Category: Week 5 Questions – Anime

What is the shōjo and how does it often function in anime?

Literally translating to ‘little female’, shōjo refers to the anime sub-genre typically known for its focus on romance and relationships and is also a term assigned to young girls from 12-13 years old. Cavallaro describes shōjo as “nestled between adulthood and childhood” (2006), signifying the transitional period of girl to young woman. Depictions of shōjo highlight the complex and contrasting ideas between masculinity and femininity, innocence and budding eroticism, power and powerlessness (ibid., 2006). The concept of shōjo has developed over time in Japan, reflecting conflicting ideas, growing awareness and increased concern over female agency and portrayal in literature (Ogi, 2003).

The average shōjo is usually an attractive young girl, either depicted as a passive being ‘suspended in a timeless dreamland’ or as a prepubescent object of desire (Cavallaro, 2006). Miyazaki’s take on shōjo was and are paramount in the subversion of these common anime constructions and functions of shōjo. He achieved this by showing his female characters as strong-willed and powerful individuals, who were simultaneously compassionate and gentle (Mountfort, 2020). We see this in Princess Mononoke when the image of San’s blood smeared faced, appearing wholly savage, is contrasted with her efforts to suck a bullet out of the wolf.

Shōjo anime personifies the journey of self-discovery and development, embodying the potential all humans have to navigate and challenge the world we live in.

 

References

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London: McFarland & Company.

Mountfort, P. (2020). Pop Genres – Week 5 Anime #2 Video Lecture, part 1. Retrieved from Blackboard.

Ogi, F. (2003). Female Subjectivity and Shoujo (Girls) Manga (Japanese Comics): Shoujo in Ladies Comics and Young Ladies Comics. The Journal of Popular Culture. (4), 780-803. doi:10.1111/1540-5931.00045

 What is the ‘shōjo’ and how does it often function in anime?

 

Shōjo is a Japanese word that literally translates to “young girl” in English. However, it does convey more specific connotations inn Japanese pop culture. It carries the images of “female pureness, virginity, vulnerability, romanticism and nostalgia” (Berndt, Nagaiki, Ogi, 2019). Generally, shōjo in anime can be separated into two categories; over-sexualized and boy-crazy or the ‘innocent’ girl, protected by the male protagonist/s and conveyed as a role-model to other young girls. In the early 90s however, with the release of Sailor Moon, it offered an alternative to the stereotypical image of this submissive obedient woman, making them more empowered and strong, though they still kept other stereotypical shōjo traits (Berndt, Nagaiki, Ogi, 2019). However, strong female heroines did come before Sailor Moon. The most popular would be the maho shōjo, or the magical girl. Another typical example is the deadly “girl with guns” archetype (Toku, 2015)

 

Hayao Miyazaki was a anime director that revolutionised the shōjo character throughout his films. Cavallaro (2006) said that “while the average shōjo is portrayed as a passive being suspended in something of a timeless dreamland, Miyazaki’s heroines are active, independent, courageous and inquisitive – to the point that some commentators have described them as youths wearing shōjo masks” (Cavallaro, 2006). They are not traditionally portrayed in a ‘beautiful’ light as other animes portray woman, instead he lets the inner beauty speak for itself. For example, in Princess Mononoke, there is a scene in which San’s face is blood-stained as she looks at the protagonist, however this experience is actually a nurturing act, as she is sucking a bullet out of the Wolf God’s body (Cavallaro, 2006).

 

References

 

Berndt, J, Nagaiki, K, Ogi, F (2019). Shōjo Across Media: Exploring Girl Practices In Contemporary Japan. Springer International Publishing.

 

Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. McFarland & Company.

 

Toko, M (2015) International Perspectives on Shojo and Shojo Manga: The Influence of Girl Culture. Taylor & Francis Group.

