This film completely devastated me from start to finish, and I now regard it as must see cinema. I love the decision to tell this story through the lens of young children; it truly highlights the brutality of war and its devastating consequences, especially on children. Takahata brilliantly contrasts scenes of peace with scenes of harrowing devastation, and to me, it perfectly captures the inhumane nature of warfare. I appreciate that this film was animated and hand-drawn, in my opinion it allowed me as a viewer to sympathize with the children and truly feel their plight and pain. This is a film that will stick with me for the rest of my life.
One point Dr. M made that resonated with me was how weapons of war set chaos into motion that “doesn’t discriminate between vulnerable youth and the short-sighted adults who chose violence.” This point instantly reminded me of the grueling war in the Middle East with the Israel-Palestine conflict, as much of the mainstream news conversation has been about the two groups at war and not the devastating effects it has had on the people of Palestine, especially the children. With flattened universities and homes, restricted access to aid, and mass civilian casualties including mothers, fathers, and children I don’t see why the government’s priorities aren’t on preserving human life and protecting the children of future generations.
Coming from a family with grandparents who worked on war technologies like the B-52 and early radar it broke my heart to see those planes wreak havoc on the children I had grown attached to throughout this film. Watching the napalm fall from a fleet of B-52s forced me to confront the dissonance between my fascination with such technology and its brutal utility. The striking indifference Seito and Setsuko faced from the military-loving adults around them compounded this feeling, leading me to wonder if I was merely observing a group of traumatized, survival-focused people, or a similar version of my own dissonance reflected across a generation of adults.
The visual style and mixture of sorrow and joy is what makes Grave of the Fireflies so impactful. This dichotomy between the love these characters share for each other and the horrific nature of their circumstances is only heightened by the genuine playfulness of the Studio Ghibli animation style. This reminds me of one of my favorite musicals, Come From Away, which tells the story of Gander, Newfoundland as 38 planes were forced to land there after the 9/11 attacks. Not only is the horrific reality of life after these attacks explored but also community found in the wake of it all. These dichotomies between tragedy and love are what make these stories so impactful even to someone who experienced neither event.
The use of children in film deepens our connection to the story by bringing innocence into mature situations. In our individual life experiences, there are very few things we can all relate to. However, we can all relate to being a kid, growing up and learning about the world we lived in. Displaying that innocent wonder in adverse or grown-up situations forces the viewer to put themselves in the kid’s shoes, allowing the viewer to connect their own life experiences with the kid. Conversely, we are equally affected when a child is stripped of that innocence during a story’s trials. We all grow up, but it is heartbreaking when a child rapidly matures in order to survive.
I found "Grave of the Fireflies" to be a deeply moving story that utilized its animation to in some ways better uniquely portray the horrors of war through the innocent eyes of children. The beautiful, hand-drawn cel animation style created a poignant contrast with the harsh realities the characters face. Which accentuated the film's use of sorrow and fleeting moments of laughter to underscore the normalcy Seita desperately tries to create for his sister. I found that while Seita's decision to protect his sister's innocence is understandable, it ultimately isolates her. I found that this along with other story telling techniques made this such a powerful film that offer a unique perspective on human suffering, without resorting to graphic violence.
FIlms often center children as protagonists or antagonists to either emphasize or juxtapose the universal acceptance of childhood innocence, each child is a blank slate working to themselves and the world. To highlight the atrocities of war and its side effects, Takahata chose two siblings to be the protagonists of his 1988 film Grave of the Fireflies. Takahata focused the film on their relationship, involving the audience in their rich familial care of one another. Such an approach invokes strong empathy among adult viewers, as they are forced to think of their own children, or children in their lives, and how they may or may not survive in the world of these two siblings.
"Grave of the Fireflies" uses animation to soften the harsh realities of war, making it more accessible without diluting its emotional impact. The medium allows viewers to engage deeply with the characters' suffering without being overwhelmed by hyperrealism in instances such as, the mother being covered in maggots or the horrible rash on Sutsuko. Through animation, the film preserves sentiment and meaning while protecting audiences from graphic imagery. This approach emphasizes the innocence of the child protagonists and allows for empathy by doing so. This film delivers a profound narrative that resonates across cultures, not only through its story but also the animation style.
The close bond between Seita and Setsuko was an integral part to their survival in the story. Seita, as the older sibling, took on the role of caregiver, ensuring their physical and emotional well-being in their new circumstances. While they found joy and comfort in each other's company, Seita chose to withhold the truth from Setsuko, which made him feel extreme guilt. Revealing their mother's death and their home's state could further traumatize Setsuko, as her environment had already lost its stability. This decision was to protect her, this was Seita’s way of prioritizing and attempting to save his sister.
The hand-drawn animation style in “Grave of the Fireflies” largely influences how the film is experienced by viewers. By choosing animation over live action, the movie can navigate difficult subjects with a more delicate touch. The absence of graphic, gorry visuals allows us to focus more intently on the emotional depth of the characters and the themes of resilience, love, and loss during wartime. Additionally, the animation style is reminiscent of children’s movies, which creates a unique connection with the protagonists, Seita and Setsuko. We see their world through a lens that feels familiar yet tainted with a somber reality. This enhances our empathy and also prompts us to reflect on the innocence and vulnerability of childhood, juxtaposed against the harsh backdrop of war.
