For many collegiates, Disney’s animated films – and espeically the Princess ones – were a staple of childhood. Whether it be Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, or Mulan, there were plenty from which to choose your favorite. Interestingly though, all of Disney’s Princesses are not children. They are at least 16 years old (although I’m not sure about Snow White – is she supposed to be 14?), and are essentially tackling “issues” for “adults”. They either find a man to get married to, or save all of China. None of those things are exactly feasible for a seven year old girl.
Some of us, however, may recall a few animated films we saw as children that our subconsciousness realized were not Disney animation. They seemed different somehow. Perhaps they were the darker films of Don Bluth, such as The Secret of Nimh or The Land Before Time. But they also may have been the Japanese animation Studio Ghibli films, directed by Hayao Miyazaki. Not only was the style of Miyazaki’s films different from Disney’s, but his main character(s) and central storyline also differed immensely from what Disney was doing at the time. What’s also important to note is that while each of these girls and women are the heroines of their own stories, they have male counterparts, who, while not necessarily playing as much of a leading role, ultimately lend themselves to the story in a productive and positive way. Miyazaki does not write his male leads as macho or stoic (unless they are the villains); he simply fills them with the same emotional capacities, hopes, dreams, and willingness for sacrifice that are portrayed in the female characters. Yes, the centerpiece of the films are indeed the heroines, but realistically, Miyazaki has them argue with, bond with, and enjoy the company of the boys and men they come in contact with. Now, it is true that Disney has begun to catch up to these ideals, with films like Brave and Moana, but Miyazaki truly emerged as a leading director with feminist ideals interwoven in his animated tales.
Kiki’s Delivery Service (1989)
Kiki’s Delivery Service tells the story of a thirteen year old witch named Kiki, who must leave home to live away from her parents for a year to begin her official witch training. Being on one’s own at just thirteen can be daunting, but Kiki is excited and eager to start her new, independent life. Although confident in herself and her powers at first, Kiki soon realizes that things don’t always turn out the way you’d hope them to. She must re-discover her powers, navigate her way through friendship with both boys and girls, and uncover her true passion. She saves the day, becomes a town heroine, and learns to fly again.
Castle in the Sky (1986)
Sheeta is one of the two protagonists of Castle in the Sky, the other being a boy of her same age, Pazu. Sheeta, initially extremely shy and fearful of her previous captors who want to exploit her ancestral and magical amulet, she proves herself to be just as capable as the Pirate Captain Dola, brave enough to stand up to the might of the evil Muska, and warm enough to bond with Pazu. She also willingly sacrifices her inherited kingdom of Laputa to save the world from its potentially destructive powers.
Nausicäa of the Valley of the Wind (1984)
Nausicäa is the environmentalist, leader, peacekeeper, insect-and-plant-loving princess of the Valley of the Wind, which sits just far enough away from the Toxic Jungle, and the other warring cities of a post-apocalyptic land. There are many, many complex themes of war, conquest, and pollution woven throughout this film, but the strongest theme that stands out is empathy. The necessity of Nausicäa’s character is that she holds the capacity and willingness to understand multiple perspectives, not only her own. When warriors of Tolmekia wrongfully raid her city and kill her father, Nausicäa is forward-thinking enough to realize that they must all work together in order to survive. She is willing to sacrifice herself for her people and the continuing existence of the insects of the Toxic Jungle, knowing that only in harmony can the two worlds co-exist. She restores the connection of all peoples to the natural world, and the film ends implying she is the new leader of the forthcoming peaceful age.
Princess Mononoke (1997)
Princess Mononoke is a young warrior girl who was raised by wolves and is hardened against the destructive ways of mankind. Fierce but ultimately caring, Princess Mononoke (also named San), lives in a world where magical realism is heavy; humans fight against and alongside abnormally huge animals and gods of nature. As with Nausicäa, this Miyazaki classic confronts environmental concerns and critiques the wanton pollution that humankind creates. Princess Mononoke, while dedicating her life to protecting the forest, quashes her own interests to save those who would be her enemies.
Howl’s Moving Castle (2004)
Sophie, the oldest of these six heroines, is what one might call a wallflower – at first. A humble hat-maker, Sophie accidentally bumps into the wizard Howl on her way to visit her sister. Sophie is then cursed and transforms into and old woman for her unintended interaction by Howl’s scorned lover, The Witch of the Waste. While in her old crone form, Sophie begins to discard more and more of her shy and cautious shell, becoming a candid, forthright leader in the moving castle household, which is comprised of Howl, his young apprentice Markl, and Calcifer the fire demon. Eventually falling in love with Howl, physically saving his heart, returning an enchanted prince to human form, and freeing Calcifer, Sophie breaks her curse all by herself, indirectly ending a destructive and pointless war (the main subplot), and finding a version of herself that she is truly happy with.
Spirited Away (2001)
Arguably the most realistic young girl of these six characters, the main character of Spirited Away, Chihiro, was heavily inspired by the daughter of one of Hayao Miyazaki’s (director and animator of Spirited Away) friends. Plucky but also apathetic, brave but also emotional, loving but also fierce, Chihiro embodies completely many contrasting characteristics that make us human. Better than anyone else, Miyazaki understood the importance and central point of his film, as he explained in an interview: “What made me decide to make this film was the realisation that there are no films made for that age group of ten-year old girls. It was through observing the daughter of a friend that I realised there were no films out there for her, no films that directly spoke to her. Certainly, girls like her see films that contain characters their age, but they can’t identify with them, because they are imaginary characters that don’t resemble them at all. With Spirited Away I wanted to say to them “don’t worry, it will be all right in the end, there will be something for you”, not just in cinema, but also in everyday life. For that it was necessary to have a heroine who was an ordinary girl, not someone who could fly or do something impossible. Just a girl you can encounter anywhere in Japan. Every time I wrote or drew something concerning the character of Chihiro and her actions, I asked myself the question whether my friend’s daughter or her friends would be capable of doing it. That was my criteria for every scene in which I gave Chihiro another task or challenge. Because it’s through surmounting these challenges that this little Japanese girl becomes a capable person. It took me three years to make this film, so now my friend’s daughter is thirteen years old rather than ten, but she still loved the film and that made me very happy.”
Collegiates, if you are looking to experience films that incorporate feminism, environmental messages, magic, fantasy, and overall damn good storytelling, check out Studio Ghibli’s and Miyazaki’s movies. They certainly do not disappoint.
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