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Oedipus in Miyazaki's heart - the projection of his mother's image in a female character

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Eternal women, guide us forward - Goethe

"She gave birth to him, loved him, and took care of him. And he also turned his love on her, so that he couldn't get rid of her, go to life alone, really love other women." - "Son and lover Lawrence

When their sons grow up, their mothers choose them as lovers. The first is the biggest son, then the second. This is because the sons came to the world because of the love between them and their mothers. And has been driven by this power. However, when they grow up, they lose the ability to fall in love. Because the mothers have firmly controlled them as the most powerful force in their lives... Once these sons are in contact with women, they tend to split. "This son and lover are the great tragedies of tens of millions of young people in England. But often this is not the case, from Greece to China. This ancient tragedy has a name called Oedipus, and its new name is 芸芸众生- Lawrence's letter to Garnett



First, the theme division of Hayao Miyazaki's works

If you have enjoyed most of Hayao Miyazaki's animation works, you can find that Miyazaki's main works involve three main themes: one, people and war; two, people and nature; three, people and people. If you want to summarize the classification of the works, you can roughly classify them as follows: (only refer to works with greater influence)

  1. People and War: The City of the Sky (1986), Red Pig (1992), the Wind (2013)

  2. Man and Nature: Valley of the Winds (1984), My Neighbor Totoro (1988), Variety of Civet Cats (1994), Princess of the Ghost (1997), Princess of the Goldfish on the Cliff (2008)

  3. People and People: The Witch's Delivery Service (1989), Listening to the Ears (1995), Spirited Away (2001), Moving Castle of Hal (2004)

The work of an artist often reflects some of his deep feelings, and the source of these complexes has a lot to do with his growing experience. For example, the part of people and war mainly reflects: the impact of Miyazaki's growth in the post-war reconstruction era, and the influence of the family operating the aircraft component factory. This part of man and nature reflects the influence of the relatively pure natural environment of the Showa era on his childhood and the Japanese polytheism of nature worship. This article discusses Miyazaki's Oedipus complex and focuses on the relationship between people.

The discussion of the above three relationships has appeared in most of Miyazaki's works. Sometimes a work involves multiple relationships, so the classification is not absolute, but the classification of the main themes of the work. For example, the relationship between people and people will inevitably appear in all works, but the works classified into categories are more focused on describing the emotional interaction between people.

To discuss the relationship between people in Hayao Miyazaki's works, it is necessary to look at the characters involved in Hayao Miyazaki's works. We can roughly divide the characters into: children, adolescents, seniors, and old people. As the protagonist and important person, this is more of a female image than a male image. Among the characters in an artist's work, there will be a large number of projections of self-life. The most easily discovered projection is Miyazaki's projection of the image of the self and the mother in the work.



Second, Hayao Miyazaki’s attachment to her mother

1. Hayao Miyazaki’s two feelings for his mother

Hayao Miyazaki himself frankly had a special feeling for his mother, Miyazaki Miyazaki, even though her mother died for many years. For this feeling, he constantly let the dead mother live in the works, but the lovely girl, but the strong woman, but the kind old man. He constantly puts himself into the works, but when he is a child, he is a teenager.

From the above two projections of Hayao Miyazaki's mother, it can be concluded that Miyazaki's deep feelings about the mother can be attributed to two types: First, the child's attachment to the mother (mother and child relationship). Second, men's love for women appreciates feelings (men and women).

The first kind of feeling is generally easy to understand and accept. The second kind of feeling is generally unacceptable in the general sense of ethics, but if Freud's theory is established, men are more or less Oedipus. In the complex, men's feelings about the first intimate relationship in their lives are extraordinary. This female image directly affects their views and opinions on women.