I think this touching story allows me to fully immerse myself in the disaster of that age and experience the sadness and joy of the children on the screen. Even though it's just an animate, it's really profound and shocking. Moreover, I believe the visual style of this subject is appropriate for the mixing messages such as sorrow and laughter that the director wants to convey to the audience. The director reflects the situation in the colors of the scene; for example, when the Seita takes Setsuko to the beach, the colors are very bright, symbolizing happiness and hope. But when the air raid occurs, all the colors become gloomy and lifeless. In the circumstances during that time, many lies were benign, like Seita not telling his sister the news of their parents' death and taking her away from the environment with the dead body. He just wanted to shield her childhood from pain and sadness as much as possible because he loved her.
Viewing the response in trauma and catastrophe from the lens of Seita and Setsuko was heartbreaking. This film reminded me of a similar mini-series, Generation Kill by HBO that followed US Marines as they battled into Iraq during the first weeks of the war. The atrocities they saw became normalized, and for the lower ranks, dealing with military officers became a battle due to the incompetence of the officers. I couldn’t help but see the same parallels in “Grave of the Fireflies,” having PTSD from the war take over your senses and be blinded by pride which prevents you from doing the right thing. Seita knowingly neglected and killed his sister Setsuko because he would have felt shame in admitting that leaving the comfort of his aunt's generosity was the wrong thing to do at that time.
We need more animated films telling realistic, sobering tales of human suffering. Animated films convey stories through a fantasy-like appearance. They portray wild and adventurous tales, free from limitations of real humans, with the unique ability to target specific emotions through careful animation. Studio Ghibli does this perfectly. In my favorite Ghibli film, “Nausicaä of the Valley of the Wind (1984)”, the frustration of a child remains overlooked as surrounding adults wage war. We are bombarded with feelings of anger, confusion, and inescapable hopelessness as the protagonist strives to save their people. The film relays its message effectively because it is not afraid to confront difficult topics; impactful films embrace the full human experience, and animated films are no exception.
Emotionally intense stories can be presented effectively in any medium. I am often moved by books, video games, and film (live action and otherwise). I find the hand drawn animation used in "Grave of the Fireflies" complements the narrative. The format brings a personal touch that makes each frame unique and memorable; each element was deliberately drawn. Studio Ghibli is famous for its beautiful animation, but the medium provides more than aesthetics. The malleability of animation allows for the portrayal of complex and intangible ideas. With its ability to bend reality, animation allows storytellers to unveil unseen layers of emotion, breaking from the constraints of the ordinary to convey profound truths.
Anime is a powerful medium for portraying more serious topics, because it has the potential to bring out powerful emotions in its audience, despite being less grounded. An anime called “Re:Zero,” is a great portrayal of this as it follows a teenage boy as he navigates with a newfound power, to reset the world up to a certain point in time upon death. We witness a once cheery boy struggle with isolation because he cannot speak of his power to anyone and PTSD because he constantly endures death after death. The audience greatly resonates with his intense emotions when he eventually breaks down, revealing how much of a toll his powers have taken on his psyche.
Children are viewed by adults as innocent, vulnerable, and incapable of understanding the harmful and violent actions taken by adults. This perceived innocence has historically motivated parents and caretakers to shelter children from media depicting graphic content, leaving them unprepared for when death, warfare, and hardship directly affects them. Studio Ghibli’s “Grave of the Fireflies” excellently depicts this shattering of childhood innocence through the perspective of a four-year-old child in a war-torn Japan who must learn about the harsh reality of war and quickly adapt to its consequences. Although this loss of innocence creates a more emotional and distressing story, it also exemplifies how a loss of innocence creates maturity and experiences that help in overcoming hardships found throughout life.
Animation is an art form that was overlooked by most film critics, and the film industry as a whole, as childish and non-serious fiction. This is an egregious misstep which has somewhat been rectified through actions such as the inclusion of Best Animated Picture at the Oscars. Obviously, award shows are not the only way to judge media and animation has proven its merit through film and television alike. For example, films like Grave of the Fireflies and WALL-E depict colorful characters in war-torn or inhospitable settings dealing with the fight for survival. Another example are hard hitting shows like Bojack Horseman, which tackle issues like depression, abuse and drug addiction, all with a talking horse as the main character.
The criticism of the mix of saddening scenes with those that induce laughter reminds me of a tale from my childhood. I encountered a few homeless children in India begging for money to buy candy. My mind reacted judgementally, finding their desire for candy over food or other more productive things misguided and foolish. In hindsight, however, just as a child like me would have liked some candy, why should those children have been stripped of this desire just because of their poverty? Similarly, why should those in a war be restricted to continual despair? After all, if I were to watch 90 minutes of only destruction, I would forget that those in the film are humans like me and not just beings shunned to a lifeless existence.
The mixture of sorrow and laughter in “Grave of the Fireflies” is indicative of the human spirit, especially during times of internal and external conflict. Apart from the heartbreaking tale of Seito and Netsuke, the animated film captures how individuals react, cope with, and navigate the emotional perils that are brought forth during war. In the midst of the devastating losses that are forced upon individuals, the film underscores the human condition: that is the innate need to maintain hope, preserve a sense of self, and experience joy even in the toughest of conditions presented. The contrasting emotions of sorrow and laughter throughout the film help the audience realize the serious matter of the subject despite it being animated.
