the life of the general
who is seeking to conquer her village, and when the treacherous woman turns a
gun on her, Nausicaä speaks to her gently, as if she were a frightened animal:
"Don't be afraid. I just want you to go back to your own country." In
the absence of her father, Nausicaä's words to the male pilots of her village
become more and more authoritative, pushing them in the right direction with
firm, direct orders when they are too frightened to act on their own, and
risking her own life above their protests when she knows she alone can
accomplish the task at hand. At the moment of her final act of self-sacrifice,
standing vulnerable before a stampeding herd of Ohmu, she appears every inch a
queen, staring unblinkingly at her own death for the sake of her people. When her
death quiets the rage of the empathic Ohmu, they kindly restore her to life,
thus fulfilling an ancient prophecy. In the closing scenes of the film,
Nausicaä appears goddess-like on a glowing field as a selfless and yet fully
self-actualized savior.
Pocahantas' potential as a
leader is complicated by her position on the margins of tribal life. When she
meets and falls in love with John Smith in the forest, she is forced to keep
the encounter secret, giving her pleas that the white men can be reasoned with little
weight. Her secrecy indirectly causes the death of Kocoum at the hands of one
of Smith's friends, thus leading her tribe and the English to the brink of war.
Her courageous act of shielding Smith from her father's club with her body,
however, is an act of self-sacrifice,
and she does it knowing she risks further alienation from her tribe.
Unfortunately, the selflessness of this gesture is weakened by the fact that no
sacrifice would have been necessary if she had been forthright from the start.
Unlike Nausicaä, she saves her people only because she has put them in danger.
Although her father's prase allows her to finally receive the recognition that
she deserves from her tribe, it is John Smith who saves the day with finality
by taking the bullet meant for the Indian chief. Thus, even at the last,
Pocahantas's actions in the service of her people both require the approval of
her father to be valid and the intervention of Smith, her lover, to be
complete.
Though Mulan gets off on the
wrong foot with her fellow soldiers due to her exaggerated ideas about male
behavior, she struggles and then finally rises to become one of the most
competent and well-liked soldiers in her group. At a key moment in the battle
with the Huns, she disobeys a direct order from her captain and acts on her own
initiative to cause a landslide that annihilates the attacking army. At this
key moment, her female identity is discovered, and she is ejected from her
company. Mulan shows the depth of her newfound independence, however, when
despite her dishonor, she rides to warn her captain that the remaining Huns are
approaching with designs on the Emperor's life. An epic battle ensues between
Mulan, the captain, and the leader of the Huns across the rooftops of the city.
Frustratingly, though, it seems that Mulan has shed most of her soldier's
training with her masculine clothing – though the captain uses his sword as a
weapon against Attila, when he has been temporarily incapacitated and the sword
is in Mulan's hands, she reacts not by fighting but by running, using the sword
as a distraction until her sidekick the dragon successfully kills Attila with a
well-placed firework. After her months of training, the fact that Mulan uses
her martial arts abilities only to dodge and once to trip the attacking villain
seems forced and false. Mulan's failure to deal with the consequences of the
violent way of life she has been trained in trivializes both her skill and the
deaths she causes – much in contrast to Nausicaä, who takes life directly and is
shown struggling with the aftermath. Though Mulan receives proper recognition
from both the Emperor and her captain for her bravery and skill, the fact that
her heroism is not acknowledged by her society at large without the Emperor's
word is, once again, frustrating, even given the context of the misogynistic
Chinese culture (heavily fictionalized though it is).
San's struggle is less to
become a leader of her people (in this case, the sentient animals of the
forest) than to choose which type of leader she must be. Her devotion to the
forest is so all-consuming that she even initially denies her own humanity. In
many ways it is unfair to speak of her as the movie's only female protagonist;
equally important is Lady Eboshi, the pragmatic, humanist ruler of Irontown.
