Gender Roles In Spirited Away

Superior Essays
Climatic scenes throughout the film also assist in emphasizing the way Spirited Away challenged traditional gender roles. Towards the end of the film Chihiro is no longer frightened by Yubaba’s outbursts or her obligation to rid the bath house of No Face without losing more workers. A juxtaposition is noted from her first meeting with No Face to her interactions with him towards the end of the film. Chihiro’s eyes are downcast because she embraces her meek and vulnerable personality because of No Face’s unusual, and frightening appearance. She exhibits her intack innocence when she easily forgives No Face, but also displays her newly obtained confidence when she says “behave yourself” (Spirited Away, 2001) to him. Chihiro’s overall facial expression …show more content…
Miyazaki claimed that upon his creation of Chihiro, he is determined to not grant her any exceptional beauty in order for any average ten year old girl to relate to her. Snow White’s beauty is so prominent and sets unrealistic goals for young girls watching this film. In both films there are women participating in stereotypical jobs for females, but in Spirited Away Lin symbolizes the desire for a better life than manual labour. Snow White fully commits to her job cleaning after 7 men, and never once thinks of plan to eventually leave and create a sustainable life for herself. Also Snow White had absolutely no part in her own rescue, she is immobile and useless until an unknown man came and saved her by just kissing her. While Haku is initially Chihiro’s savior, it is he that dozes off while Chihiro sets out on a mission to save him. Also Snow White is 14 and should be fully aware of the dangers of taking hand outs from strangers. Chihiro is 4 years younger and restrains herself from giving into No Face’s desire for her to “take the gold” (Spirited Away, …show more content…
Sophie takes refuge at Howl’s castle, posing as the “new cleaning lady” (Howl's Moving Castle, 2004), which is an unusual job for a strong female lead, but the film goes on to demonstrate how the housework is equitably distributed, strengthening its feminist aspect. Sophie aggressively cleans the castle, while declaring “[she’s] sick of being treated like some timid little old lady” (Howl's Moving Castle, 2004), and violently swinging her cleaning supplies around. Angle ons are used in this scene to display the petrified escape of the rodents and Markl from Sophie’s rampage of cleaning. Markl respects Sophie, but is also slightly terrified of her unusual behavior. The spunk and unfiltered speech and attitude Sophie projects is never seen possessed by old women, who typically symbolize kindness and quietness. As Sophie and Howl’s bond deepens Howl begins to confide his fears and problems into Sophie. He even sent Sophie to meet the witch, Suliman, who yearns to strip Howl’s powers away for not dedicating himself and his powers to the war effort. Suliman exposes Howl’s true from, and close ups are used in this scene in order to dramatize all aspects of Howl’s horrendous transformation into his crow form. Not one ounce of fear is observed from

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