It is a harrowing story, with the firebombing being depicted in an accurate fashion that shows the true destruction it wrought. The choice of firebombing as the defining incident, rather than the more known nuclear attacks, places the conflict of the story at a point where hope had not yet been lost. It is a different type of despair, not one of having lost a war and those consequences, but as hope continues to collapse. Seita proceeds through the story with each event lowering his hopes. His mother dies, his aunt has no love for him, his father dies at sea, Japan’s loss in the war, and the final defining death of Setsuko. Each event, another step towards the complete loss of will to live.
Lying to a child to protect their innocence is often a bandaid on a bullet hole. Lying under any circumstance should not be deemed right, and throughout the film, Seita lies to Setsuko continuously, trying to protect her innocence. By hiding the real-world from a child, they are misled and often hurts them more than being upfront and honest. When lying to a child, they are unable to process and work through emotions on their own. Instead of working through these challenges, they think everything will always be okay and can often deceive a child from right and wrong. Just because children aren't fully capable of taking care of themselves, they should still have a voice.
Parents must straddle a fine line when faced with their children’s interest in delicate and complex subjects, and it is perfectly acceptable to adopt an “ignorance is bliss” policy. For example, the nuances of the aftermath of the air raids on Japan can be particularly challenging to grasp for budding minds lacking strong moral convictions and awareness of cause and consequence. For adolescents to establish meaningful opinions, it is vital that they fortify these foundations first as children. In the event of my mother’s inquiry into her father’s captivity as a prisoner of war in Russia, he made sure to spare the more gruesome details, in order to preserve her faith in humanity until she was old enough to fully understand the ramifications of war.
Often, we fail to perceive children as individuals in their own right. It can be easier to view them as pieces in the context of family, school, daycare, or neighborhood, and their dependence on others often distracts from their individuality. Their vulnerable minds are frequently depicted as symbols of innocence or reflections of their guardians, yet rarely are young minds portrayed as resilient, strong, and capable of confronting adversity. Animation serves as a powerful tool for depicting distress without the distraction of graphic violence. Animated films, often associated with younger audiences, illustrate a child's perspective with exaggerated color, sound, and altered reality, thereby amplifying the impact of tragedy from a child's viewpoint.
Seita's deception towards his sister was done as a way to protect her from the cruel truth of the world and attempt to let her live as normal a life as one could during war. This is an accurate depiction of how children are treated in the real world as well. Harsh topics are often augmented or muted in order to protect children's innocence for as long as possible. This sort of shielding has only gotten harder to achieve as we progress, with things like social media being readily available for all ages; it is extremely hard to shy away from “adult” issues as children develop.
There are very few cases where lying is an effective way to love someone. Usually, this is done with good intentions but even those intentions might not be reflective of how the person will react to the truth later. Seita felt that his sister, who is very young and doesn’t understand much of the world, shouldn’t have to know that everything around her is falling apart. Seita decided that a happier childhood for his sister was more important than for her to know the truth. Seita protected her from a lot of the pain and suffering happening around them to ensure what he felt was best for his sister.
The visual style of The Grave of the Fireflies is not only appropriate, but necessary for the emotional effect this animation intends to impart on its audience. The film relies on lucidly-sober war imagery to express the intensity of the environment in which its central characters attempt to survive in. However, being told through the narrowing lens of two children’s perspective, the fantastic and frightening imagery necessary could only be achieved through a fabrication of the visual content. In this period of film, before sophisticated computer graphics, hand-drawn cellular frames enabled this detail and flexibility. Furthermore, the animating style present draws directly from traditional motifs and methods of pre-modern Japanese art, making the animated style that much more effective in its background anti-imperial messaging.
Lying to children to protect their innocence is a short-term solution with long-term implications. This action can be understandable when the truth brings pain and sorrow to the guardian. However, it is important for children to learn for the sake of maturation and personal development. A guardian must always place their children ahead of their own interests, as children are the future of society. Lying not only deceives children, but also delays the inevitable delivery of the truth. Rather than kicking the can down the road, children should be exposed to the truth. As children learn more about human life and how the world operates, they engage in deeper thinking, obtain additional perspectives, and develop a profound understanding of the meaning of life.
For a large period of time, most stories-let alone dark/tragic ones-did NOT focus on children as the main characters. Instead, children were generally only included as a way to drive the story and/or actions of the OTHER characters. However, with 1988’s Grave of the Fireflies, that trend began to change. Not only were children/adolescent characters featured more often, but darker, more dramatic stories centering around them became more prominent, as well. Films like Life is Beautiful (1997), The Boy in the Striped Pajamas (2008), and Bridge to Terabithia (2007) all feature children as main characters, and all experience tragic/sad events as catalysts for the stories. Indeed, it’s thanks to Grave of the Fireflies that darker/serious stories focusing on children are now commonly told.
