This article, centered on Hayao Miyazaki’s narratives, intends to highlight that his films are strongly structured around the themes of the hero's uprooting and his opening to the world. Miyazaki's work can be approached as a systematic exploration of the different modes of relationship to the elsewhere. Animation gives full scope to this analytical dimension of his work: "the ontological unreality of animation" makes it easier to put the problem of "real" reference (of the concrete geographical inspirations of the universes presented) in the background, in favor of the exposition of archetypal situations with a universal scope. What specific content does Miyazaki give to this idea of “elsewhere” and what role does it play in his narratives?
Anne of Green Gables is one of the most popular works in the World Masterpiece Theater series, both in Japan and in the English-speaking sphere. According to many of those who have seen it, it may even qualify for the title of best anime of all time. It also represents a historical turning point: it is the first entry in the time slot that was now officially called “World Masterpiece Theater”, instead of “Calpis Children’s Theater” (1975-1977) or “Calpis Family Theater” (1978). And yet, it is perhaps the most imperfect among Isao Takahata’s three shows for Zuiyo Video/Nippon Animation, and by far one of the most difficult productions that the director, studio and all the artists involved had known. This latter, darker aspect of Anne appears to be at best underdiscussed, or at worst completely unknown, in English-speaking circles. While providing a detailed commentary and analysis of the show as well as its place in anime history and Isao Takahata’s career, this article also aims to raise awareness and shed light on those somber moments.
In the 70’s, TMS and its subcontractors managed to create two aesthetics of their own, one centered around the A Pro comedies and the other the Madhouse dramas. Despite how innovative and influential these might have been, TMS was missing the tidal change known as the “SF boom” that started in 1974, with Space Battleship Yamato and risked, because of that, to fail to attract anime’s new audience, young men in highschool or older that would form the first generation of otaku. But the studio profoundly influenced early otaku culture with a series so enduring it’s still alive today : that was Lupin III.