1. What is the ‘shōjo’ and how does it often function in anime? 

The term ‘Shojo’ first showed up in 1903 it is actually originally derived from a chinese form of expression made up of the same characters (Wikipedia, 2012). What is Shojo? Initially it is one of anime’s numerous subgenres, shojo is a segment marker for anime and manga (Japanese comic book) its purpose is to be focused on younger females audience in terms of readership. Shojo is related with visuals and set in a narrating style instead of with a segment. These bases of visuals that are found inside shojo are in clear differentiation to the ones that tend to be more realistic and grounded in comparison to other anime which highlights aspects of violence and modernism. Another minor subgenre that can be from the shojo found inside anime, making it much more otherworldly and dream-like, would be the maho shojo which further translates to enchanted or magical female. This subgenre has an uplifted spotlight on otherworldly and dream components. The concept of Shojo is the literal, direct opposite of shonen. While shonen is the manga aimed at teenage boys, such as for example naruto, bleach, one piece, my hero academia, death note and many more. Shojo is manga aimed at teenage girls. It is a genre of its own, for the means of having a target audience and thus catering the media to a specific demographic. Japan is a male dominated country. The various female appeal are usually to be distinguished as a persevering difference to the male in the anime. This is “subverting convention” the gender commanding force in the nation of history. The capacity of shojo in the anime is to raise the other entangled beings (Napier, 2005.) Shojo characters are bound to be distinguished as a solid, strong young lady who happens to “save” the world or shield them from enemies of all sorts. Then again, some different creators recognize them as feeble and shortcoming. A prominent example of such a character that had been more or so believed  to be a solid hearted courageous woman was San in Miyazaki’s film Princess Mononoke yet she didn’t show the characteristics of for instance, like being what is deemed cute or in japanese terminology “kawaii”, by any means in any way at all. She was depicted to be wild and fearsome going up and standing her ground for what she believed, what she trusts in and suddenly giving her adoration for creatures and security of the forest. This in correlation to when (Napier, S. (2005) stated that “Perhaps many of anime’s most important characters are female because it is so often the female subject who most clearly emblematizes the dizzying changes occurring in modern society.” Overall the aim of shojo is to empower “girlhood”, in 20 century Japan. It is a way for Japan to contribute in the means of contemporary, feminist art (Wakeling, 2011). Asides from this, the concept of both daughters and lets say, maiden both suggest the closeness of a male master in choosing a seemingly young ladies personality while the possibility of shōjo has neither of these affiliations. The shojo is deemed to be free spirited and bold particularly in contrast to normal and ideal female roles in the Japanese culture. 

References:

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.

Shōjo. (2020, August 1). Wikipedia, the free encyclopedia. Retrieved August 29, 2020, from https://en.wikipedia.org/wiki/ShōjoWakeling, E. J. (2011). “Girls are dancin”: Shōjo culture and feminism in contemporary Japanese art. New Voices, 5, 130-146. https://doi.org/10.21159/nv.05.06

What is the ‘shōjo’ and how does it often function in anime?

The “Shojo” is a popular Japanese term that translates into “girl or maiden” (Dollase, 2003). The term is often related to that of a young female character within both anime and manga and is aimed primarily at an audience of younger females. The Shojo is often portrayed in romanticised art styles with flowery language and feminine outlooks to attract the attention of young girls. 

The shojo first became popular throughout the late 19th century through manga and magazines that most Japanese girls would read (Thorn, 2001). Often, the shojo is depicted as the protagonist and heroine in the story, and many famous anime films created by the famous Studio Ghibli such as Spirited Away, Nausicaa, and Princess Mononoke show this character perfectly. Within anime, the shojo functions through the character of a girl, typically pre-teen, that embarks on otherworldly adventures to complete tasks that save either themselves or their entourage of friends, families, and people (Mountfort, 2020). Spirited Away stands as a perfectly famous anime film that represents the shojo because, through its wackiness, a young girl by the name of Chihiro must save herself and her parents from a curse by working within the realm of spirits in a typical Japanese bathhouse. Within the early stages, the shojo was presented originally through manga and became increasingly popular, not just because it empowered females, but because it showed a different style of setting and artistic style through friendship and quite commonly love (Prough, 2010). 

Dollase (2003), includes an example of the shojo through the famous Hanamonogatari book and explains that the stories are made particularly for school girls that wish to neglect expectations around them and focus on appreciating their ‘girlhoods’ for longer. Dollase (2003), also uses the words of others to bring in the idea that many stories that use the idea of the shojo are often a symbolic jail for girls to hide from freedom, and also seek safety and protection from the outside world that takes advantage of them. Young girls are deprived and frequently turn to their inner selves for discovery.