To protect innocence, sometimes "altering" the truth is necessary. Prior to viewing "Grave of the Fireflies," I was immediately reminded of "Life is Beautiful," a 1997 drama where a father shields his young son from the horrors of an Italian internment camp. With a bit of imagination, the Jewish man deters his son from wartime tragedy, turning their lives into a game. He instills goodness, hope, and humor where there is pain, preserving his son's most impressionable years. No child deserves to suffer at the hands of adults. Utilitarianism agreeing that in these circumstances, lying provides more happiness than not. Both film's protagonists shift reality into one suited for the maturity and guiltlessness of their children, concurrently emotionally dampening their own perspective.
Children's perspectives are not given the spotlight they deserve, especially in turbulent times. Although children are not innately virtuous, they represent the innocent and powerless within society. Children are not making decisions about weapons of mass destruction, politics, and capitalism; however, still suffer the consequences of these adult actions. Moreover, they are shielded from this reality through euphemisms and fairytales as adults attempt to protect their innocence from the cruel world. Disregarding children's perspective as rudimentary during catastrophes suppresses the experiences of an innocent population; although, narratives surrounding calamity rarely acknowledge the widespread implications of destructive and control-seeking decisions. Dismissing children's capacity to understand civil unrest in any capacity simultaneously overlooks their involvement, even as victims, thus invalidating their unique experiences.
Animation has a unique ability to approach serious topics with greater accessibility. For example, the series BoJack Horseman features animated, human-like animal characters but still manages to delve into themes like addiction and mental illness in a sensitive and compelling way. Similarly, the film "Grave of the Fireflies" tackles topics such as war, death, and abandonment while emphasizing the youth and immaturity of the main characters through 2D animation. I agree with Dr. M's observation that the animation style appeals to the audience's emotions. We recognize the tragedy these children are facing and understand that they are completely alone, starving, and suffering. However, it is the age at which they are experiencing it that is the most jarring.
Although lying is typically discouraged, certain scenarios require the occasional stretching of the truth to protect a child from distressing news. However, to healthily maintain this façade, the individual fabricating the narrative must possess an emotional support network that allows the person to process one’s grief. In Grave of the Fireflies, Seita stoically attempts to hide not only their mother’s death, but the somber reality of their desperate starvation from Setsuko. With no reliable companion to share the burden of their trauma, Seita repeatedly breaks down in tears despite attempting to remain upbeat in front of his sister. Seita’s tragic and solitary death reinforces that without a way to share emotional burdens, efforts to maintain a loved one’s ignorance are all in vain.
While the film provides a critique of the reckless decisions made by adults, the movie is centered around the experiences of children. Although many films ignore the role children play in the story, (or simply render their characters as unimportant), it seems this film does the opposite. The children now play the protagonist role as they navigate a world destroyed by the rash logic of adults. Therefore, I believe the visual style to be appropriate for this film. This art style can spark a connection between adults and children: the visual medium of cartoons may cause adults to recall the frustrations of their own childhoods, perhaps leading to a style of parenting that better incorporates the child into daily life.
While many believe anime consists explicitly of long-drawn-out fights and the over-sexualization of women, they overlook anime’s ability to capture the complexity of human emotions and experiences through otherworldly displays of Japanese art and culture. With one watch of Studio Ghibli’s “Grave of the Fireflies,” viewers can see how powerful an “animated kids' movie” can be. The contrast of two siblings navigating their new life on their own, seeking joy in the simple things amidst their dire circumstances, while the constant fear of war threatens to take all they have ever known, grips its audience emotionally and powerfully. It tells a human story of loss and resilience, illustrating realistic struggles of survival and spirit through the beauty of anime’s visual storytelling. Anime has the unique ability to take its audience out of reality and into another world brimming with imagination, emotion, and limitless possibilities, unlike any other medium.
Although you argue eighteenth and nineteenth century stories about the “vulnerable younger generation” serve to heighten adult anxiety, you fail to mention how apprehensive adults contribute to creating weak children. When adults shield children from despairing truths, they hinder moral development by depriving them of crucial wisdom. Exposing children to difficult concepts helps them form their own ethical principles, preparing them to insightfully handle severe situations as adults. My mother practiced this with my sisters and me, notably by taking us to the Museum of Tolerance when I was nine years old. Despite the bitter subject, exposure to the gravity of the Holocaust helped me develop strong moral understanding and empathy.
How twisted is the human mind, that we take what is beautiful and creative, to devise ways to inflict irreparable harm onto innocents? Who can deliver us from such wickedness? Films such as "The Grave of the Fireflies" and "The Passion of Christ" provoke an entangled web of grief when faced with agonizing suffering, along with the daunting realization of fleshly evil's unceasing nature. These horrifying depictions must not be lost within the world of cinema, for they wrench its viewers back into reality, necessitating self-reflection and longing for true purpose, peace, and righteousness. To erase these experiences would be an act of injustice, compelling us to forget and repeat history again and again.
The book 'The Storm We Made' by Vanessa Chan is an example of putting children in the focus to fully understand the nature of a horrific event. It takes place in Imperial Japanese-Occupied Malaya during World War II. While the main character is an adult, the book also alternates the point of view, switching every chapter to what each of her children are going through. This story could’ve been told from an adult’s point of view with the same graphic scenes, such as rape, but it would not have been as impactful because, as the video mentions, children are used in media to heighten the anxiety of adult audiences. One cannot help but relate back to the children and/or relationships in their own life.
