In the midst of all of the whimsy and anthropomorphism, “Princess Mononoke” is an inherently human tale about the struggle between nature and industry. In particular, Hayao Miyazaki’s “Princess Mononoke” is an animated fantasy film about forest gods and demons. It would surprise Epstein to learn that this potential for the photographic image has been fully realized in animation. These films ask viewers to believe in immaterial drawings as constituting a world full of character and conflict. Such animism is a fundamental component to today’s animated works, from “Looney Tunes” to Disney’s “Up”. Even if animation as a formal filmmaking technique never crossed his mind, its essence, that of injecting life (or a semblance of life) into an object, informed his filmmaking and theory. Jean Epstein declared this in 1926, when cinema was primarily conceived through the photographic image. Every prop becomes a character” (Beckman quoting Jean Epstein, pg. Mountains, just like Etna, convey meaning.
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