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Dissertations / Theses on the topic 'Spirited Away'
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1
Olsson, Andreas. "Filmen Spirited Away som förmedlare av ett lärande inom religionsundervisningen." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34866.
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Populärkulturen bidrar med sätt att möta eleverna på deras egna villkor. Uppsatsen ämnar undersöka dels vilka drag av shintoism som återfinns i den japanska animerade filmen Spirited Away och dels hur filmen kan användas i undervisningen av religion på gymnasiet. Studiens ambition är att undersöka vad filmen kan erbjuda undervisningen på en B-kurs inom religionsämnet. Genom att utföra en läromedelsanalys samt ägna mig åt studier kring religionen shinto syftar uppsatsen till att belysa hur filmen Spirited away, och dess shintoistiska tematik, kan finna sin plats i undervisningen i ett klimat där läromedlen ofta misslyckas med att ge en nyanserad bild av den shintoistiska läran. Uppsatsen presenterar en kvalitativ intervju med en japansk man som ger sin bild av shinto. Resultatet visar även att B-kursen på gymnasienivå inbjuder till kopplingar mellan religiösa yttringar och aspekter av vårt sekulariserade samhälle. Populärkulturen, i detta fall genom filmen Spirited away, och shintoism kan därmed bidra till en kombination som leder till att eleverna når ett meningsfullt lärande inom flera olika områden. Studien påvisar att filmen är bärare av en shintoistisk aspekt som är gångbar att belysa i en lektionsplan. Denna lektionsplan vinner mest mark genom hur den behandlar religionens roll i ett sekulariserat samhälle. I detta fall populärkulturens bruk av religiös tematik. Däremot avvisas filmen som direkt förmedlare av den shintoistiska läran, och istället lyfts dess lämplighet som bro mellan ett religiöst system och den populärkulturella aspekten av religionsundervisningen.
2
Turley, Alicestyne. "SPIRITED AWAY: BLACK EVANGELICALS AND THE GOSPEL OF FREEDOM, 1790-1890." UKnowledge, 2009. http://uknowledge.uky.edu/gradschool_diss/79.
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The true nineteenth-century story of the Underground Railroad begins in the South and is spread North by free blacks, escaping southern slaves, and displaced, white, anti-slavery Protestant evangelicals. This study examines the role of free blacks, escaping slaves, and white Protestant evangelicals influenced by tenants of Kentucky’s Second Great Awakening who were inspired, directly or indirectly, to aid in African American community building. The impact of Kentucky’s Great Revival resulted in creation and expansion of systems of escape commonly referred to as the “Underground Railroad” which led to self-emancipation among enslaved African Americans, the establishment of free black settlements in the South, North, within Kentucky borderlands, and the Mid- West, and resulting in the eventual outbreak of a Civil War.
An examination of slave narratives, escaping slave ads, the history of American religious societies, as well as examination of denominational doctrines, policies, public views, and actions regarding American slavery confirmed the impact of Kentucky’s 1797 Great Revival on freeing slaves, creating black church congregations, establishment of antislavery churches, and benevolent societies throughout Kentucky and the Mid-West. These newly formed churches and societies spread the gospel of black freedom beyond Kentucky into Western Territories particularly Indiana, Illinois, and Missouri. The spread of an evangelical religious message and the violent displacement of white and black antislavery advocates had the unintended consequence of aiding freedom seeking slaves in the formation of independent, black settlements and religious societies, not only in Kentucky but also in the North and West.
This work acknowledges the central role Kentucky played in providing two of the three acknowledged and well-documented national Underground Railroad escape corridors which successfully ran through eastern Kentucky’s Appalachian Mountains and within the core of the state’s Western and Central Bluegrass Regions.
3
Parker, James. "Spirited away: institutionality, the IRB and the case of Maliny Victoria Jesurasa." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18731.