This film completely devastated me from start to finish, and I now regard it as must see cinema. I love the decision to tell this story through the lens of young children; it truly highlights the brutality of war and its devastating consequences, especially on children. Takahata brilliantly contrasts scenes of peace with scenes of harrowing devastation, and to me, it perfectly captures the inhumane nature of warfare. I appreciate that this film was animated and hand-drawn, in my opinion it allowed me as a viewer to sympathize with the children and truly feel their plight and pain. This is a film that will stick with me for the rest of my life.
One point Dr. M made that resonated with me was how weapons of war set chaos into motion that “doesn’t discriminate between vulnerable youth and the short-sighted adults who chose violence.” This point instantly reminded me of the grueling war in the Middle East with the Israel-Palestine conflict, as much of the mainstream news conversation has been about the two groups at war and not the devastating effects it has had on the people of Palestine, especially the children. With flattened universities and homes, restricted access to aid, and mass civilian casualties including mothers, fathers, and children I don’t see why the government’s priorities aren’t on preserving human life and protecting the children of future generations.
Coming from a family with grandparents who worked on war technologies like the B-52 and early radar it broke my heart to see those planes wreak havoc on the children I had grown attached to throughout this film. Watching the napalm fall from a fleet of B-52s forced me to confront the dissonance between my fascination with such technology and its brutal utility. The striking indifference Seito and Setsuko faced from the military-loving adults around them compounded this feeling, leading me to wonder if I was merely observing a group of traumatized, survival-focused people, or a similar version of my own dissonance reflected across a generation of adults.
The visual style and mixture of sorrow and joy is what makes Grave of the Fireflies so impactful. This dichotomy between the love these characters share for each other and the horrific nature of their circumstances is only heightened by the genuine playfulness of the Studio Ghibli animation style. This reminds me of one of my favorite musicals, Come From Away, which tells the story of Gander, Newfoundland as 38 planes were forced to land there after the 9/11 attacks. Not only is the horrific reality of life after these attacks explored but also community found in the wake of it all. These dichotomies between tragedy and love are what make these stories so impactful even to someone who experienced neither event.
The use of children in film deepens our connection to the story by bringing innocence into mature situations. In our individual life experiences, there are very few things we can all relate to. However, we can all relate to being a kid, growing up and learning about the world we lived in. Displaying that innocent wonder in adverse or grown-up situations forces the viewer to put themselves in the kid’s shoes, allowing the viewer to connect their own life experiences with the kid. Conversely, we are equally affected when a child is stripped of that innocence during a story’s trials. We all grow up, but it is heartbreaking when a child rapidly matures in order to survive.
I found "Grave of the Fireflies" to be a deeply moving story that utilized its animation to in some ways better uniquely portray the horrors of war through the innocent eyes of children. The beautiful, hand-drawn cel animation style created a poignant contrast with the harsh realities the characters face. Which accentuated the film's use of sorrow and fleeting moments of laughter to underscore the normalcy Seita desperately tries to create for his sister. I found that while Seita's decision to protect his sister's innocence is understandable, it ultimately isolates her. I found that this along with other story telling techniques made this such a powerful film that offer a unique perspective on human suffering, without resorting to graphic violence.
FIlms often center children as protagonists or antagonists to either emphasize or juxtapose the universal acceptance of childhood innocence, each child is a blank slate working to themselves and the world. To highlight the atrocities of war and its side effects, Takahata chose two siblings to be the protagonists of his 1988 film Grave of the Fireflies. Takahata focused the film on their relationship, involving the audience in their rich familial care of one another. Such an approach invokes strong empathy among adult viewers, as they are forced to think of their own children, or children in their lives, and how they may or may not survive in the world of these two siblings.
"Grave of the Fireflies" uses animation to soften the harsh realities of war, making it more accessible without diluting its emotional impact. The medium allows viewers to engage deeply with the characters' suffering without being overwhelmed by hyperrealism in instances such as, the mother being covered in maggots or the horrible rash on Sutsuko. Through animation, the film preserves sentiment and meaning while protecting audiences from graphic imagery. This approach emphasizes the innocence of the child protagonists and allows for empathy by doing so. This film delivers a profound narrative that resonates across cultures, not only through its story but also the animation style.
The close bond between Seita and Setsuko was an integral part to their survival in the story. Seita, as the older sibling, took on the role of caregiver, ensuring their physical and emotional well-being in their new circumstances. While they found joy and comfort in each other's company, Seita chose to withhold the truth from Setsuko, which made him feel extreme guilt. Revealing their mother's death and their home's state could further traumatize Setsuko, as her environment had already lost its stability. This decision was to protect her, this was Seita’s way of prioritizing and attempting to save his sister.
The hand-drawn animation style in “Grave of the Fireflies” largely influences how the film is experienced by viewers. By choosing animation over live action, the movie can navigate difficult subjects with a more delicate touch. The absence of graphic, gorry visuals allows us to focus more intently on the emotional depth of the characters and the themes of resilience, love, and loss during wartime. Additionally, the animation style is reminiscent of children’s movies, which creates a unique connection with the protagonists, Seita and Setsuko. We see their world through a lens that feels familiar yet tainted with a somber reality. This enhances our empathy and also prompts us to reflect on the innocence and vulnerability of childhood, juxtaposed against the harsh backdrop of war.
