Don’t be fooled by Studio Ghibli’s G or PG ratings and family-friendly image. You cannot simply dismiss Studio Ghibli’s works as feel-good animations for children, and Spirited Away is no exception. They may appear simple, with their traditional 2D hand-drawn animation; and at first glance, Hayao Miyazaki’s Spirited Away may appear like a typical coming of age adventure- but Miyazaki’s work is never straightforward. Instead, Spirited Away is a conscientiously-crafted criticism of westernisation, capitalism and consumerism. The story is that of advocacy for a restoration and respect for the traditional rather than being caught up in the blind dive for growth. The small satirical allegories percolating throughout the film about family, self, work and traditions are brilliant ways to ignite political and sociological thoughts within children and adults alike.
It is in what lies beyond Studio Ghibli’s typical aesthetics, within the surreal storylines and caricatures, that we begin to discover the satirical edge and which contributed to the enormous success of Spirited Away. Satire is so often contemptuous, and forebodingly political, especially when considering the infamous Orwellian satire novels 1984 and Animal Farm. Satirists view human nature as a dark enemy, creating impersonations of authority figures to deliver gut-punching critiques. We do not necessarily see this in Miyazaki’s Spirited Away, it is not a story of good against evil, or involves change for the better. Instead, the story is driven by multifaceted characters who seek to rectify their or others' mistakes from the past, not to beat a villain. Consider that even Yubaba has a ‘good’ side. Miyazaki himself has said, ‘Yubaba is putting all her efforts to protect the bathhouse. She is not a villain.’ This teaches children that people are not simply good or bad, people have many sides to their personality and different parts of their lives that make up who they are and how they act. Furthermore, it teaches that people to not behave the same way around others; for example, Yubaba is a very caring mother and dotes on her baby Bôh but is also the very strong and quite often harsh boss of the bathhouse, this teaches children that people are not their jobs and not to judge others due to just one aspect of their life.
In its simplest form, Spirited Away is the story of Chihiro, a young girl having to navigate the spirit world to free her parents. She finds herself working in a bathhouse run by the tyrant Yubaba whom she later wins over in a test to free her parents. The movie starts with Chihiro and her family moving across the country to their new home. They get lost and find themselves in what they believe is an abandoned amusement park. The family stumble across a street market of Studio Ghibli’s infamous colourful and delicious-looking food. This is where her parents subsequently turn into pigs after eating ridiculous amounts of food without being invited to.
The turmoil of Japan in the early 2000s and Miyazaki’s criticism of capitalism is presented in Spirited Away through allegories. These lessons still ring true today. As Chihiro’s parents travel along the path leading to said ‘abandoned amusement park’, various symbols of traditional morality line the way. A Torii gate, initially a symbol from the indigenous Japanese Shinto religion, signifies the entrance to a shrine, signifying an area of contemplation and respect. Dispersed along the path are miniature houses, again referring to the Shinto religion, symbolising the homes of guardian spirits. Her parents recognise the symbols, ‘some people think spirits live there,’ but clearly do not indulge in the practice, as there is no sign of contemplation or respect before their over-consumption of the food in the ‘amusement park’. They are thus punished for their behaviour- turned into pigs. The pig is a famed symbol of capitalist criticism, often demonstrating greed and misuse of wealth. This is particularly appropriate given the misuse of wealth seen throughout the film, particularly in its use for destructive behaviour. Here I am referring to the bathhouse and No-Face, who we will come to presently.
No-Face is the embodiment of overconsumption and the misuse of wealth. And Chihiro’s relationship with No-Face presents itself through their paralleling journeys. Both characters experience deep loneliness and a loss of self, which they attempt to fulfil in dissimilar ways, yet ultimately successfully come back to their true forms. No-Face efforts to fill this emptiness through overconsumption, relishing in false glorification, heaps of food, and even eating workers to feel fulfilled. In this way, No-Face is an illustration of vanity, and materialism in a consumerist period. His inability to gain friendship and love like Chihiro does, leads to his attempts to gain them through mass consumption. We see parallels with this today, ‘buy this to look younger’, ‘buy that to get thinner’, all so that we can be liked by others- when truly it is just through being oneself that one gains true friendship, not when it has been bought. The money No-Face provides makes the workers blind to his greed, as they are also consumed by their self-centred desire for wealth. When No-Face becomes a companion to Chihiro, he finds emotional fulfilment, and can subdue urges to consume. This is a great portrayal of children to witness, of finding purpose beyond consumption, as love and companionship becomes a rebellion against capitalism.
Chihiro goes through a loss of self when finding herself working in the bathhouse for Yubaba, who represents the employer in Miyazaki’s allegory on capitalism. The loss of self at the hands of Yubaba has created a dichotomy within modern-day capitalism in Japan. The stereotypical Japanese businessman, the overworked white-collar employee, is characterised by a lack of personality, and an over-reliance on the employer. This work ethic is often associated with the notion of ‘karōshi’, or overworking to death, with suicides in Japan being wholly linked with this lethal work ethic (BBC). In creating this workplace in which self is tied to work, Miyazaki is making a prevailing statement about the effects of capitalism on the individual, and how capitalism can destroy uniqueness, leading to workers who only identify with their job. This teaches children that work is not the be-all and end-all of life, and that while it is important to enjoy your work and have a living, it is also important not to lose yourself in a job.
The theme of restoration is embodied in many of the characters, for Haku (a boy/ dragon who helps Chiharo through this ‘amusement’ park of spirits), as well as Chiharo, her parents, and No-Face, who rediscovers his name and past with Chihiro's help. In the process, he regains a sense of who he used to be, and this proves to be enough to liberate himself from Yubaba's enslaving contract. An important moment is when Haku tells Chiharo, ‘if you completely forget your name, you’ll never find your way home,’ at the beginning of the film. No-Face is a richer example. The greed and materialism of the bathhouse literally shape him into a monster, but he returns to his normal innocuous self the moment he steps out. This ‘return to self’ development in each character reflects the importance of retaining one’s identity over external factors like social status, wealth, and the greedy desires deepened by capitalism. A very important message for anyone watching the film.
While the beautiful, colourful and detailed animation of Studio Ghibli animations account for a lot of the outstanding reception, the allegories infiltrating throughout truly make this satirical family film one of the best. The clear-cut critical images of capitalism and consumerism in modern-day Japan make for a thought-provoking watch for all ages.
Madison Challis, edited by Charlotte Lewis
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