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This thesis takes the case file of a Sri Lankan asylum seeker found in the archives at the Federal Court of Montreal in March of 2007 and submits it to a textual analysis. In so doing it operates on three levels. First, it elaborates something of the life of this person, the trials she faced both in Sri Lanka and Canada. Second, and most significantly, it observes the effect of the Immigration and Refugee Board of Canada on the telling of her story, its particular adjudicatory techniques. It is concerned with how this particular institution 'thinks'. Third and finally, it gestures at some possible implications of this analysis in jurisprudential terms. At its most abstract this thesis argues that institutionality is a key feature of the adjudicatory project which is too frequently overlooked.Cette thèse est centrée sur le dossier d'une réfugiée Sri Lankaise, qui a été trouvé dans les archives de la cour fédérale de Montréal en Mars 2007 et fait ici l'objet d'une analyse de texte. Trois points ont été dégagés par cette analyse. Premièrement, celle-ci décrit quelques points de la vie de cette personne et les problèmes qu'elle a rencontré au Sri Lanka et au Canada. Deuxièmement, cela décrit l'influence du Commissariat de l'immigration de du statut de réfugié du Canada sur la manière dont son histoire est narrée, ainsi que les techniques juridiques de ce commissariat. Troisièmement, ce travail envisage les implications possibles de ce cas sur la théorie du droit. Au niveau le plus abstrait, cette thèse argumente le fait que l'institutionnalisme est un trait important dans les processus juridiques et qu'il est trop souvent négligé.
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Sunnerstam, Hanna. "Food, Humans and Other Kinds of Matter : A Posthumanist and Materialist Reading of the Anime Film Spirited Away." Thesis, Linköpings universitet, Tema Genus, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97298.
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My aim with this thesis is to use a combination of posthumanist and feminist materialist perspectives in analysing the anime film Spirited Away (2001). The analysis is organised as follows: the first chapter of the analysis deals with the notions of agency and magic. Magic is an omnipresent force in the bathhouse depicted in the film; a force that creates connections between different bodies and that also bridges the language-matter divide. By making inanimate matter come alive, magic points to a conception of life as relations rather than as possession. However, magic also reveals the hierarchies at work, as not all animate(d) beings have the capacity or the right to use it. The first chapter is followed by three chapters focused on eating, understood as a kind of intra-action between different kinds of matter. Food is, as I will show, important in the negotiations of boundaries and agency. The question of who is eating who also reveals some of the power relationships that govern the posthuman world depicted in the film. In the two last chapters of the analysis I will, so to speak, push the food plate aside in favour of other matters. The fifth chapter will focus on the physical transformations taking place in the film and how these can be interpreted from a posthumanist and materialist perspective. I will look at embodiments, using a narratologically influenced perspective that allows for corporeal ambiguities and shuns notions of bodies as fixed and clearly separate from other bodies. The discussion will continue in the final chapter where I use 'monster theory' to further examine the leakages between categories. The monstrous corresponds not necessarily to widely-spread images of monsters (known from various cultural masterplots) or to bodies that distinctly disobey the norms. The morphological diversity exhibited by the characters in the film reveals the impossibility of clearly demarcating categories and boundaries between Self and Other.
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Brinkemar, Ronja. "En värld inom vår egen : En filmanalys av den japanska animerade parallellvärlden i Hayao Miyazakis Spirited Away." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444960.
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I denna undersökning vill jag visa att film har ett egenvärde som berättarform separat från skönlitteraturen, där särskilt japansk animerad film är ett område som tidigare marginaliserats inom filmteorin men bör ges ett större akademiskt utrymme. Med hjälp av de fem filmanalytiska aspekterna berättelse, mise-en-scène, kameraanvändning, klippning, ljud och filmmusik undersöker jag hur regissören Hayao Miyazaki konstruerar den japanska animerade parallellvärlden i filmen Spirited Away samt hur det animerade mediet påverkar filmen. Min analys visar att publikens inlevelse i parallellvärlden skapas genom en otillgänglig narration där kamerans låga vinklar och point-of-view-shots gestaltar världen ur huvudpersonens vinkel. Parallellvärlden kommer till liv genom en detaljerad traditionell japansk scenografi, runda karaktärer och en rik diegetisk ljudbild. Den långsamma klippningen bjuder in publiken att bli medskapare av parallellvärlden och musiken skapar en känslomässig inlevelse samt fungerar som en sammanknytande väv genom filmen. Den animerade formen möjliggör en större frihet i animatörernas skapande av filmens mise-en-scène, samt bidrar till en större tolerans hos publiken för det irrationella intuitiva händelseförloppet och en delvis överdriven ljudbild.
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Johansson, Erik. "Change in Meaning in the Swedish Dub of Spirited Away : A translation study on dubbing using a pivot language." Thesis, Högskolan Dalarna, Japanska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-25271.