The Japanese have never been afraid of the special marginalized feelings between people. If you have a little understanding of Japanese literary and artistic works, you can find that there are a large number of so-called "incests" in their works that are generally unacceptable for social ethics. "Love", they regard love as something that transcends ethical feelings, but because it is not allowed by society, this kind of tragic feeling has become a kind of "sorrowful" beauty that is doomed to have no ending. Love. The death of Watanabe’s work, Lost Paradise, is a kind of feeling described in the past, and this kind of feeling is not uncommon in Japanese literary works. The most famous literary work in Japan, Genji Story, mentions incest. love. Therefore, under this premise, Miyazaki’s own expression of a little love for his mother is not a matter of great fuss.

The information about Hayao Miyazaki's inner world is very limited. The most intuitive source is the documentary, "The Flow of Things, Miyazaki's Affairs (2008)" . This documentary mainly records his production of "The Goldfish Princess on the Cliff". The course of the work, because the mother-in-law is the prototype of his mother, it involves his attitude towards the mother.

2. The image of Miyazaki's mother and the relationship between the two

There are several key shots in the documentary that are worth considering:

1. Mother image:

1) Interviewer: "What kind of woman is the mother during her lifetime?" Hayao Miyazaki: "I want to be nice to you, but the words on the mouth are very strict. The typical knife is tofu."

2) Interviewer: “When did you get sick when I was a child (tuberculosis)?” Hayao Miyazaki: “It’s not so much that I feel pitiful (sickness), it’s better to say that although I’m not good at it, there’s no way for Miyazaki’s health. ), I accepted it. If she lived to the present, she might comfort me by drinking tea and saying that it was not easy at that time. If I live now, I am a hundred years old."

3) Interviewer: "If you live to the present, you may say something to you (to the effect)." Hayao Miyazaki: "Well, okay, I have nothing to talk about with her, she is annoying."

4) Hayao Miyazaki smiled and added: "Says too many things in this area may be considered by me to be a weirdo." (I think it is the emotional aspect of the mother).

2. Feelings for the mother:

1) Hayao Miyazaki (when I tried my best for the final episode of the work, I couldn’t help myself, when I fell down on the ground to receive a massage): "I always feel that I can see each other again. I really want to see my mom when I was young." It looks like."

2) Hayao Miyazaki: "...If I live to be 100 years old now... I don't want to talk to my mother now, I want to talk to her."

3) Hayao Miyazaki: "The feelings for my mom have always been a mystery in my heart. How can I make her live faster?"

4) Hayao Miyazaki (I can't help crying when I paint my mother-in-law): "I can't stand the thought of my mom once... I can't do it when I think of my mom."

From the above sentence scene we can get the following points:

  1. The mother is just soft inside, her mouth is hard and good, and she is not good at expressing her feelings.

  2. Hayao Miyazaki likes her mother's external image as a woman when she is young.

  3. Hayao Miyazaki wants to communicate as a male and a mother of her own age, not just to communicate with mother and child.

  4. Hayao Miyazaki’s death from his mother’s illness as a child has not been relieved for many years.

From the information outside the documentary, we can understand the following points:

  1. My mother was pretty when she was young, and she only had short haircuts.

  2. My mother suffered from tuberculosis when Miyazaki was six years old and was incurable in the early post-war period. ("My Neighbor Totoro" Xiaomi Xiaomei's mother is suffering from tuberculosis. In the "Wind", the stalks of the stalks have died of tuberculosis.)

  3. The mother was seriously inconvenienced in the late stage of the operation and could not turn over. Miyazaki received a bully and wanted to hug and was rejected by her mother. Therefore, she issued a venting phrase "Why should I be born with me?" ("The Goldfish Princess on the Cliff" Chen's mother-in-law is inconvenient to sit in a wheelchair, but in the end she miraculously stood up and embraced Zongsuke. "My Neighbor Totoro" Xiaomei eagerly embraced her after seeing her mother in the hospital.)

  4. Hayao Miyazaki and his brother thought that the character of the pirate mother-in-law was a replica of the mother, indicating that the mother was also a straight-hearted, energetic, powerful, stern, and kind-hearted person. This feature has been used in a large number of middle-aged and elderly women in Miyazaki’s works. People can appear.

