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Unlike the Americans, the French and British--less so the Germans, Russians, Spanish, Portugese, Italians, and Swiss--have had a long tradition of what I shall be calling
Orientalism, a way of coming to terms with the Orient that is based on the Orient's special place in European Western Experience. The Orient is not only adjacent to Europe; it
is also the place of Europe's greatest and richest and oldest colonies, the source of its civilizations and languages, its cultural contestant, and one of its deepest and most
recurring images of the Other. In addition, the Orient has helped to define Europe (or the West) as its contrasting image, idea, personality, experience. Yet none of this Orient
is merely imaginative. The Orient is an integral part of European material civilization and culture. Orientalism expresses and represents that part culturally and even
ideologically as a a mode of discourse with supporting institutions, vocabulary, scholarship, imagery, doctrines, even colonial bureaucracies and colonial styles. . . .
It will be clear to the reader...that by Orientalism I mean several things, all of them, in my opinion, interdependent. The most readily accepted designation for Orientalism is an
academic one, and indeed the label still serves in a number of academic institutions. Anyone who teaches, writes about, or researches the Orient--and this applies whether
the persion is an anthropologist, sociologist, historian, or philologist--either in its specific or its general aspects, is an Orientalist, and what he or she says or does is
Orientalism. . . .
Related to this academic tradition, whose fortunes, transmigrations, specializations, and transmissions are in part the subject of this study, is a more general meaning for
Orientalism. Orientalism is a style of thought based upon ontological and epistemological distinction made between "the Orient" and (most of the time) "the Occident." Thus a
very large mass of writers, among who are poet, novelists, philosophers, political theorists, economists, and imperial administrators, have accepted the basic distinction
between East and West as the starting point for elaborate accounts concerning the Orient, its people, customs, "mind," destiny, and so on. . . . the phenomenon of Orientalism
as I study it here deals principally, not with a correspondence between Orientalism and Orient, but with the internal consistency of Orientalism and its ideas about the Orient . .
despite or beyond any corrsespondence, or lack thereof, with a "real" Orient. (1-3,5) Edward Said
[From Orientalism, New York: Vintage, 1979.]
1

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-9 (My Neighbour Totoro-1998)

- (The Wind Rises-2013)

-5 , 1941; ,

"Manga are Japanese comics, and Anime is the Japanese version of animation. Anime is usually, but not always, the animated
version of popular manga." That's partially true, but it can be misleading. (Note that "anime" in Japan technically means any
animated film, and "manga" is any printed cartoon, but people in the rest of the world take them to mean animated films or comics
from Japan.) Source: http://www.mit.edu/~rei/Expl.html
3

Castle in the Sky(1986), Pocco Rosso (1992), Whisper of the Heart(1995), Tales from Earthsea(2006), Panda! Go Panda! (1972),
Mr. Dough and the Egg Princes (2010) etc.
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Girls occupy a distinctive place in Japans mass media, including films and literature. What fascinates the Japanese is that the shojo nestle in a
shallow lacuna between adulthood and childhood, power and powerlessness, awareness and innocence as well as masculinity and femininity.
Tamae Prindle /senceofcinema.com

Artist-writer-director-producer Hayao Miyazaki is often called "the Walt Disney of Japan." His animated theatrical features have
been smash hits in Japan, and many, including My Neighbor Totoro and Kiki's Delivery Service, are already familiar to American
audiences. Hayao Miyazaki: Master of Japanese Animation by Helen McCarthy
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Spirited Away," which won the Berlin Film Festival, has passed "Titanic" at the Japanese box office and is the first film in history to
gross $200 million before even opening in North America. HAYAO MIYAZAKI INTERVIEW,by Roger Ebert,September 12, 2002 |
10

"The Wind Rises" is a biopic of Jiro Horikoshi, the designer of the Zero fighter plane, which the Japanese used during World War
II,The movie's subject dovetails with an issue currently under heated debate in Japan: the new prime minister's plan to amend the
country's constitution to allow for the building of a full-fledged military, boosting the limited self-defense forces put in place after the
war.
The Wind Rises': Hayao Miyazaki's new film stirs controversy, LATimes
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