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This paper aims to study the results of dubbing from Japanese to Swedish using a pivot language. The author examines the Swedish dubbed version of the Japanese animated film Spirited Away by comparing it to the original version and finding differences in what in-formation is conveyed through the dialogue. Because the Swedish dubbed version has been translated using the English language script as a base, the English dubbed version is also examined. The findings are then presented, categorized and analysed according to where the changes have appeared and what they consist of. Finally, the results are dis-cussed and compared to previous findings in the field. The study finds how many lines of dialogue have been altered, and that the use of a pivot language has greatly increased the number of altered lines, although no proof was found of an increased amount of mistrans-lations. The increased amount of altered lines leads to the conclusion that the usage of a pivot language can be problematic.
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Tsai, Fang-I., and 蔡芳怡. "A Study of Incidental Music on Hayao Miyazaki's Animation-Spirited Away." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/31114204437394151755.
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碩士國立臺北教育大學
音樂學系碩士班
103
Music is the combination and presentation of notes and individual notes have their own unique performance. The keynote, the minor second, the major third, the augmented fourth, the perfect fifth, the minor sixth, and the major seventh have different emotions. In addition, the different combination of notes and interval progressions will produce different musical terminology, developing distinctive emotions. Since in ancient times, musicians have communicated sorrow, disappointment and yearning for happiness, or pure joy through the medium of music. That is to say, various emotions can be performed by means of different musical terminology. As a codified vocal language, music, to some extent, has the function of insinuating the content and it communicate through the tension and combination of individual notes. It can also intensify the communication of emotions through the combination of its special terminology. Music is not a standalone art and it can combine with other fields. In terms of animated film production, it can serve as a language art that can express emotions. The combination of music and pictures can better communicate the themes and meanings of a drama, intensifying dramatic atmospheres. The research aims to explore several techniques for the creation of the soundtrack of Spirited Away produced by Miyazaki Hayao. This includes leitmotifs, atmospheric theme music, and the application of local color. Film music included in this research is how the musical tension imbedded in musical composition and the combination of the components of musical emotions and musical terminology bring out the emotions to communicate of the themes of a drama. Film music makes a comparison between musical composition and world great music, further proving that music makes great contribution to dramatic atmospheres in films and that music guides the audience to appreciate the meanings of a drama.
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Chih-Hung, Wang, and 王智弘. "A Creation Description of“Spirited Away”─An Exhibition Using Augmented Reality Art." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/bq46y8.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系新媒體藝術碩士班
104
"Spirited Away" is an illustration exhibition presented digitally with tablets and smart phones. The exhibition uses augmented reality to integrate its traditional content, with first person point of view narrative to take the audience into the story, in which the audience can perceive the origin of Taiwanese temples. The story begins with a girl's spiriting away, following with urban myths in Taiwan. As the story unfolds, there will be more and more hints about the ghosts and spirits' existence all around Taiwan, the audience will have an opportunity to understand their story better, and, in the very end, know where the girl finally goes. Handheld smart devices are used as the interactive interface in the work, which makes it much easier to read, in order to deepen the audience's interests to the story.
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Asakura, Kaori. "Translating Cultural References in Japanese Animation Films: The Case of Spirited Away." Master's thesis, 2017. https://repositorio-aberto.up.pt/handle/10216/105914.
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Asakura, Kaori. "Translating Cultural References in Japanese Animation Films: The Case of Spirited Away." Dissertação, 2017. https://repositorio-aberto.up.pt/handle/10216/105914.
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Chen, Miguel Chi-chang, and 陳奇昌. "From Campbell’s Adventure and Freudian Ego to Buddhological Emptiness in Hayao Miyazaki’s Spirited Away." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/62888707979329766964.
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碩士國立高雄師範大學
英語學系
103
This thesis, in addition to offering an introduction to Hayao Miyazaki and the summary of his Spirited Away, is meanwhile to interpret Spirited Away with Joseph Campbell’s stages of heroic adventure according to his monomyth. Then, I will analyze Spirited Away through psychological interpretation, including the Freudian concepts of the Ego and the Id to account for the journey of the heroine—Chihiro. Moreover, I am going to discuss the concepts concerning the emptiness of forms, appearances and the essence of the Original Nature by way of dealing with the Buddhological classics—the Diamond Sutra, the Heart Sutra, the Avatamsaka Sutra, Essence of the Infinite Life Sutra, the Dharmic Treasure Altar-Sutra of the Sixth Patriarch—together with other references to best interpret the Buddhological concepts of the emptiness of forms, appearances and the essence of the Original Nature. Ultimately, from the Buddhological perspective of emptiness and essence, there will be an analysis of Hayao Miyazaki’s Spirited Away to interpret Campbell’s monomythic stages that take place in Chihiro’s adventure, and to explain her psyche journey that serves as her spiritual reflection of self-rediscovery, self-reinforcement, self-retrieve, and her innermost wisdom-achievement.