The two are locked into an antagonistic relationship, each feeling she must
destroy the other in order to save her people. Only the gentle intervention of
the messianic Ashitaka, who acts as a bridge between their worlds, and the
near-destruction of both the forest and the town allow both women to come to
realize that the two sides might potentially live in harmony. Miyazaki,
however, is careful to portray both women's fierce loyalty and hostility as
justifiable – Ashitaka's message of compromise is not didactic or obvious. San,
after once again leading the wolf clan in battle and nearly being killed
through her efforts to prevent the death of yet another of the ancient forest
gods, at last acknowledges her humanity and joins Ashitaka in quieting the
anger of the beheaded and rampaging forest spirit. San's struggle is to realize
that true leadership as one who also exists between the worlds means protecting
both the forest and the race of her birth, humanity. Though both she and Eboshi
require Ashitaka's help in ending the war between the town and the forest,
Ashitaka's messianic qualities and their positions of almost unquestioned power
in each of their spheres keep this change in attitudes from being
disempowering.
Clearly, all of the
characters grow in leadership qualities in the course of their films. The
endings of the films, however, are important in either solidifying this power
or depriving them of it. Nausicaä's overwhelming authority is tempered slightly
by the ending – her people surround her lovingly, and Asbel, a male ally, picks
her up and swings her around. This image both emphasizes Nausicaä's youth and
femininity, and recalls the image of her independent, skillful flight. This
playful touch helps to rehumanize Nausicaä after the messianic sequence that
came just before it. Pocahantas, in contrast, takes a stronger position than
before by firmly sending Smith back to his own land. She is not yet ready to
settle down and have a family, even with the man of her choice; by aggressively
maintaining her freedom, she gives some credibility to her statement that her
people still need her. The audience is led to suspect that her stand against
Smith's execution and her father's acknowledgement of her wisdom have given her
new authority in her tribe that she can then use to the good of all. San and
Eboshi return to their own worlds, though San's romantic feelings for Ashitaka
are strong. Like Pocahantas, however, even love will not tear her from the
place where her leadership is needed; Ashitaka will go to visit her in the
forest, but she will not come with him to the world of humans. Mulan's ending
is perhaps the most disappointing. She refuses the place on the Emperor's
counsel that he offers her, and instead returns home, where she presents her father
with the symbols of her success in war. Her father, however, tosses them aside,
saying, "The greatest honor is having you for a daughter." This
sequence is ambiguous as best. While her father's assertion that he values her
whatever her accomplishments is touching, it rings a little false when the
audience considers how disappointed Mulan's family was when it was certain she
would make a poor wife. Mulan's failures as a bride were used to judge her in a
negative light; but now that she has returned home in victory, why are her
accomplishments not acknowledged and praised? Worst of all, he movie ends with
the captain coming to Mulan's house, evidently to seek her hand in marriage.
The idea that Mulan will settle down and marry, thus embracing the very lifestyle
she fled from at the beginning of the movie, is appalling. Though she has no
talent at being a housewife, she chooses that path rather than continuing her
life as a soldier, which is apparently the first thing that she has ever been
truly good at. A more disempowering conclusion than Mulan's resumption of a
traditional, submissive feminine role can hardly be imagined.
All four of these
protagonists are crusaders of various types, fighting for their people, their
families, and often for themselves. In this role, Nausicaä, San, and Mulan are
most aggressive, even using violence when necessary to accomplish their aims.
