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It explains Miyazaki’s animistic foundation and the tension between kami approached with reverence and those feared for their power to curse. It also analyzes recurring themes such as the shifting boundaries of good and evil and the complex, interdependent causality that encourages alternative perspectives and cooperation, with case studies including Nausicaä and Princess Mononoke.","Encyclopedia of Religionand Film  \nEric Michael Mazur,Editor  \n# Further Reading\n\nHale,F.“The Mission as Cinema of Liberation Theology.”Missionalia 23,no.1(1995):72-91.  \nLindvall,Terry.\"God in the Saddle:Silent Western Films as Protestant Sermons.\"Austra-lian Religious Studies Review 21,no.3(2008):318-344.  \nLindvall,Terry.Sanctuary Cinema:Origins of the Christian Film Movement.New York:New York University Press,2006.  \nLudmann,Rene.\"The Cinema as a Means of Evangelization,\"translated by Joseph E.Cunneen.Cross Currents 8,no.2(1958):153-171.  \nMesser,Donald.Contemporary Images of Christian Ministry.Nashville,TN:AbingdonPress,1990.  \nNeely,Alan.\"Images:Mission and Missionaries in Contemporary Fiction and Cinema.\"Missiology 24,no.4(1996):451-478.  \nMiyazaki,Hayao(1941-)                 \nHayao Miyazaki is Japan's most successful director of animated films(anime).Though largely unknown to western audiences prior to the success of Mononoke  \nHime(Princess Mononoke,1997),Mi-yazaki's animated films have gainedcritical acclaim while smashing boxoffice records in his native Japan sincethe formation of his Studio Ghibli inthe mid-1980s.His Academy-award-winning Sen to Chihiro no Kamikak-ushi(Spirited Away,2000)remainsthe highest-grossing Japanese film ofall time.  \nTo begin,it should be noted thatany attempt to locate specific aspectsof Japanese religion in the anime ofMiyazaki founders upon the verynotion of “Japanese religion”;morespecifically,there is a fine line be-tween aspects of Japanese religionand what might simply be calledJapanese “culture”or \"values.\"Atthe same time,it may not be purelyincidental that the very term anime  \nJapanese director Hayao Miyazaki at the VeniceFilm Festival,2005.AP Photo/Domenico Stinellis.  \ncomes(via the English“animation”)from the Latin root for “soul”(anima),whichalso provides the root for the word animism,a form of religion based on the wor-ship of nature and ancestor spirits.Shinto,usually called Japan's indigenous re-ligion,is largely animistic,and it is this bedrock of animism that one finds inMiyazaki's works.  \nAlthough rarely religious in theme,Miyazaki's stories are frequently basedon a bedrock of what might be called “folk religiosity”—in particular,the ten-sions inherent in what Japanese scholar Sakaki Shoten has called the animistic-shamanistic complex,categorized by a tension between kami(spirits)that shouldbe approached with reverence and thanks(okagesama)and those that should befeared because of their power to curse(tatari).In Miyazaki's films,however,the linebetween these two is often blurred,so that the seemingly vicious kami are oftenthe ones who must be approached with reverence and thanks,in order to calm theirrage and reassert the proper order of things.Both Kaze no tani no Naushika(Nau-sicaä of the Valley of the Wind,1984),and Mononoke begin with scenes of rage-filled tatarigami attacking humans,and both films conclude with the pacificationof spirits bent on the destruction of human civilization.  \nAnother common theme in Miyazaki's films is the ambiguity of good and evil.This is in stark contrast to the vast majority of U.S.comics and animated films,which generally have clearly demarcated lines between the good guys and the badguys.Although the films tend to be bildungsromans(coming-of-age stories)andthus have a fairly clear “hero”(or in a majority of the films,heroine),the strugglesof the main characters are rarely if ever fought against a single monolithic enemybut rather against individuals or groups who are going through their own strugglesand have more than a few redeeming qualities of their own.The web of rela-tionships is constantly changing,as one-time foes become friends or vice versa.Indeed,it sometimes seems as though Miyazaki is intentionally deconstructingthe good-evil divide,perhaps most obviously in the complex motives driving thevarious colorful characters in Mononoke.  \nFinally,Miyazaki's films—especially the epics Nausicaä and Mononoke—revel in their own co","cbCaisMdsk1gM0YU","https://ap.wps.com/l/cbCaisMdsk1gM0YU","pdf",2197165,4,1,6,"English","en",105,"# Further Reading\n## Key References on Religion and Film\n## Hayao Miyazaki and Animism in Anime\n## Themes of Good and Evil\n## Case Studies: Nausicaä and Mononoke","[{\"question\":\"How does the text connect Japanese religion to Miyazaki’s anime?\",\"answer\":\"It argues that Japanese religion is hard to isolate from Japanese culture and values, and that Miyazaki’s films draw heavily on animistic and folk-religious foundations.\"},{\"question\":\"What tension between spirits does the text describe in Miyazaki’s works?\",\"answer\":\"It highlights a duality between kami that should be honored with reverence and thanks and kami feared for their power to curse, noting that Miyazaki often blurs this boundary.\"},{\"question\":\"Why does the text say Miyazaki complicates the good-versus-evil divide?\",\"answer\":\"It describes how characters and groups face struggles with redeeming qualities, with relationships changing over time and motives driving the dismantling of simple moral categories.\"}]","Miyazaki - Religion and Film | 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does the text connect Japanese religion to Miyazaki’s anime?","Question",{"text":75,"@type":76},"It argues that Japanese religion is hard to isolate from Japanese culture and values, and that Miyazaki’s films draw heavily on animistic and folk-religious foundations.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"What tension between spirits does the text describe in Miyazaki’s works?",{"text":80,"@type":76},"It highlights a duality between kami that should be honored with reverence and thanks and kami feared for their power to curse, noting that Miyazaki often blurs this boundary.",{"name":82,"@type":73,"acceptedAnswer":83},"Why does the text say Miyazaki complicates the good-versus-evil divide?",{"text":84,"@type":76},"It describes how characters and groups face struggles with redeeming qualities, with relationships changing over time and motives driving the dismantling of simple moral 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