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Lapointe, Catherine. "Coping With Capitalism: Monsters and the Spectre of Excess in Spirited Away, Onmyoji, and Tokyo Babylon." Thesis, 2009. http://hdl.handle.net/1807/18798.
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This thesis is intended to illustrate that monsters, as beings made of pure culture, embody social anxieties and can be deployed as a means of protest. Therefore this thesis examines monsters in Japanese anime, manga, and film that embody the excesses of capitalism. The first chapter examines Spirited Away and how capitalism’s excesses create monsters such as over consumption, greed, and loss of identity through the disintegration of social relationships. The second chapter examines modern onmyoji and why they are different from their ancient counterpart, especially with regards to the commodification of women and the alienation of others. By examining the societal ills that have created monsters we can determine if these representatives of capitalist excess can be managed.
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Shadow, S. "Wings and freedom, spirit and self : how the filmography of Hayao Miyazaki subverts nation branding and soft power." Thesis, 2015. https://eprints.utas.edu.au/23186/1/Shadow_whole_thesis.pdf.
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For close to four decades, the work of Hayao Miyazaki has been presented throughout the
world as the pinnacle of Japanese cinematic animation. Often referred to by fans as “the Walt
Disney of the East”, Miyazaki has created films that delight people of all ages. Yet Miyazaki
does not see what he does as providing simple entertainment and distractions. Rather,
Miyazaki’s entire filmography courses with his personal ideologies; from his
environmentalism to his anti-extreme capitalism stance, his views of pacifism, his concern
with interpersonal connection as well as the ideas of love and justice intrinsic to his view of
humanity. His works have also been used by various vested interests – including the Japanese
government and corporate-media entities – to push awareness of, and increase desire for,
Japanese brands, media (specifically anime), and cultural products.
This thesis focuses on a close reading of two of his works, Porco Rosso (1992) and Spirited
Away (2001), where the purpose is to examine how these two films demonstrate Miyazaki’s
subversion of many national branding and soft power programmes. This is further supported
by drawing upon the works of academics such as Susan J. Napier, Ayumi Suzuki, Tai Wei
Lim, Kevin M. Moist and Michael Bartholow.
Within this context, this thesis demonstrates the central motifs and thematic representations
which can be seen as subversive or at least challenging to an imposed ideology. The core of
Miyazaki’s works can be read as setting up subtle critiques of various social and
governmental policies and practices over the past few decades. With many of them centring
around how Japan should perceive itself, how its people should behave and how they should
codify their identities in order to conform to invented norms. This is done through the use of
visual and narrative markers as well as through the construction of characters to be reflections
of the times in which they were created – specifically the so-called Lost Decade (1991-2002),
a period in which a faltering economy pressured the Japanese government to increase their
national branding and soft power programmes in order to combat external and internal
perceptions of weakness and failure. With Porco Rosso and Spirited Away coming at the
beginning and end of that period, these films best demonstrate Miyazaki’s subversion of the
way Japanese enactors and investors sought to control all discourses surrounding (self and
national) branding and soft power.
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WANG, TZU-WEI, and 王滋薇. "From Naive Innocence to Elevated Self-Enlightenment: Symbols of Memory in Hayao Miyazaki’s Spirited Away." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/pa2skq.
