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Abstract
Studio Ghibli has made great animated films for more than three decades. One of its great animators is Hayao Miyazaki. Being famous for his award-winning and picturesque films, Miyazaki has proven to be a highly skilled animator presenting a catchy shōjo with distinctive characters. His shōjo named Kiki in Kiki’s Delivery Service has peculiar traits. This research aims at proving the opposition of Kiki to the common Japanese female character archetype. Eight pieces of data are in the form of screen captures to be studied semiotically. As part of social science research, this study is qualitative in nature. By employing Barthesian semiotic theory and Sugawa-Shimada’s theory of shōjo, it is evident that Kiki opposes the archetype of Japanese female characters. Kiki is portrayed as independent, assertive, not depending on one specific type of magical weapon, wearing a simple black witch dress, able to make prompt and clear decisions, doing daily chores, and having magical power that might be gone anytime due to some psychological reasons. Theoretically, this study contributes to the development of the linguistic field, particularly the stream of semiotics. This research also benefits researchers, film-makers, film audiences, and Studio Ghibli’s enthusiasts in a semiotic way that Kiki as shōjo is constructed with great empowerment opposing the common stereotype of a female character.
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How to Cite
Shōjo Character in Miyazaki’s Kiki’s Delivery Service as Challenging the Archetype: A Semiotic Study. (2024). JOALL (Journal of Applied Linguistics and Literature), 9(2), 417–435. https://doi.org/10.33369/joall.v9i2.34233
References
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Barthes, R. (1972). Mythologies: Roland Barthes. Hill & Wang
Berton, G. (2021). The Works of Hayao Miyazaki: The Japanese Animation Master. Third Éditions
Bloor, M. (2016). Addressing Social Problems through Qualitative Research. In D. Silverman (Ed.), Qualitative Research (43-57). Sage
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. McFarland & Company
Chandler, D. (2022). Semiotics: The Basics (4th ed.). Routledge
Cho, E., & Macomber, R. (2022). A Content Analysis: Gender Roles in Studio Ghibli Films. Journal of Student Research. 11 (4). https://doi.org/10.47611/jsrhs.v11i4.3722
Danesi, M. (2019). Understanding Media Semiotics (2nd ed.). Bloomsbury Academic
Denison, R. (2023) Studio Ghibli: An Industrial History. Palgrave Macmillan
DeWeese-Boyd, I. (2009), Shōjo Savior: Princess Nausicaä, Ecological Pacifism, and The Green Gospel. The Journal of Religion and Popular Culture, 21 (2), doi:10.3138/jrpc.21.2.001
Finley, J. (2023). Defamiliarizied Gender in the Works of Hayao Miyazaki. [Bachelor thesis, Western Kentucky University]
Freiberg, F. (2006, July). Miyazaki’s Heroines. Senses of Cinema. https://www.sensesofcinema.com/2006/feature-articles/miyazaki-heroines/
Gajdos, N. (2023). The Linguistic Representation of Women in Hayao Miyazaki's Movies. HUMÁN INNOVÁCIÓS SZEMLE. 14 (2), 85-102. DOI: 10.61177/HISZ.2023.14.2.6
Greenberg, R. (2018). Hayao Miyazaki: Exploring the Early Work of Japan’s Greatest Animator. Bloomsbury Academic
Hairston, M. (2015), Miyazaki’s View of Shōjo. In T. Masami (Ed.). International Perspectives on Shojo and Shojo Manga: The Influence of Girl Culture (101-108). Routledge
Hakim, L., & Kurnia, W. (2023). Representation of Feminism in Miss & Mrs. Cops (John Fiske’s Semiotic Analysis). Islamic Communication Journal. 8 (1), 21-40. https://doi.org/10.21580/icj.2023.8.1.12601
