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The Wire
4 days ago
- Entertainment
- The Wire
One City, Two Tales: Tokyo Through Studio Ghibli's Lens
Menu हिंदी తెలుగు اردو Home Politics Economy World Security Law Science Society Culture Editor's Pick Opinion Support independent journalism. Donate Now Top Stories One City, Two Tales: Tokyo Through Studio Ghibli's Lens Priya Singh 42 minutes ago The dual representation of Tokyo in 'Whisper of the Heart' (1995) and 'Only Yesterday' (1991) serves not only as a narrative choice but also as a reflection of the city's complex identity. Posters for 'Whisper of the Heart' (1995) and 'Only Yesterday' (1991). Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute now From Metropolis (1927) to Taxi Driver (1976) and Salaam Bombay! (1988) to Gully Boy (2019), cities on screen have long fascinated us – mirroring, distorting and reimagining urban life. Scholars such as Raymond Williams and David B. Clarke have shown how literature and film shape our understanding of cities, often revealing the tension between community and alienation, modernity and nostalgia. Thinkers like Marcus Doel and Henri Lefebvre remind us that cities are not just concrete and commerce. They are lived, felt and socially constructed. Few cities have inspired this dual gaze in films more than Tokyo. In Studio Ghibli's Whisper of the Heart (1995) and Only Yesterday (1991), Tokyo becomes a character in its own right; it can be both grounding and disorienting, echoing George Simmel's vision of the urban space as a site of both creativity and quiet estrangement. Studio Ghibli, founded in 1985 by Hayao Miyazaki, Isao Takahata and Toshio Suzuki, has become synonymous with animation excellence. Their movies have critiqued Japan's rapid urban growth, showcasing the delicate harmony between human development and nature's grandure. In an era of AI-generated imitation, the Studio's artistry, once quietly revered, now stands at the centre of a broader conversation about what makes art truly human. Yoshifumi Kondō's Whisper of the Heart presents Tokyo as a place of inspiration and dreams. It follows 14-year-old Shizuku as she wanders through the bustling city with a sense of wonder, finding creative inspiration in its vibrant neighbourhoods and the people she meets. Her journey through Tokyo's suburban landscapes, antique shops and libraries highlights the city's potential to nurture creativity and personal growth. A still from 'Whisper of the Heart'. The film uses a warm and bright colour palette for the city – yellows, oranges, reds and greens – that reflects the characters' mood and emotions, along with the seasons and time of day. The detailed animation brings Tokyo's streets and homes to life. The film's music, including its use of 'Country Roads', is upbeat and melodic, reflecting Shizuku's youthful enthusiasm and the lively city atmosphere. The animation is detailed and realistic, with smooth movements, expressive faces and intricate backgrounds. Background characters are never still; they actively engage with their surroundings, making the city a living, breathing part of the story. The style is influenced by manga and the works of Miyazaki, who wrote the screenplay and oversaw the film's production. Around 70% of the film follows Shizuku's everyday life and adventures in Tokyo, allowing the city itself to take centre stage. In contrast, Isao Takahata's Only Yesterday takes a more introspective approach and explores themes of alienation and nostalgia. The film follows Taeko, a 27-year-old office worker, who reflects on her childhood in Tokyo and her current life, feeling disconnected from the city's relentless pace and modernity. The film juxtaposes her desire for a simpler, more rural life with her present-day experiences in Tokyo, highlighting the emotional and psychological distance she feels. The film's animation and realistic portrayal of Tokyo's urban environment bring out her sense of disconnection and longing for a simpler life. The film employs a cold, dark colour palette with shades of blue, grey, black and white to reflect the monotony and gloom of the city, as well as the nostalgia and regret of the protagonist. Taeko's daily commute and office scenes illustrate the repetitive rhythm and routine of adult life in Tokyo. The use of muted and earthy tones for the city captures Taeko's introspective and occasionally melancholic state of mind. The soundtrack is soft and reflective, enhancing the film's contemplative atmosphere and tracing Taeko's emotional journey. A still from 'Only Yesterday'. The animation style is simple and stylised, characterised by minimal, sometimes rough movements, understated facial expressions, and sketch-like backgrounds. This approach is influenced by the watercolour paintings of the original manga, as well as the works of Takahata, who directed and wrote the film. Unlike Whisper of the Heart, the city occupies a small portion of the film, about 15%, as the story alternates between Taeko's life in Tokyo and in Yamagata, the rural neighbourhood she moves to. The dual representation of Tokyo in these films serves not only as a narrative choice but also as a reflection of the city's complex identity. Like many global cities, Tokyo is a place of contrasts where tradition meets modernity and where dreams can be both realised and shattered. This duality is a common theme in urban studies, which regard cities as sites of both opportunity and alienation. Furthermore, the difference in the protagonists' ages influences their interactions with and perceptions of the city. While Shizuku's