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Miyazaki’s Little Mermaid: A Goldfish Out of Water

Miyazaki’s Little Mermaid: A Goldfish Out of Water deborah ross Two Animators and the Problem a story that preaches reason and restraint, they of Animation seem almost to erase themselves, like the path through Tulgey Wood rubbed out by broom when hayao miya z aki’s spirited away dogs in Disney’s Alice in Wonderland (1951). reached American theaters in 2002, children by Disney publicity has never officially acknowl- and large were enthralled, but some of us adults edged any ambivalence about its chief product; were confused. This English-language version of what would a commercial for a Disney movie or the original Japanese film bore the Disney logo, theme park be without the word “imagination” but it was clearly not Disney. It was longer, for or its near relative, “dream”? Yet even the post- one thing, with odd pauses during which the Walt animated films of the neoclassic period, characters seemed to be pondering, and the which began in 1989 with The Little Mermaid, line between good and evil seemed blurred and may convey, in the tension between their pic- shifting. On the other hand, it also did not fit the 2 tures and their plots, a deep sense of unease. American stereotype of Japanese animation—too Miyazaki, on the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Miyazaki’s Little Mermaid: A Goldfish Out of Water

Ross, Deborah L.
Journal of Film and Video , Volume 66 (3) – Aug 29, 2014
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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

deborah ross Two Animators and the Problem a story that preaches reason and restraint, they of Animation seem almost to erase themselves, like the path through Tulgey Wood rubbed out by broom when hayao miya z aki’s spirited away dogs in Disney’s Alice in Wonderland (1951). reached American theaters in 2002, children by Disney publicity has never officially acknowl- and large were enthralled, but some of us adults edged any ambivalence about its chief product; were confused. This English-language version of what would a commercial for a Disney movie or the original Japanese film bore the Disney logo, theme park be without the word “imagination” but it was clearly not Disney. It was longer, for or its near relative, “dream”? Yet even the post- one thing, with odd pauses during which the Walt animated films of the neoclassic period, characters seemed to be pondering, and the which began in 1989 with The Little Mermaid, line between good and evil seemed blurred and may convey, in the tension between their pic- shifting. On the other hand, it also did not fit the 2 tures and their plots, a deep sense of unease. American stereotype of Japanese animation—too Miyazaki, on the

Journal

Journal of Film and Video – University of Illinois Press

Published: Aug 29, 2014

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