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碩士國立中正大學
外國語文研究所
105
This thesis aims to ascertain the spiritual elevation and self-enlightenment in Hayao Miyazaki’s Spirited Away by answering to the long-debated question among critics about the function of the exploration between the secular desire and symbols of memory through the whole work. Hayao Miyazaki, an animator and a film director, is renowned for his imaginative films, and his works have been widely studied by critics, mostly through fairy-tale readings. Coinciding with Miyazaki’s idiosyncrasies of anime, such a fairy-tale interpretation does not neglect the aesthetics of the writers’ creative imagination. Some critics have taken the protagonist’s adventure as a typical fairy tale, while others argue that the work is essentially an enlightening fiction. Therefore, what I refer to this paper is that Chihiro and other characters, such as Chihiro’s parents, the giant baby Boh, and No Face, recover their true identities and realize the world through a process of spiritual elevation by experiencing “the banality of evil” (to borrow Hannah Arendt’s term). I suggest that Miyazaki, as a dedicated writer of fantastic works, seeks to redefine the bridge and water imagery by refashioning the tradition as well as portraying the process from external reliance to inner independence in his emplotment of a tale with the symbols of memory. With the above discussion, this paper hopes postulate the potentiality Miyazaki reveals and hopes to commencing to integrate the past experience into present and to embrace the glory of self-enlightenment.
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Stucki, Tracy. "Animation as a medium of socio-cultural critique: thematic development in Hayao Miyazaki's Spirited Away (2001)." Thesis, 2014. http://hdl.handle.net/10539/15032.
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With the development of cinema into the digital era, animation has gradually moved into the centre of live-action films mainly due to its capacities to enhance spectacle, which is a very limited and superficial use of the medium. It is consequently necessary to explore its abilities further in order to understand how animation can add deeper layers of meaning to contemporary cinema and to its standalone form. While the focus of the dominating Western mainstream animation industry has mostly been on telling children’s stories of entertaining value with the most recent technology, other countries, most prominently Japan, have further explored the narrative possibilities of animation. Through the analysis of the thematic development of animation director Hayao Miyazaki’s award-winning animated feature film Spirited Away (2001) and with the aid of selected narrative strategies, this research report examines the potential of the medium of animation as a platform for socio-cultural critique.
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Wu, Cheng-Ing, and 吳政穎. "The Hybrid Poetics and Mythopoeia of Hayao Miyazaki’s Anime: Spirited Away, Howl’s Moving Castle, and Ponyo." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2tzvqu.
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碩士國立東華大學
英美語文學系
104
This thesis analyzes Hayao Miyazaki’s authorial artistry by three case studies: Spirited Away (2001), Howl’s Moving Castle (2004), and Ponyo (2008). Regarding the narrative rendering and emplotment of the selected films, the thesis thematically revolves around hybrid poetics and mythopoeia. The first chapter examines how Miyazaki narrates Chihiro’s archetypal quest with elements of Shinto animism and a material imagination of water. The second chapter studies the interior of Howl’s castle as a means of representing the human mind; it examines the microcosmic function of the poetic space and its subsequent narrative persuasion with the macrocosmic context of war. The third chapter investigates Miyazaki’s reformulation of the ningyo archetype in Ponyo. The thesis analyzes the narrative whole of the selected films to describe Miyazaki’s persuasive artistry. With the mediation of hybrid poetics, Miyazaki’s idiosyncratic mythopoeia harnesses poetic concordance, which infuses the spectator with a cathartic energy during the spectating activity.
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Fang, Ching-wen, and 方靜雯. "An Investigation of Subtitle Translation Based on “Equivalent Effect Principle”: Using Hayao Miyazaki’s “Spirited Away” as an Example." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/46596720261600315545.
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碩士輔仁大學
翻譯學研究所
96
This thesis focuses on ''communicative translation'' and “equivalent effect principle”, and picks up the Japanese movie” spirited away” as an example to analyze the subtitle translation. Receptors and massage delivery are both treated as important factors on translation. Chapter one presents the importance of making the principles on subtitle translation, and also explains the research purpose and research areas. Chapter two takes the view on communication to describe the relationship between translation and mass media, and points out the characters of film subtitle translation and the its function. Chapter three focuses on “communicative translation” to demonstrate how a translator plays his role well on his work, and what kind of knowledge and skills he should have. A translator should treat the receptors as an important factor and know various factors which could effect communicative translation. Chapter four focuses on massage (source text), reviews the development of “equivalent effect principle”, and use the principle to discuss many practical problems on subtitle translation. Although “Equivalent effect principle” has its possibility and limitations, the strategy ”chunking” can help to build up the principles on subtitle translation which fits with Nida’s translation theory ’Functional Equivalence”. Chapter five considers how to make subtitles both fits with simplification and “equivalent effect principle”. Also, this chapter presents culture words translation strategy to solve the culture problem, and let the subtitle research areas expand from language to culture and communication. Chapter six concludes with a summary of this thesis, and suggests a new research area.