References

Dollase, H. T. (2003). Early twentieth-century Japanese girls’ magazine stories: examining shojo voice in Hanamonogatari (Flower tales). Journal of Popular Culture, 36(4), 724.

Mountfort, P. (2020). ENGL602 Pop Genres 2020 Week 5 Anime Part 2 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Prough, J. (2010). Shojo manga in Japan and abroad. Manga: An anthology of global and cultural perspectives, 93-106.Thorn, M. (2001). Shōjo Manga—Something for Girls. Japan Quarterly, 48(3), 43-50.

Thorn, M. (2001). Shōjo Manga—Something for Girls. Japan Quarterly, 48(3), 43-50.

What genre or genres is Princess Mononoke? How does it relate to its ‘prequel,’ Nausicaä?

Hayao Miyazaki is an esteemed Japanese animation director, responsible for creating many of the most influential animated films of all time. Miyazaki’s big breakthrough into the animation industry came with the release of Nausicaä of the Valley of the Wind in 1984. This animated film established many of Miyazaki’s trademark themes that he has continuously explored throughout his filmography (Mountfort, 2020).

Nausicaä of the Valley of the Wind (1984) is an eco-fable set in a post-apocalyptic world. The film investigates the relationship between humanity and nature, while also delving into themes of war, environmental degradation and self-development (Cavallaro, 2006; Mountfort, 2020). While Nausicaä of the Valley of the Wind (1984) received universal praise from fans, Miyazaki felt unsatisfied by the simplification of its themes. Notably, the relationship between humanity and nature.

Years later Miyazaki would address this simplification with the release of Princess Mononoke in 1997, an eco-fable set in Japan during the Muromachi period (1392 – 1572). Just like Nausicaä of the Valley of the Wind (1984), Princess Mononoke (1997) contains themes of war, environmental degradation and self-development. However, this time Miyazaki would not shy away from presenting these themes with all of their moral complexity (Cavallaro, 2006).

Throughout Princess Mononoke (1997), neither humanity nor nature is entirely good or evil, unlike Nausicaä in which good and evil are well defined. Cavallaro (2006) elaborates that “the coexistence of ostensibly incompatible features in Miyazaki’s protagonists is echoed by the nature of its topographies” (p. 12). Therefore, the moral complexity in Princess Mononoke (1997) would help to expand on many of the themes established in Nausicaä.

While Princess Mononoke (1997) does not share any characters or settings in Nausicaä of the Valley of the Wind (1984), the film recontextualises many of the themes first present in Nausicaä and examines them in greater depth. As a result, enthusiasts of Princess Mononoke (1997) often cite the film as a spiritual sequel to Nausicaä of the Valley of the Wind (1984).

References.

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki. London: McFarland & Company.

Miyazaki, H (1984). Nausicaä of the Valley of the Wind.

Miyazaki, H (1997). Princess Mononoke.

Mountfort, P. (2020). Pop genres week 5 anime 2 part 1 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Mountfort, P. (2020). Pop genres week 5 anime 2 part 2 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

‘Shōjo’ is one of the anime subgenres, it’s definition translate to literally means ‘young girl’ (Napier, 2005), anime where the protagonists character is female. It is also a demographic, basically anime genre that targets young girls, but mostly it is more about the visual and set of the story. The anime’s atmosphere and character design of this genre are often quite dreamy, cute and magical, clear examples of ‘shōjo’ genre is ‘Sailor Moon’ and ‘Cardcapture Sakura’ anime series. (Kahn, 2020).  However, young girls are not the only group of audience or consumers of this subgenre, there are also male consumers as well. 

According to Cavallaro (2006), looking at Miyazaki’s heroin character’s age and appearance, they are definitely ‘shōjo’. But there are differences to the average ‘shōjo’ characters. Miyazaki’s heroin has strong personality and leadership, they are not the typical average passive characters in a dreamland that some male audiences see as “play toys for Lolita complex guys” (Miyazaki, 1988). Miyazaki’s heroin is “active, independent, courageous and inquisitive” (Cavallaro, 2006), yet they also process compassion, gentleness and generosity for others. 

‘Shōjo’ are also a fascinating anime genre, as they intertwine with society views of gender roles and gender transgression. According to Napier (2005), this genre can “encapsulates both the increasing fluidity of gender identity in contemporary popular culture and the tensions between the sexes that characterize a world in which women’s roles are drastically transforming.”