I think this touching story allows me to fully immerse myself in the disaster of that age and experience the sadness and joy of the children on the screen. Even though it's just an animate, it's really profound and shocking. Moreover, I believe the visual style of this subject is appropriate for the mixing messages such as sorrow and laughter that the director wants to convey to the audience. The director reflects the situation in the colors of the scene; for example, when the Seita takes Setsuko to the beach, the colors are very bright, symbolizing happiness and hope. But when the air raid occurs, all the colors become gloomy and lifeless. In the circumstances during that time, many lies were benign, like Seita not telling his sister the news of their parents' death and taking her away from the environment with the dead body. He just wanted to shield her childhood from pain and sadness as much as possible because he loved her.
Viewing the response in trauma and catastrophe from the lens of Seita and Setsuko was heartbreaking. This film reminded me of a similar mini-series, Generation Kill by HBO that followed US Marines as they battled into Iraq during the first weeks of the war. The atrocities they saw became normalized, and for the lower ranks, dealing with military officers became a battle due to the incompetence of the officers. I couldn’t help but see the same parallels in “Grave of the Fireflies,” having PTSD from the war take over your senses and be blinded by pride which prevents you from doing the right thing. Seita knowingly neglected and killed his sister Setsuko because he would have felt shame in admitting that leaving the comfort of his aunt's generosity was the wrong thing to do at that time.
We need more animated films telling realistic, sobering tales of human suffering. Animated films convey stories through a fantasy-like appearance. They portray wild and adventurous tales, free from limitations of real humans, with the unique ability to target specific emotions through careful animation. Studio Ghibli does this perfectly. In my favorite Ghibli film, “Nausicaä of the Valley of the Wind (1984)”, the frustration of a child remains overlooked as surrounding adults wage war. We are bombarded with feelings of anger, confusion, and inescapable hopelessness as the protagonist strives to save their people. The film relays its message effectively because it is not afraid to confront difficult topics; impactful films embrace the full human experience, and animated films are no exception.
Emotionally intense stories can be presented effectively in any medium. I am often moved by books, video games, and film (live action and otherwise). I find the hand drawn animation used in "Grave of the Fireflies" complements the narrative. The format brings a personal touch that makes each frame unique and memorable; each element was deliberately drawn. Studio Ghibli is famous for its beautiful animation, but the medium provides more than aesthetics. The malleability of animation allows for the portrayal of complex and intangible ideas. With its ability to bend reality, animation allows storytellers to unveil unseen layers of emotion, breaking from the constraints of the ordinary to convey profound truths.
Anime is a powerful medium for portraying more serious topics, because it has the potential to bring out powerful emotions in its audience, despite being less grounded. An anime called “Re:Zero,” is a great portrayal of this as it follows a teenage boy as he navigates with a newfound power, to reset the world up to a certain point in time upon death. We witness a once cheery boy struggle with isolation because he cannot speak of his power to anyone and PTSD because he constantly endures death after death. The audience greatly resonates with his intense emotions when he eventually breaks down, revealing how much of a toll his powers have taken on his psyche.
Children are viewed by adults as innocent, vulnerable, and incapable of understanding the harmful and violent actions taken by adults. This perceived innocence has historically motivated parents and caretakers to shelter children from media depicting graphic content, leaving them unprepared for when death, warfare, and hardship directly affects them. Studio Ghibli’s “Grave of the Fireflies” excellently depicts this shattering of childhood innocence through the perspective of a four-year-old child in a war-torn Japan who must learn about the harsh reality of war and quickly adapt to its consequences. Although this loss of innocence creates a more emotional and distressing story, it also exemplifies how a loss of innocence creates maturity and experiences that help in overcoming hardships found throughout life.
Animation is an art form that was overlooked by most film critics, and the film industry as a whole, as childish and non-serious fiction. This is an egregious misstep which has somewhat been rectified through actions such as the inclusion of Best Animated Picture at the Oscars. Obviously, award shows are not the only way to judge media and animation has proven its merit through film and television alike. For example, films like Grave of the Fireflies and WALL-E depict colorful characters in war-torn or inhospitable settings dealing with the fight for survival. Another example are hard hitting shows like Bojack Horseman, which tackle issues like depression, abuse and drug addiction, all with a talking horse as the main character.
The criticism of the mix of saddening scenes with those that induce laughter reminds me of a tale from my childhood. I encountered a few homeless children in India begging for money to buy candy. My mind reacted judgementally, finding their desire for candy over food or other more productive things misguided and foolish. In hindsight, however, just as a child like me would have liked some candy, why should those children have been stripped of this desire just because of their poverty? Similarly, why should those in a war be restricted to continual despair? After all, if I were to watch 90 minutes of only destruction, I would forget that those in the film are humans like me and not just beings shunned to a lifeless existence.
The mixture of sorrow and laughter in “Grave of the Fireflies” is indicative of the human spirit, especially during times of internal and external conflict. Apart from the heartbreaking tale of Seito and Netsuke, the animated film captures how individuals react, cope with, and navigate the emotional perils that are brought forth during war. In the midst of the devastating losses that are forced upon individuals, the film underscores the human condition: that is the innate need to maintain hope, preserve a sense of self, and experience joy even in the toughest of conditions presented. The contrasting emotions of sorrow and laughter throughout the film help the audience realize the serious matter of the subject despite it being animated.
