Miyazaki through Jameson: the allegory in Spirited Away

I argue that the Japanese film Spirited Away by director Hayao Miyazaki is a national allegory in Jameson terms. This is so because, in the first place, the individual destiny of its protagonist represents an aporia between nationalism and globalization; second, the allegory is conscious and volunta...

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Autor principal: Naccarato, Mauro Daniel
Formato: Artículo revista
Lenguaje:Español
Publicado: CETYCLI 2022
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Acceso en línea:https://badebec.unr.edu.ar/index.php/badebec/article/view/563
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spelling I15-R206-article-5632023-03-06T21:41:50Z Miyazaki through Jameson: the allegory in Spirited Away Miyazaki a través de Jameson: la alegoría en El Viaje de Chihiro Naccarato, Mauro Daniel Japón alegoría nacional Shinto nacionalismo Japan national allegory Shinto nationalism I argue that the Japanese film Spirited Away by director Hayao Miyazaki is a national allegory in Jameson terms. This is so because, in the first place, the individual destiny of its protagonist represents an aporia between nationalism and globalization; second, the allegory is conscious and voluntary; thirdly, the form of representation constitutes a cultural alterity in the face of Western forms; fourthly, because the film is a symptom of an opposition between culture and Nature. I am doing this reading enrolling in the field of cultural studies. In addition, the quaternary model of allegorical explanation to which Jameson subscribes allows me to explain what sense it makes that a film designed for children can have these characteristics. Argumento que la película japonesa El viaje de Chihiro del director Hayao Miyazaki es una alegoría nacional en términos de Jameson. Esto es así porque, en primer lugar, el destino individual de su protagonista representa una aporía entre nacionalismo y globalización; en segundo lugar, la alegoría es consciente y voluntaria; en tercer lugar, la forma de representación constituye una alteridad cultural frente a las formas occidentales; en cuarto lugar, porque la película es síntoma de una oposición entre cultura y Naturaleza. Realizo esta lectura inscribiéndome en el campo de los estudios culturales. Además, el modelo cuaternario de explicación alegórica al que suscribe Jameson me permite explicar qué sentido tiene que una película pensada para niños/as pueda tener estas características. CETYCLI 2022-09-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares application/pdf https://badebec.unr.edu.ar/index.php/badebec/article/view/563 10.35305/b.v12i23.563 Badebec; Vol. 12 Núm. 23 (2022): Septiembre (2022); 19-41 1853-9580 spa https://badebec.unr.edu.ar/index.php/badebec/article/view/563/512
institution Universidad Nacional de Rosario
institution_str I-15
repository_str R-206
container_title_str Badebec
language Español
format Artículo revista
topic Japón
alegoría nacional
Shinto
nacionalismo
Japan
national allegory
Shinto
nationalism
spellingShingle Japón
alegoría nacional
Shinto
nacionalismo
Japan
national allegory
Shinto
nationalism
Naccarato, Mauro Daniel
Miyazaki through Jameson: the allegory in Spirited Away
topic_facet Japón
alegoría nacional
Shinto
nacionalismo
Japan
national allegory
Shinto
nationalism
author Naccarato, Mauro Daniel
author_facet Naccarato, Mauro Daniel
author_sort Naccarato, Mauro Daniel
title Miyazaki through Jameson: the allegory in Spirited Away
title_short Miyazaki through Jameson: the allegory in Spirited Away
title_full Miyazaki through Jameson: the allegory in Spirited Away
title_fullStr Miyazaki through Jameson: the allegory in Spirited Away
title_full_unstemmed Miyazaki through Jameson: the allegory in Spirited Away
title_sort miyazaki through jameson: the allegory in spirited away
description I argue that the Japanese film Spirited Away by director Hayao Miyazaki is a national allegory in Jameson terms. This is so because, in the first place, the individual destiny of its protagonist represents an aporia between nationalism and globalization; second, the allegory is conscious and voluntary; thirdly, the form of representation constitutes a cultural alterity in the face of Western forms; fourthly, because the film is a symptom of an opposition between culture and Nature. I am doing this reading enrolling in the field of cultural studies. In addition, the quaternary model of allegorical explanation to which Jameson subscribes allows me to explain what sense it makes that a film designed for children can have these characteristics.
publisher CETYCLI
publishDate 2022
url https://badebec.unr.edu.ar/index.php/badebec/article/view/563
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first_indexed 2023-05-11T18:51:05Z
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