  5. When her mother died, she was 72 years old. At that time, Hayao Miyazaki was busy making "The Valley of the Wind" and heard the news trembled and wept.

  6. Mothers are fond of reading and often question the society. (Influenced Miyazaki’s readings. When he was young, he was a leftist who supported the ideal of socialism and he was skeptical about the social system.)



Third, the character cast of myself and the mother in the character image of Hayao Miyazaki's works

1. Hayao Miyazaki's self-personality projection:

Miyazaki's self-personality projection mainly involves his childhood experiences and young adult experience:

  1. Hayao Miyazaki's childhood and animation master Osamu Tezuka as are frail and sick, sports ability is poor, introverted self-esteem, fantasy sentimental, in the NHK documentary "Proton fu S FactoryッSilicone Newspaper na ru Shishiのflow meter su pe Silicone ya Hikaru MiyazakiのShi Shi (2008)," The In the middle, my brother Miyazaki’s new memory, Hayao Miyazaki, was a painting in addition to reading, and sports were completely impossible. Everyone was worried that he could not support himself when he stepped onto society.

  2. Hayao Miyazaki had a deep attachment to his mother. When he grew up, he did not hide himself as a feminist. However, his mother could not be enough to care for a long time in bed.

  3. After he became a young man, he embarked on a bumpy road to the pursuit of dreams, and he encountered various setbacks and made unremitting efforts. The early works were considered to be "a muddy taste", and the style of his own comics could not escape the influence of the handcuffs. It was also a reason for him to abandon the road of comics on animation.

These childhood and young adult experiences, projected into the animation, have two images:

  1. Immature children who need to grow up or children who are not cared for by their mothers: Totoro - Xiaomei Xiaoyue (Mom is sick and can only play by himself), the witch's home delivery - Kiki (wife goes out to grow), Spirited Away - Wilderness Chihiro (a process of growing up a normal little girl);

  2. Protecting the male image of women: City of the Sky - Bass (mechanics, aircraft fans, protection of Hida), Princess of the Spooky - Ashidaka (protecting the ghost princess escaped from the human wallet seriously injured), the goldfish princess on the cliff - Zong Introduction (a child who protects the girl)

  3. The pursuit of ideals and persistent youth: listening to the ears - Tian Ze Sheng Division (the pursuit of making violin dreams), the wind - Yu Yue Erlang (pursuit of aircraft design and manufacturing dreams).

The male image carries more Miyazaki's own will, and the child's image carries more children's commonality.

2. Hayao Miyazaki's mother character projection:

Hayao Miyazaki’s mother’s character projection is based on two main points:

  1. He observed the mother as a child. When he was a child, his mother developed neurological tuberculosis and was in bed. According to the information, one of the things that Hayao Miyazaki remembered deeply in his childhood was that he was bullied and went home to ask his mother to hug, and the mother could not turn over and refused to embrace him. In his heart, he always longs for the hug and love of his mother. This is also related to the way in Miyazaki’s works to embrace expression of feelings, which is different from the implicit expression of traditional Japanese. Will also talk about;

  2. He interacts as a male for women. Miyazaki was born in 1941. His childhood and adolescence were spent in the shadow of war and post-war reconstruction, and the age of children and adolescents is the most influential person, which means The most influential to his character was Japan in the 1940s and 1950s. After the war, Japan’s ruins were in ruins. The country’s demands for women also changed with the difficulties of the times. The society began to respect the image of strong, capable and independent women, and Miyazaki’s mother was such an image in that era. A member of the female group image, the excellent quality of women in this era directly affects Hayao Miyazaki's own aesthetics of women. Among his works, a large number of young heroines and middle-aged female characters have more or less insinuated his mother's image. We can see that the ages of these characters are not the same, but they all have the same person's shadow.

