Studio Ghibli is a Japanese animation film studio most known for producing films such as Spirited Away, Princess Mononoke, and Nausicaä of the Valley of the Wind. What these films all have in common is their portrayal of young female protagonists, who are shown to be strong-willed and independent, but also vulnerable at times. These characters have become role models for many young girls as they defy cultural stereotypes of femininity. 

When asked what had inspired him to create these films with their well-defined and purposeful female leads, the renowned director and co-founder of Studio Ghibli, Hayao Miyazaki, shared, “I wanted to make a movie especially for the daughters of my friends,” as he believes that “any woman is just as capable of being a hero as any man.” 

It is not an overstatement to say that he has accomplished that and much more, having created a grand library of films beloved for their gorgeous hand-drawn animation, bewitching yet challenging storylines, and most especially for how astonishingly real the female characters feel as they unveil the true complexities of what it means to be a woman. 

Studio Ghibli’s heroines demand our attention, breaking the boundaries for how female characters should look and behave, as well as what they can achieve. We are drawn to their adventures because of their courage and desire for independence, attributes conventionally considered more masculine, but Miyasaki’s characters are driven by a fantastical degree of femininity. 

From the start of the film, Nausicaä of the Valley of the Wind, Nausicaä doesn’t abide by any of the expectations typically forced upon female characters. An independent spirit, Nausicaä’s is both a knowledgeable scientist as well as a valiant warrior. 

Her journey begins as a plot for revenge after the Tolmekian soldiers’ unjustly murder of her father, characterizing Nausicaä’s as savage and vengeful. However, the audience sympathizes with her, as the reason for her malevolence is because she has yet to come to terms with the death of her father. Still only a young woman, Nausicaä likely has never experienced the pain of losing someone whom she deeply loved. Because of this, Nausicaä inevitably finds herself feeling vulnerable, desolate, and confused, and unable to control her own emotions.

Throughout the film, Nausicaä grows and develops into a mature young woman, and like all heroic figures, eventually learns to overcome her desire for vengeance. This can be seen when, in a moment of self-actualization, Nausicaä lets go of her contempt in order to save the life of Kushana, the Tolmekian queen.

Nausicaä goes on to learn of a prophecy proclaimed by the village people to be carried out by a man in a blue robe. However, it is Nausicaä who fulfills the prophecy, as she has on a blue dress. But, regardless of her appearance—though it is a nice touch—it is through her actions that Nausicaä illuminates for young girls how a woman can accomplish what was initially expected of a man to achieve. 

To further illustrate how Ghibli purposefully defines women in brilliant yet unconventional ways, let’s move onto the film, Princess Mononoke. The young princess of the forest, San, is first introduced sucking a bullet out of a wolf’s leg, which is far from what one would expect a “princess” to do but it makes sense, as she was raised by wolves. Although she is a human girl, San alters her femininity in order to close the dissimilarity between herself and the rest of her wolf family. Hence, San is depicted as more of an animalistic protagonist who comes to represent a heroic figure—something not typically seen in films.  

As San’s values are heavily centered around her family, she lives in hatred toward any human who seeks to destroy their home, the forest. This reveals another side of San, one that is compassionate and caring and also quite selfless, as she will do anything to protect her family, even if it means sacrificing her own life. 

These same heroic attributes are inherent in the film’s antagonist, Lady Eboshi, as she works to demolish the male power structure and instead empower women to achieve independence. In order words, one would not be able to simply classify Eboshi as a “villain,” but rather, a victim of circumstance as her ambition blinds her from the true consequences of her actions. 

Unlike most other female antagonists, Eboshi is strong-willed, intelligent, and kind-hearted, as she has devoted her life to saving the impoverished women of her village from being forced into manual labor or working in brothels. Hence, her leadership and ambition to achieve justice denote a true act of heroism, though she was initially perceived as the “villain”—a clear example of how Miyazaki’s characters refuse to be placed into submissive categories.

Miyazaki’s characters embody conflicting attributes—good and bad, ruthless and kind, male and female—alluding to a quality particular to Japanese culture: finding the beauty in both light and darkness. In other words, Miyazaki has a unique appreciation of human imperfections, finding value in his characters’ flaws. 

It’s seldom that we see a female antagonist who shares a common humanity and whose emotional complexities rival that of the protagonist. Unlike Western films, Miyazaki’s “villains” are not characterized simply as being “evil.” The antagonists are ambitious and endearing; however, it is their very ambition that blinds them from the devastating effects their decisions have on the world around them. This, in turn, evokes a sense of empathy within audiences.

Lastly, we will take a look at Miyazaki’s masterpiece, Spirited Away. The story is about a young girl named Chihiro who gets separated from her parents and finds herself trapped inside of a spirit world. Alone, we see her cry, calling for her parents, though they are nowhere to be found. 

Capturing his characters at their most vulnerable is an approach Miyazaki has used countless times, evoking empathy and compassion within the audience. The director makes a point of including more subtle, quiet, and seemingly mundane scenes to depict his characters more realistically. By incorporating moments where characters simply stop and reflect while gazing at a stream or brushing their hair, it adds a depth of realism, making the characters seem more like human beings. 

Back to the storyline, Chihiro does receive help along the way, whether it be from the human-eating spirit, No-Face, or from the twin sisters, Yubaba and Zenib—who teach Chihiro that both good and evil can exist within the same person—or even from a dragon who disguises himself as a human boy called Haku. And though these characters do help in their only unique ways, providing both reassurance and inspiration, Chihiro ultimately has to find the strength within herself to rescue her parents and find a way back home. 

The reason for this is because Miyazaki understands that his heroines “will need a friend […] but never a savior.” Miyazaki’s characters are never dependent on each other, but rather, are together, crucially, by choice—which is precisely what makes their relationship appealing. It never comes across as him saving or obtaining her, but rather, is a relationship borne of mutual respect to inspire one another.

In summary, each of the young female protagonists mentioned above, as diverse as they are in their appearance, personality, and the situations they find themselves in, are all just trying to find their footing within the world. While their worlds may include mythical creatures, verdant nature, and awe-inspiring beings, these fictional tales still manage to mimic the real world as the characters overcome through self-actualization and through the relationships they acquire along the way.

Miyazaki creates multidimensional female figures as his heroines that resemble the girls they’re trying to appeal to both physically and mentally, sharing similar emotions and vulnerabilities. For many young girls, Studio Ghibli films are the first time they see a true representation of the female gender, one that is real and attainable, yet mythical all the same. 

That is the beauty of Miyazaki’s films; how one can find herself in and through his characters. Miyazaki’s films reinforce what most women eventually come to learn: that being female is not about conforming to societal expectations or superficial ideals, but is rather about finding the strength and courage to express one’s true self.

Graphic Courtesy of FILMDAILY.COM