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CHIU, PEI-YU, and 邱沛瑜. "Relationships between Landscape Spaces of Hayao Miyazaki's Animated Scenes and Emotional Experiences: A Case Study of Spirited Away." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bam6mn.
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碩士朝陽科技大學
景觀及都市設計系
106
In our daily lives, we use various descriptive ways or to express our thoughts whether it be through, body language, images, or words. The concept includes expression dimension and content dimension, in terms of how and what to describe. This is also called "narrative". From the viewpoint of narratives, the movie scene is the descriptive method and the emotion transmitted is the descriptive content. Hayao Miyazaki is a famous animation master in the world. He expresses his emotions and thoughts through animated films. In his film, the spatial scene not only links with the story line, but also leaves the observers with a certain emotional resonance. The purposes of this study are to understand the relationship between animated scenes of Hayao Miyazaki and the emotions generated from the animated scenes, and whether the different backgrounds and viewing ways of viewers can still the same emotion from the animated scenes. For research purposes, this study consists of two parts, both qualitative and quantitative research. In the first step, the study used depth interviews to obtain the required data. The results showed that angry, moved, sad and pleased were more influenced by the events shown in the animation, while calm, relaxed, nervous, and thrilling were more influenced by visual elements in the animation. This study used focus group to select the eight typical scenes to represent the eight emotions. The selected scenes make up the quantitative portion of study, by way of a Close-ended questionnaire. In the second step, 172 valid questionnaires from subjects such as the public were obtained by questionnaire. The result showed that there is no significant difference between the background of viewers and emotions generated from the animated scenes. Calm and relaxed were the most commonly confused emotions while other emotions were not. The results of Hayao Miyazaki's narratives showed that angry, moved, sad, and pleased were more expressed by the detailed images of characters in the animation, and used other principles to increase visual effects, while calm, relaxed, nervous, and thrilling were more expressed by dynamic scenes and background animations and layout in the scene. We find that Hayao Miyazaki has his own special narrative method, and is also capable of successfully communicating the desired plots, scenes and emotions. The results of the study can be used in a creative way. Landscape designers can reuse and transform four principles of landscape design to create different emotional experiences.
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Han, Shu-Fang, and 韓淑芳. "0n Family Structure, Working Class and Consumption Behavior in Japanese Capitalist Society：A Close Textual Analysis of Hayao Miyazaki’s Spirited Away." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/04835409489849251599.
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碩士國立臺東大學
兒童文學研究所
93
This thesis aims to investigate Hayao Miyazaki’s animation film Spirited Away. Hayao Miyazaki, the Master of Japan’s animation film director, created many works regarded as the classics of Japanese animation such as Nausicaa of the Valley of Wind, Laputa：Castle in the Sky, My Neighbor Totoro, and Porco Rosso. Spirited Away is the one which received the Academy Award for the best film and was the highest-grossing animation film in Japan's history at the time of its release. In addition, it is one of the Japanese animation films embodying the cultural significance. Through a close textual analysis of charaters and narrative structure in the film, the thesis aims to investigate how the issues of the middle-class, the ruling class, the laborers and the consumption behaviors in Japanese capitalist society are reflected in Hayao Miyazaki’s Spirited Away.
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Chang, Yu-chung, and 張于中. "The Religious Issues in Animation--Take Miyazaki Hayao's Animation Nausicaa of the Valley of Wind Princess Mononoke and Spirited Away for example." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/44rktp.
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Pereira, Sérgio Alexandre De Jesus Carvalho. "Projetar a realidade na fantasia, e vice-versa." Master's thesis, 2015. http://hdl.handle.net/10400.12/5207.
