Studio Ghibli and the art of subtle feminism
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The acclaimed Japanese film studio, Studio Ghibli, has been producing films beloved around the world for nearly 40 years.
In a world where the anime space is centered around the objectification of women, it can be hard to find a new series or movie that shows the beauty of femininity without being overly sexual. Thankfully, the incredible Hayao Miyazaki, one of Studio Ghibli’s founders, produces anime films with a realistic portrayal of women—one of the many reasons his movies have solidified themselves as timeless masterpieces.
When discussing the objectification of women in anime, it is hard not to bring up the concept of “fan service,” or “material added to a work of fiction for the perceived or actual purpose of appealing to the audience, used especially of material that is risqué or sexual in nature.” Although not restricted to anime, fan service is heavily prevalent in that medium, which I believe derives from the fact that the characters in the genre are not portrayed by physical people. Animated characters provide a disconnect from reality in the viewer's brain, thus, real women are not perceived as harmed by it.
This is not to say that having occasional fan service automatically makes something wrong, but shows, movies, etc., that have an unnecessary amount of it and showcase predatory behaviors towards minors through it is where huge problems arise. It is gross to watch something that can push suggestive content onto minors, and it is difficult to constantly watch women’s bodies be drawn in a way that defies gravity—playing into unrealistic beauty standards. Through the normalization of fan service, we push the idea that for a piece of media to be good, it must be shocking or sexual—which is untrue at best and harmful at its worst.
The permeance of fan service in most anime is one of the reasons the stories produced by Studio Ghibli shine so brightly. Unlike many other anime, it is common for Ghibli films, such as Spirited Away (2001) and My Neighbor Totoro (1988), to have a female lead. For example, in Spirited Away (2001), we follow the journey of Chirio “Sen” Ogino, a girl who must work in a bathhouse so a witch, Yubaba, can turn her cursed parents—now pigs—back into humans. Also, in My Neighbor Totoro (1988), two sisters—Satsuki and Mei—move into a new house and discover two spirits living in the woods beside them. Upon their discoveries, the girls learn about Totoro and other interesting events. As seen through the movie descriptions, the female leads in both films are not on screen for sexualization or romanticization purposes. Instead, we can simply enjoy a story and find comfort in it through the actions and words of the protagonists, who just so happen to be female leads.
It is clear that although his audience is male-dominated, Miyazaki does not see his female characters as an “easy-out” for him to push the “male gaze” onto these characters. Miyazaki even does something unique in media regardless of medium: He allows his female characters to be old or other kinds of unconventionally attractive. In Howl’s Moving Castle (2004), the main character, Sophie—who is put under a curse by the Witch of the Waste to turn into an elderly woman—is older than the girls in Spirited Away (2001) and My Neighbor Totoro (1988) at the film’s onset—yet that does not influence how she is portrayed. Throughout the film, we learn how Sophie is not confident in her appearance. We follow her as she gains more confidence as an older woman and eventually breaks the curse alone—although that is more implied than directly explained. Even from the start, the audience sees that Sophie is a beautiful, intelligent, and strong woman. In this case, her beauty is shown through her actions and personality, not merely through her body.
Miyazaki’s depiction of women is incredibly refreshing in anime: A space where it seems that women onscreen are continuously disrespected. To watch young girls and women go through their life journeys and find themselves (just as any man would) rather than solely exist to entertain the masculine characters is incredibly comforting. This representation is crucial for women.
As a former young girl, I can say that we both directly and indirectly learn what society values in women through what we watch, and this value typically revolves around women’s bodies in numerous ways. The unfortunate truth is that this value can be seen in many forms of entertainment. It is exhausting to discover a new show or movie only to learn that the female characters within them are present purely for sexual and objectification purposes.
As people encounter more fan service, especially in anime, they become increasingly desensitized and accept it as normal. Young, impressionable individuals who watch these shows, in one way or another, will see that this specific treatment of women is okay—as this is all they know—and are given no reason to think otherwise. This should not be the case. As we transition deeper into an electronic world, we must recognize how the increased availability of visual media affects our reality. Everyone deserves to have their favorite shows, and movies portray their identity with respect.
As mentioned, this is why Studio Ghibli films leave me with a fresh feeling and make me recommend and rewatch them again and again. We can watch the strong feminine leads on screen without seeing them objectified continuously. Yet, the beauty of Ghibli is apparent. The comforting and detailed art style paired with the fantastical soundtrack, composed by Joe Hisaishi, makes watching Ghibli films a magical experience.
Studio Ghibli films have an incredible legacy because every component is done right: Music, storytelling, art, and—of course, the female representation. I encourage everyone to embark on these narratives, which radiate comfort, and experience the spectacular musical compositions—that make perfect background music for any activity. Ghibli films are truly unique from other anime and beyond worthy of your time!