His observation of his mother as a child and his observation of a man as a woman have two images:

  1. The image of a middle-aged woman who is just soft inside or a woman who is suffering from disease (middle-aged): Sky City - Dora (Pirate mother-in-law, straight-hearted, energetic, stern and terrible, kind and gentle, young and beautiful Miyazaki's brother said that his character is the same as his mother.) Totoro - Xiaoyue and Xiaomei's mother (in bed, the animation implies tuberculosis), Princess Monster-Ebercy (the leader of the human camp, strong atmosphere) , longer than the killing decision), the goldfish princess on the cliff - Chen mother-in-law (I admit that the mother is its prototype, temperament, outside just soft, and finally stood up from the wheelchair miraculously embraced Zong Jie), Spirited Away - Qian mother-in-law (scarlet appearance, kindness), Hal's moving castle - old Sophie (ugly and kind);

  2. Kindness, gentle and strong independent girl image (juvenile): Sky City - Hida (good and weak but persevering and unyielding to evil forces), wind up - see the tassels (born with tuberculosis), Wind Valley - Naousi Card (strong, kind, generous, tolerant, can be telepathic, fighting in different factions, maternal characteristics), ghost princess - (hate to destroy the natural human, fighting ability, strong and kind), Hal's moving castle - Sophie (Become an old man who still works hard and saves the hero)

Among them, women at different stages can reflect the good quality of Miyazaki's mother or women of that era. In addition to the universal quality of kindness, many of the female characters have strong fighting ability and hard working ability. The great love of man and the world, even the girl, conveys a strong maternal trait.



4. The projection of the appearance of the mother in the female image in Miyazaki’s works

1. The external image of the main female characters in Hayao Miyazaki's works

"My Neighbor Totoro", "The Goldfish Princess on the Cliff", and the protagonist Xiaoyue Xiaomei, Ponyo, and Chihiro in "Spirited Away" are all less than ten years old. The protagonist Kiki is "13 years old, animated description" Focusing on the growth of children, there is not much projection of the image as a “female”, but more about the projection of “children”. In addition, we can look at what the main female images in Miyazaki's other works look like.

1. Middle-aged and old: (Xiaomei mother and Chenpopo are not included in the hair style due to illness, and Abbott and Qianpo are not included in the ancient hair style)

Sky City - Old Dora

Hal's Moving Castle - Old Sophie

Red Pig - Gina

2. Teenager:

Sky City - Hida

Sky City - Maiden Dora

Windy - see the tassels

Valley of the Winds - Nausica

Princess Monon - Shan

Hal's Moving Castle - Girl Sophie

It is easy to observe that there are two kinds of women in terms of personality, one is the outer rigid type and the other is the outer soft type. Since the face of an anime character is not very easy to distinguish, the biggest difference is the hairstyle. Based on personality and hairstyle we can list the following:

  1. Outside just inside soft: Dora (double twist), Shan (short hair)

  2. Outer soft inner Gang: Sophie (single twist, spread out is short hair), Hida (double twist), see the tassels (short hair)

  3. Centered (non-obvious internal and external contrast personality): Naxiuka (short hair), Gina (short hair)

We can see that the female image in Hayao Miyazaki's works cannot be completely the mother's outer and inner softness image, but in addition to Sufi, Hida, and Licai, the others are obviously "just". one side. And they only have two hairstyles, except for the twisted braid, which is short hair, and there is not a long-haired female with outstanding image.

2. Japanese popular hair style in the early postwar period

It is not surprising that Miyazaki’s works are mostly images of scorpions and short hair. Except that his mother is a woman who likes to keep short hair and braids, she has said that the age that has the most influence on his values ​​is two. In the 1950s and 1960s, the fashion of women in that era was short hair.