Mulan, however, is robbed of her ability to use force at the end of her film,
and returns instead to the submissive role of daughter, with an option of being
a wife. Though she has earned her family's respect, it is difficult to
understand how she will retain it when she must once again try to become the
good wife she was never meant to be. Pocahantas, while entirely non-violent,
ends the film with considerably more authority than she had at the beginning or
the middle of the film. In fact, in many ways, the middle of the film may be
the low point in her power. Her secrecy robs her of the ability to effectively
advise her tribe because she must hide her relationship with Smith. She is also
undergoing a more subtle source of disempowerment, however – the physical
nature of her budding relationship. It is fascinating to watch the politics of
physicality between the two characters as their relationship progresses. Smith,
in the typically masculine role, is always the one to initiate physical
contact. After he first convinces her to take his hand on the occasion of their
first meeting, he touches her as often as he can, often using his physical presence
to take control of their interactions. When he offends her, he aggressively
tries to stop her departure by holding on to her canoe, forcing her to escape
into the trees. Later, Smith startles Pocahantas into silence by touching her
hand when she demonstrates the Indian gesture for "goodbye," and
initiates the kiss that drives Kocoum into a jealous rage. In some ways, it is
a relief to see Smith helpless and wounded at the end of the film. For the
first time, Pocahantas is able to tower over him; it is he who asks her whether
she will come with him, and passively accepts her decision – much in contrast
to his earlier persona. In watching Nausicaä
and Mononoke for patterns of
physicality, contact that is not initiated by the heroine herself is rare. Nausicaä
embraces others, but the only time a male touches her first is during the
conclusion, where Asbel whirls her in the air. Though there is a romantic
overtone to this interaction, the festive and loving air of the villagers as
they surround her in a tremendous group hug makes the touch an extremely
non-sexual one. Similarly, Ashitaka initiates contact with San only rarely, and
then never in a sexual context. San is generally the aggressive party before
she learns to trust Ashitaka, twice drawing his blood. Once he has proven
himself, however, she is the first to initiate intimate, if necessary contact:
when Ashitaka is so weakened by his near-death experience even to chew the
tough dried meat she offers him, she chews it herself, feeding him directly from
her mouth. Ashitaka reaches out physically to San only in moments of extreme
need – he prevents her from committing violent acts, calms a fit of hysteria
with a gentle embrace, and puts a comforting arm around her when they put their
lives in danger to offer the forest spirit its head. The respect shown for both
of Miyazaki's heroines' personal space, so to speak, emphasizes visually their
independence and authority. In adhering to the traditional
active-male/passive-female relationship for physical encounters, however,
Disney effectively undermined the feminist message that Pocahantas seems to have been meant to convey. While romantic love
is as important a theme in Mononoke as
it is in Pocahantas, Ashitaka and
San's love is between equals; Smith, on the other hand, seems at least
subconsciously to seek to undermine Pocahantas's autonomy.
Though Disney is still
unmatched in the sophistication of its animation, the content of its films is
still far from cutting-edge. Miyazaki's films are much richer in content and
complex in plot – they are films for children to grow up with and grow into,
much like the best of classic children's literature; Mononoke, while still a family film, was marketed for older
children and young adults. Disney, on the other hand, seems to be increasingly
ignoring the older contingent of its audience to produce films with overly
simplistic storylines and gaping plot holes (as anyone who groaned when a group
of six Huns nearly took over Mulan's China knows). Further, the portrayals of Mulan
and Pocahantas bespeak a schizophrenic political agenda – the two heroines
behave in extremely conservative, regressive ways at some points in the films
(Pocahantas's passive role in her sexual relationship, Mulan's return to family
life) and in extremely progressive ways in others (Pocahantas's powerful
defense of living in harmony with nature, Mulan's successfully fulfilling the
traditionally male role of a soldier). Perhaps the reality simply is that in
terms of unity of message, Miyazaki's total creative control over his films
produces pieces that are far more artistically and thematically coherent than
Disney's films, which see the creative influences of many different minds and
hands. In terms of providing strong female role models for our children,
however, the choice between Disney and Miyazaki is clear: the future of
feminism in animated films is undoubtedly Japanese.
Works Cited
McCarthy, Helen. Hayao Miyazaki, Master of Japanese
Animation. Berkeley, California: Stone Ridge Press, 1999.
Mulan. Dir. Tony Bancroft and Barry Cook. Perf. Ming-Na, Lea Salonga, and
Eddie Murphy. Walt Disney Home Video, 1998.
Nausicaä of the Valley of Wind (Kaze no Tani no Nausicaä). Dir. Hayao Miyazaki. English
language version by JA Films. Original Japanese language version by Nibariki,
1984.
Pocahantas. Dir. Mike Gabriel and Eric Goldberg. Perf. Irene Bedard, Judy Kuhn, and
Mel Gibson. Walt Disney Home Video, 1995.
Princess Mononoke (Mononoke Hime). Dir. Hayao Miyazaki. English screenplay by
Neil Gaiman. English language version by Miramax Home Entertainment, 1999.
Copyright (c) 2000 by
Christine Hoff Kraemer