Film A viagem by Chihiro analyzed

Written, unmade and directed by Hayao Miyazaki, or a film with Chihiro as the main character, a man who will move from city to country, but ends up falling as a numa armadilha no meio do caminho. You are going to stop in a magical world, filled with supernatural creatures such as feiticeiras and dragões typical of Japanese folklore. After Chihiro's missão, from then on, it becomes saving your own country and leaving that parallel world.

The Japanese animation film discusses the question of identity, fails about or maturity course and presents to the viewer a day of self-reflection. A viagem de Chihiro (2001) is a production full of metaphors and symbols that allows a series of interpretations.

(Attention, esse artigo contém spoilers)

A history of pessoal maturity

Chihiro, the protagonist who is a young man, goes through changes in several snows: she is maturing ao enter pre-adolescent, but it is also a child who is moving from a city against her vontade from her, ou seja, has also a space move involved.

In the face of such drastic moves, she needs to deal with her own means and learn to be courageous in difficult situations.

Or film começa, literally, a transitional space, inside a car between one place and another. Dated inside the car, the três já não estão nem mais na cidade de onde saíram, nem ainda properly chegaram no destination.

Lost, Viagem shows us that this path of transition is not always linear and presents some unforeseen jumps on the way. Or own title A viagem de Chihiro It can be dealt with by two perspectives: on the other hand, the fallacy is literally about this spatial course, this transition between one place and another, and on the other side, the subjective journey, the personal journey.

Because it is about a film about or physical maturity, A viagem de Chihiro be inserted no genre coming of age, which deals precisely with growth for life.

Either Chihiro Lembra's tour or other so many minor stories of infantile stories: chapeuzinho vermelho, which is also halfway there when and interrupted by an unforeseeable wolf, Alice in Wonderland, who will suddenly stop in a new world and to find the way back home, or the same magical O of Oz, where Dorothy looks imerious in a fantastic context and face to back to real life.

Chihiro is a personagem feminina independente

A heroine of the film is a feminine character, as are many of the protagonists of Miyazaki. No longa-metragem or friend Haku is not your own or your romantic partner of her who responds to a situation of perigo, you are two great partners who take care of another when it is necessary.

Or first to offer help and Haku, who helps Chihiro so that she feels desperate and lost in the new world.

Later, when Haku is in trouble, and Chihiro risking her own life to save him. She said love for Haku and all of you sacrificed to save him, to give back or to pray for her, but we cannot say that this love is inserted not romantic gender.

The Japanese animation to the relationship between the male and female personagem differs between two love stories. Haku não é o rapacious who arises to save moça when she is on the cliff, does not long metragem Chihiro e autonomous, independent, and I am counting with the help of a series of people who emerge through their course, among them Haku.

A questão da identidade e da move de nome

When Chihiro assina or business contract she is forced to move from her name. In another world, Chihiro transforms into Feiticeira in Sen sem that a move is properly escolhida pela menina. After finding another saida, Chihiro oils up being called Sen.

No Miyazaki film, because I don't have a very strong symbolism. Ao enter no other world the beings are "refuted" and end up transforming into something that was not. Haku, for example, was not or not Chihiro's original friend.

Num two most important dialogues of the film, or Haku alerts Chihiro for the importance of lembrar or himself:

Haku: Yubaba controls us because she touches us. Here or seu nome de ella é Sen, but keep em segredo o teu verdadeiro nome.

Chihiro: Ela quase me roubou, I never thought it was Sen.

Haku: Whether it is roubar or not, she will not be able to return home. Eu já não I am afraid of me.

Here, or I am not intimately linked to the concept of identity. O nome own of each a career, a history, a past, gostos pessoais, traumas, e, ao will cross the border to or new world and aderirem to an outro nome, tudo fica for the back.

Chihiro ao will become Sen vira mais uma no meio da multidão. For além da change do not turn off identity, we all wear the same uniform inclusive, and are treated in a similar way, so that There is no distinction between one and another.

A questão do notome é tão important for the film that is a year to discover or true name of Haku that Chihiro breaks or feitiço. She is flying off the shores of the dragon when she sees the river and remembers Haku's original name.

Ao pronouncing or nome true of Haku, the deixa of being a dragão and is transformed into menino again.

Chihiro: I just got sick. O teu verdadeiro nome é Hohaku.

Haku: Chihiro, obrigado. O meu verdadeiro nome é Nigihayami Kohaku Nushi.

Chihiro: Nigihayami?

Haku: Nigihayami Kohaku Nushi.

Criticism of capitalism and how Chihiro differs from the group

Through a series of metaphors, A viagem de Chihiro hard face Criticism of capitalism, exaggerated consumption and profit.

