What genre or genres is Princess Mononoke? How does it relate to its ‘prequel,’ Nausicaā ?
Princess Mononoke (1997) is directed by Miyazaki as a Studio Ghibli production, for which the film was said to be a high grossing film of its time. The release of Nausicaä of the Valley of the Wind (1984) set a leap forward for Miyazaki in the animated film industry.
The presence of unconventional themes such as the coexistence of a natural order and humans in villages suggest a fantasy genre for Princess Mononoke (1997) (Mountfort, 2020). Miyazaki also attempted to undermine two prominent Japanese cultural myths in the film, those being the myth of feminine subserviency and the myth of nature and humans living in complete harmony (Napier, 2001). Miyazaki also attempts to confront the conventional notion of the plot setting by setting Princess Mononoke in the Muromachi period; this particular era was said to be a climacteric period in Japanese landscape, along with increasing literature and arts (Napier, 2001). However it can be seen that the fantasy theme involved mystical creatures such as the forest god and the soul-manifesting demon, and the constant environmental destruction that accrued from human counterparts (Napier, 2001; Mountfort, 2020). Feminine character portrayals are stronger, warrior-like, and are roles with their own, powerful voices. Such examples are San, who is a warrior girl brought up by wolves, and Lady Eboshi, who leads a homogenous village, but is evil as she seeks to eliminate the forest god (Napier, 2001; Mountfort, 2020). Miyazaki’s realm in Princess Mononoke challenges countless, conventional notions, its highlight being its protagonists are marginals of the conventional Japanese society (Napier, 2001). Women and nonhuman tribes are leading roles in the film, and ancient gods with close linkage to nature are brought to life (Napier, 2001).
Nausicaä’s themes are mainly eco-fable, collapse of a civilisation and environment. Themes of anti-warfare and anti-violence are direct messages posited, and the most notable character, that being an independent shōjo, which is the opposite of the shojo stereotype (Mountfort, 2020). The film deconstructs the stereotype of a weakened feminine character; the heroine of the film is a strong-willed saviour that is ready to sacrifice for the future of her people if not the world (Mountfort, 2020). Nausicaä portrays the divide between the good and the evil through criticism, but Princess Mononoke primarily addresses the issue in hand through various plots (Mountfort, 2020).Despite the differences in setting of the two films, Princess Mononoke can be seen as a thematic prequel of Nausicaä; the themes of fate of the world and people, waging warfare and individual character development are indicators of the film being a prequel of Nausicaä (Cavallaro, 2015).
Both productions by Miyazaki suggest the everlasting conflict of humans and nature; the existence of endless development in technology prove the inevitability of destruction and collapse of the two (Cavallaro, 2015). Miyazaki posited that his plots are crafted as subliminal messaging into young minds, suggesting to bridge the coexistence of two contrasting forces and find a way to cohabitate (Mountfort, 2020). Not only did the films inspire the young audience, they were successful with mature audiences as well.
References
Cavallaro, D. (2015). The anime art of Hayao Miyazaki. McFarland.
Mountfort, P. (2020). Pop Genres_2020_Week5_Anime #2 [PowerPoint slides].https://blackboard.aut.ac.nz/
Napier, S. (2001). Anime from Akira to Princess Mononoke: experiencing contemporary Japanese animation. Springer.
Pop Genres 2020 
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