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?
One of the most notable aspects of Kanada’s career is that, while he never directed anything by himself, he was closely associated with major directors: first Yoshiyuki Tomino, and then Rintarô and Hayao Miyazaki. His relationship with the latter two is what I’m going to research here. More precisely, I’d like to see how animator and directors worked together and reciprocally pushed each other in new directions. The goal will be to explore Kanada’s animation in detail, to investigate and try to uncover what was his, what were his innovations, and what must be credited to other people: directors, animation directors, and other animators.