The first time that I was presented and through gluttony two countries, that the day before, ate compulsively and ended up transforming into pigs. Even with so much food, Chihiro, for the same time, does not allow herself to be seduced by the other table and behind her, she will touch nothing. It is his refusal of her during the banquet that guarantees that she will not be transformed into porcos as you country hers.

For being gulosos and wanting to eat everything, the countries of the men are immediately punished.

In another passage of the film, the critique of consumer society appears more clearly. Yubaba, to feiticeira, and characterized by explore your serious workers, humiliating and fazendo-os trabalharem à exaustão. They are not identified, they are only there to serve me for darem mais profit to quem sends.

We can also read a severe criticism of unbridled consumerism when we accumulation of fedorento spirit: each time greater, it grows from two remains, let it be played. Or his body is composed of household appliances velhos, lixo, esgoto, and attached himself to a bicycle.

Chihiro differs from the fact that she is in the same age as a series of passagens and It is shown not corrupted pela coletividade. She is, for example, the only creature that says that I do not want anything else when I have offered it. Chihiro says that he does not need our own when or Sem Rosto offers him many pedrinhas. Contrary to this, two colleagues who made up for a piece of ouro, Chihiro did not via any benefit in the matter and only to escape sair dali or more quickly possible to save his friend.

O Sem Rosto face reference to our chameleonic behavior

O Sem Rosto is a being that fears to transform a creature similar to those that interact with it. It is a white cloth: a little subject basically sem identity, sem voice, sem face, sem any type of attributed personality. He behaves according to treatment: like Chihiro he was gentle and delicate, he was also gentle and delicate. But when I have become profitable people, or Sem Rosto also became profitable.

His main characteristic is ability to metamorphose, to transform into a monster or a harmless creature capable of helping people to tear. Lacking and solitary, he walks behind two creatures because he needs them.

Many apontam that or Sem Rosto tem or behavior of a child, that absorbs everything or that it gives.

Outra possible interpretation is that or Sem Rosto looks like all of us, that we have a chameleonic behavior depending on where we are. He would be the personification of our absorbing characteristic or that is now being done.

Criticism of poluição feita pelo homem

A viagem de Chihiro also no poupa criticism of the behavior of homem, that you have destroyed nature like you rampant consumption.

Or monster personifies the poluição e é composto of human lixo, which can be interpreted as a reaction of nature. During the banho de banheira, the deita violently found what the homens accumulated: bicycle, electrical appliances, lixo.

Or piled up a uniform jorra with force and power that leaves you in shock. Só Chihiro, aliás, he feared the courage to be not banho like him and he is capable of ajudá-lo when he barnacles that he has been imprisoned. Or espinho, at the end, it was not a espinho, and sim a bit of a bicycle. Ao puxá-la, everything or lixo that compunha or monster looked back proving that a ninety-year-old creature was, no fim das contas, barely or result do we play fora.

O baby that now is the reason and the servant numa glass flask

Baby: Dress up to infect me. Make bacteria more la fora!

Chihiro: Sou human! Maybe you've never seen nenhuma!
Baby: You are going to adore the fora! Fica here and jump with me

Chihiro: Are you doente?

Baby: I'm here because I would adore la fora.

Chihiro: Check here that you're going to love it!

Or baby, who knows how to be careful and care for the feiticeira in an extremely protective way and through the poucas. Dinners where Chihiro interacts with how we perceive her maturity a year or be able to identify the problems of her breeding.

Or baby when you are pampered, demand that I jump at the time you want and demand comprehensive care. Dated at home, it does not have interactions with no other than feiticeira.

É Chihiro, be ready to enter the pre-adolescent age, that she manages to communicate with him and verbalize that it is necessary that the baby conheça or side of the outside.

A fala da menina prova that it is precise arriscar and experiment or world that we do not know, demonstrating to his maturity and to the vontade of not discovering or novo how to motivate you that he is in the same year or of fazerem.

A child gives birth, no matter how much the first moment it seemed to protect or baby, nothing really limits its existence.

Or clash of cultures between o western and o eastern

In a subtle way, A viagem de Chihiro It also raises the question between the conflict of western and eastern cultures.

Ainda nas first dinners, logo to the car, Chihiro observes a series of stone statues and elements linked to Japanese culture that are degraded, moss covers, hidden does not give me landscape. A national, native culture seems to have been skewed.

It is in this rather discreet way that Miyazaki plays a local culture questão.

Through his own work, or filmmaker seeks Restore the elements of regional culture trazendo for dinner, for example, a series of supernatural creatures of Japanese folklore.

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