바람이 분다; 스토리텔링; 진정성; 미야자키 하야오; 미장센; 풍경; 애니메이션; 지브리 스튜디오; 원광경; The Wind Rises; Storytelling; Authenticity; Hayao Miyazaki; Mise-en-Scene; landscape; Animation; Chibli studio; Urszene
한국언어문화, No. 57, Page. 171-195
Park, KiSoo. 2015. ˂The Wind Rises˃, Pathos be the disintegration of the landscape and dream. This article aims at researching the storytelling strategy of Miyazaki Hayao’s animation ˂The Wind Rises˃. ˂The Wind Rises˃ was an controversial issue by the fact that it was covering the life of Horikoshi Jiro, man who invented the Zero Fighter. Miyazaki Hayao was a liberal person who had been constantly demanding an apology on war criminal state Japan’s shameful history of colonization. For this reason, mythicizing the war criminal was the beginning of the trouble. However, the point is on how its made, not what its about. This article analyzed ˂The Wind Rises˃ focusing on the storytelling strategy of it. Based on that, it was able to see whether it is mythicizing the war criminal or just a record of a man’s life who survived a severe era. ˂The Wind Rises˃ left out the specific context of reality and history, which is not what the director intended. The gap between the message and how its passed, and missing out the sincerity caused the collapse of pathos on landscape and the dream. The vacuumed history left out the reality and self-reflective mise en scéne was left without freedom from Urszene. As a result, ˂The Wind Rises˃ became lone cry for ‘Will to survive’ in the vacuumed reality when the man chose his dream over the narrative tension.