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Dissertação de Mestrado apresentada no ISPA - Instituto UniversitárioO presente estudo visa aceder e compreender o mundo interno do sujeito aquando de um visionamento de um filme, sob uma perspectiva psicanalítica. Entendase este como um sujeito dinâmico, que contém o conhecimento de si próprio em si próprio, disponível e possível a ser acedido por um outro. Acede-se a este conhecimento através da dinâmica da entrevista que desencadeia o emergir da subjectividade do sujeito, uma vez que o entrevistador tem um papel neutro. Para este efeito utilizou-se o método qualitativo FANI (Entrevistas Narrativas de Associação Livre), realizando-se uma entrevista a cada sujeito acerca do filme “A Viagem de Chihiro”, que o haviam visionado anteriormente. Os participantes fazem parte de uma família - duas gerações - mãe, filho e filha, podendo assim analisar-se também a transmissão psíquica que ocorre da mãe para os seus dois filhos. Neste sentido observa-se tanto o que emerge em cada sujeito como aquilo que é transmitido geracionalmente, elaborando-se um especial enfoque na prática do método utilizado. Deste modo é possível aceder a conteúdos internos de cada sujeito em específico, quer a modos de funcionamento, no caso da mãe, quer a fases de vida em que o participante se encontra, no caso do filho, bem como a mecanismos de defesa que impedem o sujeito de sair de um determinado ponto da sua vida, no caso da filha. Sendo assim, torna-se interessante observar e analisar aquilo que o próprio sujeito traz ao estudo, invés de um tema pré-escolhido pelo investigador. O participante torna-se assim o próprio estudo.
ABSTRACT: The present study aims for a knowledge and understanding of the internal world of the subject under projective movements when exposed to a movie, in psychoanalytic perspective. This subject is understood as both projective and dynamic, including the knowledge of himself at himself, free and available to access by another (interviewer). The access to this kind of knowledge happens through the dynamics in the interview that triggers the emergence of the subjectivity of the subject, as the interviewer has a neutral perspective. For this purpose we used the qualitative method FANI (Free Association Narrative Interviews), carrying out an interview with each subject about the film "Spirited Away", which they had previously envisioned. The participants are part of a family - two generations - relating as mother, son and daughter, and thus it is also possible to look up the psychic transmission that occurs from the mother to their two children. In this regard it is noted both what emerges in each subject and what is transmitted generationally, with a special focus on the practice of the method used. Therefore it is possible to access internal content, whether to operating modes, in the mother, whether phases of life where participants are, case of the son, whether to defense mechanisms that the subject uses hindering the overcome of a lifetime situation, in the daughter. Thus, it is interesting to observe and analyze what the subject itself brings to the study, rather than a pre-selected view point from the investigator. The participant becomes the study itself.
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Ju, Yang Huei, and 楊蕙如. "The Construction of Scenes singnificance in animation Movie：A case Study of “Spirit Away”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/24125981806798306426.
Full textAbstract:
碩士輔仁大學
大眾傳播學研究所
101
ABSTRACT The probability of scenes makes it no less significant than the characters and story of a movie. It used textual analysis to analyze the scene implication construction of《Spirited Away》 in this thesis. The main scene of 《Spirited Away》 is set in a public bathhouse in a divine world. The art design pointedly constructed the divine world, which allowed the characters to act within the scenes. The director of the animation movie Hayao Miyazaki had implied hidden constructions and meanings in the scenes. The chapters of this thesis include: 1. Introductions; 2. Literature reviews; 3. Research methods; 4. Analysis; and 5. Conclusions and future suggestions. Results show that scenes in《Spirited Away》are not a background that never changes, which transform according to changes of the characters and story. Scenes serve an inner function and effect, and construct meanings of natural elements and symbols which imply environmental issues. This demonstrates the functions and effects of scenes in animation movies: 1. Assist the main character to tell the story; 2. Use representative space in the scenes to imply the inner effects; 3. Deliver main themes of the animation movie by constructing symbols in the scenes.
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Dang, ThuyLien, and 鄧瑞蓮. "Research on the comparison of the driving away spirit evils customs of the Lunar New Year between China and Vietnam ---Focusing on the examples of the “TaoFu”of China and the Lunar New Year pole of Vietnam." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/78690654181378985430.
