Nistha Patel - Princess Mononoke Anime

What is the shojo, and how does it often function in anime?

Anime is a term used to describe Japanese-styles animation and it contains different categories to cater to the various demographics of the Japanese market. A small portion of international audiences are catered too but after it first released in Japan. 'Shojo' in this context, refers to a specific protagonist archetype occurs in anime. Shojo anime is targeted towards young girls among the ages twelve and twenty. 

Firstly the word Kanji (Japanese-adopted Chinese protagonists) is used for “little” and “woman”. According to Cavallaro (2006), shojo is translated to “little female” that describes girls aged twelve and thirteen years old. Majority of shojo anime utilise female leads to attract younger female viewers. These female characters are given certain qualities so audiences can relate to and are stuck in particular situations that play on audience’s desires. “... the worlds depicted in [shojo] stories are serenely dreamy and bathed in an atmosphere of magic and wonder....” (Cavallaro, 2006, p. 11). A particular trend I have seen in many shojo anime is the character is quite passive with the love interest being the dominant protagonist in the relationship. 

Lackner (2009) states, a typical shojo herione’s physical features and mannerism are mostly exaggerated; from round shape eyes to ‘gender-appropriate’ gestures. San lacks that conventional shojo attitude and appearance. San’s physical features; such as legs, hips, and chest are not over-exaggerated. Shojo heroines are depicted as “strong, within certain boundaries, and exhibit physical traits drawn to denote attractiveness and beauty” (Lackner, 2009, p.128). Most of the conventional shojo protagonists that I have faced are very beautiful and quite strong-willed, but not physically. San is not passive type that I have witnessed in a range of shojo anime and whereas she is quite physically strong.

Ashitaka is her potential love interest, isn’t exactly the dominant type in their relationship/alliance. Ashitaka says to San “you’re beautiful” and San is taken aback by the compliment and from this moment it is seen he non-threatening reaction/emotion with a fellow human. The second time would be when Ashitaka gives San his dagger. San’s “shojo” instincts pop up at those moments, but only lasts for a little while. Their relationship from this point on is an alliance among humans and animals/spirits. At the end of the film San and Ashitaka both agree to live apart but still be in contact with each other. San goes back to the forest and Ashitaka stays in Irontown to assist rebuild it. The shojo anime normally has cliche endings but not in this film. 

In this film the antagonist female character called Eboshi who is depicted as an evil. This kind of role is normally given to males, however she still has caring nature. She is also an protagonist that is very strong and who runs the whole of Irontown. San’s goal in the film first is to protect the forest from destruction and then is to survive. She was not exactly the ‘evil’ villain but she has this caring nature as she saves the women from working in brothels and gave them jobs and authority over the men in town. To San, she is the ultimate enemy who could care less about the animals and the environment that she is damaging.

In terms of shojo depiction in this anime is the physical appearance is the closet thing both San and Eboshi have. But Eboshi is not the typical shojo age, which san comes under therefore she would be categorised in Josei (older female demographic). Their backgrounds/upbringings, physical strength, determination, roles, and what they represent are things, which lead them astray from the conventional shojo path. Indeed, all the other Miyazaki films with female characters stray from mainstream shojo. Cavallaro (2006) states Miyazaki’s shojo heroines were models off the qualities his mother possessed. 

References

Cavallaro, D. (2006). Early years. In The Anime Art of Hayao Miyazaki. (pp. 29-39). London: McFarland & Company.

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki. (pp. 5-13). London: McFarland & Company.

Lackner, E. L. (2009). Anime and manga. In Reid, R. A. (Ed.), Women in Science Fiction and Fantasy (pp. 123-134). Westport, Connecticut: Greenwood Press.