Part of the popular hair style in the Showa era (1926-1989)

Japan has been influenced by the trend of Western culture from the fashion world of Taisho era (1912-1926). The beautician Yamano Chichiko (translated by Chieko Yamano in English, thanks to the official name of Sun Xue , the user) was born in New York at the age of twenty-seven. Back to Tokyo, Japan, established the first western beauty salon in Japan and began to spread the western style of hair style.

During the Great Kanto Earthquake (1923) and the Second World War (1939-1945), the development of the beauty and hairdressing industry was adversely affected by the war.

After the war, the Japanese reconstruction period was greatly influenced by Western fashion. The western perm hair became very popular, and the most popular perm hair style at that time was short hair.

In addition to the influence of Western fashion, the life of people in the post-war reconstruction period is relatively difficult, and the whole society advocates a strong and practical atmosphere, which also makes the refreshing short hair more popular than the long hair. Miyazaki's mother, as a member of the women of the great era, is completely in line with the feminine characteristics of that era. Although there are not many existing materials in the appearance, it can be inferred that it will basically be the popular short hair style of that era.



V. Conclusion

In the New Weekly, Jiang Fangzhou wrote Hayao Miyazaki's article "Let's live with you who can't forgive humanity." In the words of Graham Green, "artists are funeral workers, bitterly over and over again." , despair, trauma, burial; then dig out, and then bury." In order to miss her mother, Hayao Miyazaki constantly keeps her mother alive in her work, becoming a girl, becoming a woman, becoming an old woman, sometimes healthy, sometimes sick. And he constantly entered the work, became a child, became a teenager, sometimes spoiled, sometimes protected. He constantly achieves his dreams that he will never achieve in reality.

Many artists have been talking about one thing for the rest of their lives. Just like the image of Zhou Xingchi’s movie crying and crying is always his own. The protagonist of Miyazaki’s work may have only two people, one is himself and the other is his mother.

He is sometimes a child himself, needs to grow up, needs companionship, needs love. He is sometimes a teenager, needs a dream, needs love, and needs to defend. He is Xiaomei who plays in the mountains. He is a Kiki who is away from home. He is looking for self. He is a brave Bass, a strong Ashidaka, a kind-hearted Zongsuke, a firm Tianze Shengshi, chasing. Dream of Yujiro...

His mother is sometimes a girl, kind, strong, and independent. His mother is sometimes a woman, strong, domineering, persistent. His mother is sometimes an old woman, a knife, a tofu, and impatient. His mother is a straightforward and powerful Dora, a sick but gentle little Mei Ma, a strong Aibo Xi, a weird and kind Chen Erpo, a disgusting money mother, his mother is a gentle and persistent Hida, seeing him in the dead. Saucer, mother-inclusive Nausicaa, strong and kind Shan, tough and loving Sophie...

In 1983, Miyazaki's first important work, "The Valley of the Winds", was not finished yet, and Miyazaki Miyazaki passed away. When her son died, her son was not around, and Miyazaki did not get the missing hug until the end. At that time, he was full of black hair, but his mother was white and gray.

In 2013, Hayao Miyazaki’s "The Wind" was released, and later declared retirement. In pursuit of this mother's hug, Hayao Miyazaki spent a full thirty years, and finally he finally found his mother in his work. At this time, he was already white and snowy, but his mother was blue.

"Mom, thirty years, are you okay?"

"I am very good, it is not easy for you for so many years."

"I have been working hard for so many years..."

"I'm so annoying, I don't want to hear you say this. Compared to that, take off your broken clothes and come to eat."

(Finish)


[This article is only a personal interpretation, does not mean absolutely correct, I hope readers will not be affected by this article, welcome to boldly question the exchange of views and opinions. I also hope that this article does not want to cause disrespect to Mr. Hayao Miyazaki, just to explain his deep feelings for his mother.

Another: I don't know if everyone thinks that the last simulation dialogue is interesting. In particular, "compared to that one" is borrowed from the translation of the "それより" that often appears in Japanese TV dramas. O(∩_∩)O


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