Full textAbstract:
碩士元智大學
中國語文學系
99
Research on the comparison of the driving away spirit evils customs of the Lunar New Year between China and Vietnam ---Focusing on the examples of the “TaoFu”of China and the Lunar New Year pole of Vietnam Abstract Holidays have played an important role in constituting the traditional culture of China and Vietnam. This can be considered the minimized reflection of the daily life and cultures of the two nations. The Lunar New Year is the moment when people say farewell to the past year and welcome the New Year. Therefore, the meaning of the holiday is highly valued and the typical cultural features are clearly showed. As a matter of fact, research on the Lunar New year customs of a country can reflect the traditional culture of that country. In addition, the observation of the Lunar New Year can be the observation of the social life since its change can lead to the change of the national culture. In different settings, the traditional cultures develop in different ways. Of the activities to say farewell to the past year and welcome the New Year, the activities to drive away spirit evils and receive good luck have become significant. This can not only reflect the mysterious spirit and religion of the people but also show the desire for happiness and peace of human beings. The development of the society gradually changes the perception of death. Therefore, the lunar New Year emphasizes more on the activities to welcome the good luck, rather than to drive away ghosts and devils. Of the activities to drive away the spirit evils on the New Year, the “TaoFu” of China and the Lunar New year pole of Vietnam are the prominent examples. They both direct to the two main desires of human beings, which are driving away the evils and expecting to receive good luck. To date, the continuous development of the society creates the equivalent changes of the two cultures in a more modern way. However, whether the two traditions exist or fade in time, they always remain meaningful to show their existence. In other words, they are vital constituents in the traditional culture of the two nations. This thesis explores the driving away of spirit evils employing the examples of the “TaoFu” of China and the Lunar New year pole of Vietnam. In addition to investigating the origin of evils and devils and the attitudes of the people towards these customs, this thesis also sheds light on the process of the two customs to help the people of the two countries understand more about the conceptions of “evils” and “devils” of their ancestors as well the meaning of the lunar New Year. Besides, the comparison of the two customs has broadened my knowledge of the mentality, perceptions of the people, such as, space, time, religion, social life and the spiritual culture. This has enhanced the multi-aspect exchange and mutual understanding between the two countries. Key words: China and Vietnam, driving away spirit evils customs, customs of the Lunar New Year, the “TaoFu”, the Lunar New year pole
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Dang, Thuy Lien, and 鄧瑞蓮. "Research on the comparison of the driving away spirit evils customs of the Lunar New Year between China and Vietnam---Focusing on the examples of the “TaoFu”of China and the Lunar New Year pole of Vietnam." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/94895819314159265009.
Full textAbstract:
碩士元智大學
中國語文學系
99
Research on the comparison of the driving away spirit evils customs of the Lunar New Year between China and Vietnam ---Focusing on the examples of the “TaoFu”of China and the Lunar New Year pole of Vietnam Abstract Holidays have played an important role in constituting the traditional culture of China and Vietnam. This can be considered the minimized reflection of the daily life and cultures of the two nations. The Lunar New Year is the moment when people say farewell to the past year and welcome the New Year. Therefore, the meaning of the holiday is highly valued and the typical cultural features are clearly showed. As a matter of fact, research on the Lunar New year customs of a country can reflect the traditional culture of that country. In addition, the observation of the Lunar New Year can be the observation of the social life since its change can lead to the change of the national culture. In different settings, the traditional cultures develop in different ways. Of the activities to say farewell to the past year and welcome the New Year, the activities to drive away spirit evils and receive good luck have become significant. This can not only reflect the mysterious spirit and religion of the people but also show the desire for happiness and peace of human beings. The development of the society gradually changes the perception of death. Therefore, the lunar New Year emphasizes more on the activities to welcome the good luck, rather than to drive away ghosts and devils. Of the activities to drive away the spirit evils on the New Year, the “TaoFu” of China and the Lunar New year pole of Vietnam are the prominent examples. They both direct to the two main desires of human beings, which are driving away the evils and expecting to receive good luck. To date, the continuous development of the society creates the equivalent changes of the two cultures in a more modern way. However, whether the two traditions exist or fade in time, they always remain meaningful to show their existence. In other words, they are vital constituents in the traditional culture of the two nations. This thesis explores the driving away of spirit evils employing the examples of the “TaoFu” of China and the Lunar New year pole of Vietnam. In addition to investigating the origin of evils and devils and the attitudes of the people towards these customs, this thesis also sheds light on the process of the two customs to help the people of the two countries understand more about the conceptions of “evils” and “devils” of their ancestors as well the meaning of the lunar New Year. Besides, the comparison of the two customs has broadened my knowledge of the mentality, perceptions of the people, such as, space, time, religion, social life and the spiritual culture. This has enhanced the multi-aspect exchange and mutual understanding between the two countries. Key words: China and Vietnam, driving away spirit evils customs, customs of the Lunar New Year, the “TaoFu”, the Lunar New year pole