youthful perspective adds a sense of excitement and discovery to her experiences in Tokyo, Taeko's adult viewpoint is more reflective and critical. By examining these two films, we can gain insights into how Tokyo's multifaceted nature is portrayed through different lenses. Whisper of the Heart and Only Yesterday show us that cities are not monolithic; they are experienced differently by each individual. They are shaped by who we are, what we remember, and what we hope to become. These films help us think more deeply about what it means to live in a city, touching on themes of identity, belonging and the pace of urban change. Together, the two films offer two distinct yet complementary views of Tokyo: one full of possibility, the other tinged with longing. Through their contrasting tones and visual styles, they capture how the same city can feel radically different depending on who is looking and when. It is this quiet attention to emotional texture that makes Studio Ghibli's vision of urban life so resonant and so deeply human. Priya Singh is a researcher at the Indian Institute for Human Settlements, Bengaluru, working on higher education access, qualitative research ethics and cultural representation through both fieldwork and film. Make a contribution to Independent Journalism Related News Banu Mushtaq's Importance Goes Much Beyond the Booker The Politics of 'Heart Lamp' Is Profound, Urgent and Reflects the Lived Reality of Millions Why Banu Mushtaq and Deepa Bhasthi's International Booker Is a Seminal Moment Humour, Scepticism and the Realities of the Familial in Banu Mushtaq's 'Heart Lamp' Ngũgĩ wa Thiong'o: The Kenyan Icon Who Wrote For Freedom Till the Very End Most Indians Can't Even Afford Entry-Level Cars. 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SoraNews24
25-04-2025
- Entertainment
- SoraNews24
Studio Ghibli unveils new anime hug pillow from Whisper of the Heart
From Shizuku's lap in the anime world straight to your lap in the real world. Studio Ghibli characters tend to take centre stage in its stable of movies, and its related merchandise lines as well. However, sometimes the studio throws us a curveball by shining a spotlight on items that aren't really characters at all, and that's what it's done with its latest release, which brings a humble cushion from Whisper of the Heart to life. The cushion only appears in the film for around two minutes, during a scene where main character Shizuku visits the house of her best friend, Yuko. As they chat in Yuko's room about their boy troubles, Shizuku wraps herself around the log-shaped pillow, wallowing as she hugs it until she comes upon a realisation for a new goal to try her hand at writing. This lightens her mood and makes her spring to her feet with a newfound sense of energy and excitement. ▼ The cushion doesn't appear for long but its colourful stripes and sleepy-eyed lion face makes it memorable. Image: Studio Ghibli The scene captures a cosy moment between friends that changes the course of the character's storyline, and now we can seek similar solace from the sleepy-eyed lion too, with the Whisper of the Heart Yuko's Room Hug Pillow. The hug pillow looks exactly like the one from the movie, with the face on the end bearing the exact same expression, complete with lion's mane. The chunky size of the pillow has also been faithfully replicated so you can wrap yourself around it, just as Shizuku does in the film. The item measures 25 centimetres wide, 60 centimetres long and 25 centimetres deep (9.8 × 23.6 × 9.8 inches). Made from polyester, the pillow is said to have an irresistibly soft texture so you won't be able to resist hugging it. It's the perfect product to help you get through a bad day, and like the plush toys from Howl's room in Howl's Moving Castle, it'll serve as a soft companion whenever you need it. Priced at 8,800 yen (US$61.38), the hug pillow can be preodered now through the Donguri Kyowakoku online store, with shipping scheduled for mid-to-late May. Source, images: Donguri Kyowakoku unless otherwise stated ● Want to hear about SoraNews24's latest articles as soon as they're published? Follow us on Facebook and Twitter!
The Star
21-04-2025
- Science
- The Star
Arctic sea ice reaches smallest extent in 46 years after unprecedented melting
TOKYO (Bernama-QNA): The extent of polar ice in the Arctic Ocean shrank in the winter of 2025 to its smallest extent since measurements began in 1979. According to the Qatar News Agency on Monday, the Japan Aerospace Exploration Agency (JAXA) announced that the maximum extent of the Arctic Ocean's ice cover was the smallest in 2025 in over four decades, renewing the record eight years ago. Scientists at JAXA and the National Institute of Polar Research (NIPR) use a "Shizuku" satellite to monitor the Arctic ice. Measurements show that the ice coverage for this year reached the maximum at 13.79 million square kilometres on Mar. 20, 2025. The figure was 130,000 square kilometres smaller than the previous record in 2017, and the smallest on record based on data available from 1979. A map provided by the report showed that the sea ice extent in 2017 was significantly lower than 2012 levels and the average for the second decade of the 21st century. The 2025 ice extent line was also found to be even smaller than 2017. While 2017's average was lower, the 2025 ice extent was 130,000 square kilometres lower, making it the smallest since 1979. JAXA President Hiroshi Yamakawa said that this is related to climate change, expressing fear that it will affect the weather and marine environment. -- Bernama-QNA