Example of this is Miyazaki’s films, which are often exploring the topic of gender and sexual relations. His characters are portrayed in imaginative ways that surpass the notion and stereotype of feminism and masculinity. Character like Nausicaä of the 1984, ‘Nausicaä of the Valley of the Winds’ and San of 1997, ‘Princess Mononoke’, as both characters have strong personality and leadership, as well as being independent and courageous female character. Nausicaä are 16 years old and the princess of the Valley of the Wind. She is brave, intelligent, loyal, compassionate, and capable, she stands tall against all adversaries and is willing to sacrifice her life in order to save those around her. San is of similar age, she was raised by wolves and became a wild, untamed, short temper warrior, she is cold towards the humans, due to what they done to the forest, but she still possesses compassion.

References:

Cavallaro, D. (2006). The animé art of Hayao Miyazaki.Jefferson, North Carolina: McFarland & Company.

Kahn, J. (2020, February 19). Anime genres explained. Looper. https://www.looper.com/189420/anime-genres-explained/

Napier, S. (2005). Anime from Akira to Howl’s moving castle. New York: Palgrave Macmillan. 

What is the ‘shōjo’ and how does it often function in anime? 

Shōjo is a term that literally translates to “little female”, and in manga and anime is used to describe the transitional time between childhood and adulthood for young girls, usually aged 12 to 13 (Cavallaro, 2006). According to Berndt (2019), shōjo can refer to a genre aimed at female audiences, or to the character type of an adolescent girl. The main imagery used in shōjo is that of innocence, purity, virginity, vulnerability, and romantic nostalgia, but this is often contrasted with themes of sexuality and vulgarity, highlighting the transitional period of adolescence and its shift from child innocence to adult discovery (Berndt, 2019).  

Mesuda (2015) argues that the function of shōjo in anime is to help young girls navigate the challenges and struggles they face in their lives. Whether it be adapting to the changes happening in their bodies, navigating difficulties with family and friends, or searching for their own sense of identity, shōjo stories have functioned to help young girls explore these issues and provide encouragement along the way (Mesuda, 2015). 

However, Hairston (2015) argues that in modern manga and anime, shōjo character roles are limited to selective archetypes. These include: the magical girl who uses supernatural powers to solve problems, the romantic girl who just wants the perfect boy to fall in love with her, the cute girlfriend who exists solely as a plot device next to the main male character, and the “girls with guns” archetype where they are depicted as beautiful but deadly (Hairston, 2015). Many depictions of shōjo also serve the function of emphasizing the subservience and obedience expected of girls and women (Sugawa-Shimada, 2019). 

The emergence of the mahō shōjo, or magical girl, also attempted to subvert the stereotypes of shōjo in anime (Sugawa-Shimada, 2019). For example, powerful young girls such as those in Sailor Moon defy the meek and obedient archetype as they fight against their villains by themselves (Sugawa-Shimada, 2019). Many mahō shōjo characters also exist to challenge gender roles, explore female sexuality, and show female empowerment (Sugawa-Shimada, 2019).  

Both Hairston (2015) and Cavallaro (2006) point out that the films of Hayao Miyazaki defy these common shōjo stereotypes, as his female characters are strong, independent, inquisitive, well-rounded and active in their agency. For example, San from Princess Mononoke is a fiercely independent warrior who is also compassionate, as exhibited in the scene where she tries to suck out a bullet from the injured Wolf God (Cavallaro, 2006). Her bloodstained face is confronting and shows the viewer her grit, and this is contrasted when we realize she is covered in blood to help another being, showing her caring and nurturing side (Cavallaro, 2006). Other examples in Miyazaki’s films include Kiki in Kiki’s Delivery Service, who goes on an adventure in a new city all by herself while still an adolescent, Chihiro fighting a powerful sorceress to save her parents in Spirited Away, and Nausicaä exploring, flying, and fighting to the death, to save her people in Nausicaä of the Valley of the Wind. While the sole function of shōjo in anime can be for how they look or the comedic effect they bring, Miyazaki’s characters function as serious role models that inspire and emotionally move the viewer (Hairston, 2015).  