It is a harrowing story, with the firebombing being depicted in an accurate fashion that shows the true destruction it wrought. The choice of firebombing as the defining incident, rather than the more known nuclear attacks, places the conflict of the story at a point where hope had not yet been lost. It is a different type of despair, not one of having lost a war and those consequences, but as hope continues to collapse. Seita proceeds through the story with each event lowering his hopes. His mother dies, his aunt has no love for him, his father dies at sea, Japan’s loss in the war, and the final defining death of Setsuko. Each event, another step towards the complete loss of will to live.
Lying to a child to protect their innocence is often a bandaid on a bullet hole. Lying under any circumstance should not be deemed right, and throughout the film, Seita lies to Setsuko continuously, trying to protect her innocence. By hiding the real-world from a child, they are misled and often hurts them more than being upfront and honest. When lying to a child, they are unable to process and work through emotions on their own. Instead of working through these challenges, they think everything will always be okay and can often deceive a child from right and wrong. Just because children aren't fully capable of taking care of themselves, they should still have a voice.
Parents must straddle a fine line when faced with their children’s interest in delicate and complex subjects, and it is perfectly acceptable to adopt an “ignorance is bliss” policy. For example, the nuances of the aftermath of the air raids on Japan can be particularly challenging to grasp for budding minds lacking strong moral convictions and awareness of cause and consequence. For adolescents to establish meaningful opinions, it is vital that they fortify these foundations first as children. In the event of my mother’s inquiry into her father’s captivity as a prisoner of war in Russia, he made sure to spare the more gruesome details, in order to preserve her faith in humanity until she was old enough to fully understand the ramifications of war.
Often, we fail to perceive children as individuals in their own right. It can be easier to view them as pieces in the context of family, school, daycare, or neighborhood, and their dependence on others often distracts from their individuality. Their vulnerable minds are frequently depicted as symbols of innocence or reflections of their guardians, yet rarely are young minds portrayed as resilient, strong, and capable of confronting adversity. Animation serves as a powerful tool for depicting distress without the distraction of graphic violence. Animated films, often associated with younger audiences, illustrate a child's perspective with exaggerated color, sound, and altered reality, thereby amplifying the impact of tragedy from a child's viewpoint.
Seita's deception towards his sister was done as a way to protect her from the cruel truth of the world and attempt to let her live as normal a life as one could during war. This is an accurate depiction of how children are treated in the real world as well. Harsh topics are often augmented or muted in order to protect children's innocence for as long as possible. This sort of shielding has only gotten harder to achieve as we progress, with things like social media being readily available for all ages; it is extremely hard to shy away from “adult” issues as children develop.
There are very few cases where lying is an effective way to love someone. Usually, this is done with good intentions but even those intentions might not be reflective of how the person will react to the truth later. Seita felt that his sister, who is very young and doesn’t understand much of the world, shouldn’t have to know that everything around her is falling apart. Seita decided that a happier childhood for his sister was more important than for her to know the truth. Seita protected her from a lot of the pain and suffering happening around them to ensure what he felt was best for his sister.
The visual style of The Grave of the Fireflies is not only appropriate, but necessary for the emotional effect this animation intends to impart on its audience. The film relies on lucidly-sober war imagery to express the intensity of the environment in which its central characters attempt to survive in. However, being told through the narrowing lens of two children’s perspective, the fantastic and frightening imagery necessary could only be achieved through a fabrication of the visual content. In this period of film, before sophisticated computer graphics, hand-drawn cellular frames enabled this detail and flexibility. Furthermore, the animating style present draws directly from traditional motifs and methods of pre-modern Japanese art, making the animated style that much more effective in its background anti-imperial messaging.
Lying to children to protect their innocence is a short-term solution with long-term implications. This action can be understandable when the truth brings pain and sorrow to the guardian. However, it is important for children to learn for the sake of maturation and personal development. A guardian must always place their children ahead of their own interests, as children are the future of society. Lying not only deceives children, but also delays the inevitable delivery of the truth. Rather than kicking the can down the road, children should be exposed to the truth. As children learn more about human life and how the world operates, they engage in deeper thinking, obtain additional perspectives, and develop a profound understanding of the meaning of life.
For a large period of time, most stories-let alone dark/tragic ones-did NOT focus on children as the main characters. Instead, children were generally only included as a way to drive the story and/or actions of the OTHER characters. However, with 1988’s Grave of the Fireflies, that trend began to change. Not only were children/adolescent characters featured more often, but darker, more dramatic stories centering around them became more prominent, as well. Films like Life is Beautiful (1997), The Boy in the Striped Pajamas (2008), and Bridge to Terabithia (2007) all feature children as main characters, and all experience tragic/sad events as catalysts for the stories. Indeed, it’s thanks to Grave of the Fireflies that darker/serious stories focusing on children are now commonly told.