References 

Berndt, J. (2019). Introduction: Shōjo mediations. In Berndt, J., Nagaike, K., & Ogi, F (Eds.), Shōjo across media: Exploring girl practices in contemporary Japan (1-21). Springer International Publishing AG. 

Cavallaro, D. (2006). The anime art of Hayao Miyazaki. McFarland & Company. 

Hairston, M. (2015). Miyazaki’s view of shojo. In Toku, M (Eds.), International perspectives on shojo and shojo manga: The influence of girl culture (101-108). Taylor & Francis Group. 

Masuda, N. (2015). Shojo manga and its acceptance: What is the power of shojo manga? In Toku, M (Eds.), International perspectives on shojo and shojo manga: The influence of girl culture (23–31). Taylor & Francis Group. 

Sugawa-Shimada, A. (2019). Shōjo in anime: Beyond the object of men’s desire. In Berndt, J., Nagaike, K., & Ogi, F (Eds.), Shōjo across media: Exploring girl practices in contemporary Japan (181-206). Springer International Publishing AG. 

W5

What genre or genres is Princess Mononoke? How does it relate to its ‘prequel,’ Nausicaā ?

Princess Mononoke is a Japanese anime in 1997 with an epic, fantasy, war film written and directed by Hayao Miyazaki. It is animated by Studio Ghibli.

Princess Mononoke inspires a vast number of viewers to look at the movie more critically at some of the myths and modern Japan because Princess Mononoke works to fight and face the public stereotypes (Napier, 2001). Princess Mononoke includes a good scene of the great woodland god is a nature creature to bring independent power that embodied in the movie (Napier, 2001). It presents the power of hope and renewal. The same things happen in the final scene in Nausicaa, pure power of love, Sheeta’s and Pauza’s willingness to die together for the sake of the world in Laputa (Napier, 2001). Mononoke is a broken intricating world focus on anime prominent under their demonstration. The movie is an archetype and icon of the feminine to create a new vision of Japan at the crossroad of history. In some way in the anime include violent, indeed apocalyptic, this lament for a lost Japan alternative, heterogeneous, and female-centred vision of Japanese identity for the future (Napier, 2001). Mononoke is not based on an actual historical event, but it bases on the central myth of Japanese culture and society. Princess Mononoke makes it strange with icon and Japanese culture; the tale of the feminine as long-suffering and supporting; Japanese’s myth as living in harmony and nature often demonstrate the union of the feminine and nature. Mononoke ruins the traditional history, aesthetic, and gender relationship of Japanese society. Princess Mononoke’s use of fantasy to make a concept of clarifying the problem or interruption in real contemporary life. 

Nausicaa takes the traditional epic and makes it new and fresh through the character of its eponymous heroine. Nausicaa is first presented as a mystery. Nausicaa, the teenage protagonist, has a plot of motivation to save her village (Shamoon, 2015). Nausicaa is brave by her “feminine” willingness to scarify her life for the sake of world harmony. Mononoke link to Nausicaa because they have the same meaning in the anime about human and nature. 

“Mononoke is intended as a sequel to Nausicaä of the Valley of the Winds (1984) which depicts a post-apocalyptic world composed of expanding dead-zones” (Mountfort, 2020). The Princess Mononoke is set in the ancient past, where Nausicaa is set in a post-apocalyptic future (Cavallaro, 2015). In Nausicaa, the relationship between human and nature is a divide of good and evil in much criticism. The Princess Mononoke uses to address the situation Nausicaa is continuing in this movie has been treated in the theme. The director defined the relationship between human and nature in the film, whether in a good or evil, but both sides should have better in relation.  

When human is development, the environment is inevitable to not to be damaged. But the human should think of the ways of their happiness without destroying nature, and it won’t bring them a real pleasure. Therefore, in these two movies, the directors want to give a message to the audience to see how they should help and live together in a better state. 

References:

Mountfort, P. (2020). Pop Genres_2020_Week5_Anime #2 [PowerPoint slide]. Retrieved from http://blackboard.aut.ac.nz/

Napier, S. (2001). Anime from Akira to Princess Mononoke: experiencing contemporary Japanese animation. Springer.

Shamoon, D. (2015). The superflat space of Japanese anime. Asian Cinema and the Use of Space: Interdisciplinary Perspectives, 93-108.

Cavallaro, D. (2015). The anime art of Hayao Miyazaki. McFarland.

Napier, S. (2001). Anime from Akira to Princess Mononoke: experiencing contemporary Japanese animation. Springer.

5.What genre or genres is Princess Mononoke? How does it relate to its ‘prequel,’ Nausicaā?

Princess Mononoke is made up of various genres. First of all, It is an animation that puts voice, dynamism and background sound into static media such as cartoons and pictures. Also, scenes where animals and humans talk and the fact that animals appear as gods show genre of fantasy. We can also see the genre of adventure in Ashitaka journey to the West Village to stop the curse that eats away his life, and we can find action genres through fierce battles between humans and gods.

“Mononoke is intended as a sequel to Nausicaä of the Valley of the Winds (1984) which depicts a post-apocalyptic world composed of expanding dead-zones”(Mountfort,2020). In Nausicaa, the narrative dividing the relationship between man and nature into a dichotomy of good and evil has drawn much criticism. So the director has come to think again about the relationship between man and nature. Later, he publishes Princess Mononoke to address this simplification with the more sophisticated treatment of the theme. His newly defined relationship between man and nature is that neither is absolute good nor evil and that both sides should be slightly better off in contradictory relationships.

“As far as the relationship between the natural environment and human technology is concerned, in particular, this is alternately addressed in a utopian vein emphasizing prospects of peace and regeneration, and in a pragmatic mode that accepts the inevitability of technology even in scenarios of relative harmony between humankind and nature”(Cavallaro,2015). When humans develop technology, the destruction of the environment is inevitable, and real human happiness cannot be achieved unless the technology is developed to protect nature perfectly. It is the contradiction they have. Acknowledging this contradictory relationship, the director emphasizes the constant effort to help each other move to a better state.

References

Cavallaro, D. (2015). The anime art of Hayao Miyazaki. McFarland.

Mountfort. (2020.). Pop Genres_Anime 1_Akira [PPT]. Aut: Blackboard.

What is the ‘Shojo’ and how does it often function in anime?

The Japanese term ‘shoujo’ means “little female” and is typically used to specify girls that are aged from 12-13 years. Cavallaro (2006) also explains that on a metaphorical level, this term implies the transitional period between infancy and maturity with a combination of sexlessness and “budding eroticism.” The narratives that are found in shoujo stories are often dreamy and serene, with a magical atmosphere which contrasts the bleaker plots of other anime that center around war and science fiction. Critics have pointed out that shoujo anime is often found in a middle ground between adulthood and childhood, exploring notions of power, innocence as well as masculinity and femininity. Overall, shoujo anime can symbolize several different ideas, Susan Napier claims that shoujo characters could “embody the potential for unfettered change” which is less accessible to Japanese males who have their busy, daily demands of life to keep up with. On that note, shoujo stories have a broad audience not only consisting of young female teenagers, but even older males.

In addition to shoujo’s themes of being cute and magical in anime, there is also other functions and components involved. Looking at Miyazaki’s work, his female protagonists have been pointed out to be “unquestionably shoujo” in regards to their age and physical appearances. Although, where a typical shoujo character would be shown as passive and suspended in something similar to a “timeless dreamland,” Miyazaki’s female characters are proven to be quite active and independent, adventurous as well as inquisitive. Some commentators have claimed that they are “youths wearing shoujo masks.” Miyazaki has further stated that he is determined to avoid representing his female characters as simple “play toys for Lolita complex guys,” as the typical attributes of shoujo characters may encourage that kind of portrayal. Moreover, Miyazaki’s films stay redefining anime genres as the themes and characters deal with a variety of issues in imaginative ways, including the depictions of his shoujo characters.

Overall, shoujo is a defining term for characters that are little girls in their preteen stages of life, often in a world that is dreamlike and mystifying. Shoujo in anime offer a form of visual design for their youthful characters along with general traits which many shoujo characters possess. Miyazaki’s characters prove to be a little different on that matter as his shoujo protagonists may look youthful and cute, but their personalities and narratives suggest a broader sense of being than the typical shoujo character.

References

Cavallaro, D. (2006). Introduction. In the Anime Art of Hayao Miyazaki (pp.5-13). London: McFarland & Company.