To protect innocence, sometimes "altering" the truth is necessary. Prior to viewing "Grave of the Fireflies," I was immediately reminded of "Life is Beautiful," a 1997 drama where a father shields his young son from the horrors of an Italian internment camp. With a bit of imagination, the Jewish man deters his son from wartime tragedy, turning their lives into a game. He instills goodness, hope, and humor where there is pain, preserving his son's most impressionable years. No child deserves to suffer at the hands of adults. Utilitarianism agreeing that in these circumstances, lying provides more happiness than not. Both film's protagonists shift reality into one suited for the maturity and guiltlessness of their children, concurrently emotionally dampening their own perspective.
Children's perspectives are not given the spotlight they deserve, especially in turbulent times. Although children are not innately virtuous, they represent the innocent and powerless within society. Children are not making decisions about weapons of mass destruction, politics, and capitalism; however, still suffer the consequences of these adult actions. Moreover, they are shielded from this reality through euphemisms and fairytales as adults attempt to protect their innocence from the cruel world. Disregarding children's perspective as rudimentary during catastrophes suppresses the experiences of an innocent population; although, narratives surrounding calamity rarely acknowledge the widespread implications of destructive and control-seeking decisions. Dismissing children's capacity to understand civil unrest in any capacity simultaneously overlooks their involvement, even as victims, thus invalidating their unique experiences.
Animation has a unique ability to approach serious topics with greater accessibility. For example, the series BoJack Horseman features animated, human-like animal characters but still manages to delve into themes like addiction and mental illness in a sensitive and compelling way. Similarly, the film "Grave of the Fireflies" tackles topics such as war, death, and abandonment while emphasizing the youth and immaturity of the main characters through 2D animation. I agree with Dr. M's observation that the animation style appeals to the audience's emotions. We recognize the tragedy these children are facing and understand that they are completely alone, starving, and suffering. However, it is the age at which they are experiencing it that is the most jarring.
Although lying is typically discouraged, certain scenarios require the occasional stretching of the truth to protect a child from distressing news. However, to healthily maintain this façade, the individual fabricating the narrative must possess an emotional support network that allows the person to process one’s grief. In Grave of the Fireflies, Seita stoically attempts to hide not only their mother’s death, but the somber reality of their desperate starvation from Setsuko. With no reliable companion to share the burden of their trauma, Seita repeatedly breaks down in tears despite attempting to remain upbeat in front of his sister. Seita’s tragic and solitary death reinforces that without a way to share emotional burdens, efforts to maintain a loved one’s ignorance are all in vain.
While the film provides a critique of the reckless decisions made by adults, the movie is centered around the experiences of children. Although many films ignore the role children play in the story, (or simply render their characters as unimportant), it seems this film does the opposite. The children now play the protagonist role as they navigate a world destroyed by the rash logic of adults. Therefore, I believe the visual style to be appropriate for this film. This art style can spark a connection between adults and children: the visual medium of cartoons may cause adults to recall the frustrations of their own childhoods, perhaps leading to a style of parenting that better incorporates the child into daily life.
While many believe anime consists explicitly of long-drawn-out fights and the over-sexualization of women, they overlook anime’s ability to capture the complexity of human emotions and experiences through otherworldly displays of Japanese art and culture. With one watch of Studio Ghibli’s “Grave of the Fireflies,” viewers can see how powerful an “animated kids' movie” can be. The contrast of two siblings navigating their new life on their own, seeking joy in the simple things amidst their dire circumstances, while the constant fear of war threatens to take all they have ever known, grips its audience emotionally and powerfully. It tells a human story of loss and resilience, illustrating realistic struggles of survival and spirit through the beauty of anime’s visual storytelling. Anime has the unique ability to take its audience out of reality and into another world brimming with imagination, emotion, and limitless possibilities, unlike any other medium.
Although you argue eighteenth and nineteenth century stories about the “vulnerable younger generation” serve to heighten adult anxiety, you fail to mention how apprehensive adults contribute to creating weak children. When adults shield children from despairing truths, they hinder moral development by depriving them of crucial wisdom. Exposing children to difficult concepts helps them form their own ethical principles, preparing them to insightfully handle severe situations as adults. My mother practiced this with my sisters and me, notably by taking us to the Museum of Tolerance when I was nine years old. Despite the bitter subject, exposure to the gravity of the Holocaust helped me develop strong moral understanding and empathy.
How twisted is the human mind, that we take what is beautiful and creative, to devise ways to inflict irreparable harm onto innocents? Who can deliver us from such wickedness? Films such as "The Grave of the Fireflies" and "The Passion of Christ" provoke an entangled web of grief when faced with agonizing suffering, along with the daunting realization of fleshly evil's unceasing nature. These horrifying depictions must not be lost within the world of cinema, for they wrench its viewers back into reality, necessitating self-reflection and longing for true purpose, peace, and righteousness. To erase these experiences would be an act of injustice, compelling us to forget and repeat history again and again.
The book 'The Storm We Made' by Vanessa Chan is an example of putting children in the focus to fully understand the nature of a horrific event. It takes place in Imperial Japanese-Occupied Malaya during World War II. While the main character is an adult, the book also alternates the point of view, switching every chapter to what each of her children are going through. This story could’ve been told from an adult’s point of view with the same graphic scenes, such as rape, but it would not have been as impactful because, as the video mentions, children are used in media to heighten the anxiety of adult audiences. One cannot help but relate back to the children and/or relationships in their own life.