Kress, G., & Van Leeuwen, T. (2002). Colour as a Semiotic Mode: Notes for a Grammar of Colour. Visual Communication, 1(3), 343-368. https://doi.org/10.1177/147035720200100306
Lenburg, J. (2012). Hayao Miyazaki: Japan’s Premier Anime Storyteller. Chelsea House
Martin, B., & Ringham, F. (2000). Dictionary of Semiotics. Cassell
Meshcheryakova, A. (2022). Looking at Gender Stereotypes in Language Behaviour: Questions, Compliments, and Interruptions in the Films of Hayao Miyazaki. [Bachelor thesis, Stockholm University]. urn:nbn:se:su:diva-224164
Miyazaki, H. (Producer), Miyazaki, H. (Director). (1989). Kiki’s Delivery Service [Motion Picture]. Studio Ghibli
Napier, S. J. (2005). Anime from Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. Palgrave Macmillan
Nugraheni, P. T., Bezaleel, M., & Utami, B. S. (2023). A Semiotic Analysis of Asian Women’s Stereotypes on Cho Chang. CAPTURE: JURNAL SENI MEDIA BEKAM, 14 (2), 136-153. DOI: 10.33153/capture.v14i2.5019
Odell, C., & Le Blanc, M. (2015). Studio Ghibli: The Films of Hayao Miyazaki and Isao Takahata. Kamera Books
Okuyama, Y. (2015). Japanese Mythology in Film: A Semiotic Approach to Reading Japanese Film and Anime. Lexington Books
Pirry, L. N., & Poernomo, M. I. (2023). Feminist Analysis of The Film “Kartini (2017)” Using Rolland Barthes Semiotics. International Journal of Humanities Education and Social Sciences. 3 (3), 1278 – 1292. DOI: https://doi.org/10.55227/ijhess.v3i3.651
Reinders, E. (2016). The Moral Narratives of Hayao Miyazaki. McFarland & Company
Shalina, I. V., & Vorobyova, L. A. (2022). The Content and Modelling Aspect of Coloratives in Japanese Linguoculture. Papers of SHS Web of Conference, 134, DOI: https://doi.org/10.1051/shsconf/202213400153
Sugawa-Shimada, A. (2019). Shōjo in Anime: Beyond the Object of Men’s Desire. In J. Berndt, K. Nagaike, & F. Ogi (Eds.), Shōjo Across Media: Exploring “Girl” Practices in Contemporary Japan, (181-206). Palgrave Macmillan
Taşkin, H., & Inanç, A. (2023). Reflections of the Female Identity Constructions in Animation Movies: An Analysis of Disney and Hayao Miyazaki. Erciyes İletişim Dergisi. 10 (1). 57-78. DOI:10.17680/erciyesiletisim.1183539
Taulbee, C. (2021). BAKENEKO: A Look into the Origins of Japan's Supernatural Cats [Bachelor thesis, Portland State University]. https://doi.org/10.15760/honors.989
References
Barthes, R. (1972). Mythologies: Roland Barthes. Hill & Wang
Berton, G. (2021). The Works of Hayao Miyazaki: The Japanese Animation Master. Third Éditions
Bloor, M. (2016). Addressing Social Problems through Qualitative Research. In D. Silverman (Ed.), Qualitative Research (43-57). Sage
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. McFarland & Company
Chandler, D. (2022). Semiotics: The Basics (4th ed.). Routledge
Cho, E., & Macomber, R. (2022). A Content Analysis: Gender Roles in Studio Ghibli Films. Journal of Student Research. 11 (4). https://doi.org/10.47611/jsrhs.v11i4.3722
Danesi, M. (2019). Understanding Media Semiotics (2nd ed.). Bloomsbury Academic
Denison, R. (2023) Studio Ghibli: An Industrial History. Palgrave Macmillan
DeWeese-Boyd, I. (2009), Shōjo Savior: Princess Nausicaä, Ecological Pacifism, and The Green Gospel. The Journal of Religion and Popular Culture, 21 (2), doi:10.3138/jrpc.21.2.001
Finley, J. (2023). Defamiliarizied Gender in the Works of Hayao Miyazaki. [Bachelor thesis, Western Kentucky University]
Freiberg, F. (2006, July). Miyazaki’s Heroines. Senses of Cinema. https://www.sensesofcinema.com/2006/feature-articles/miyazaki-heroines/
Gajdos, N. (2023). The Linguistic Representation of Women in Hayao Miyazaki's Movies. HUMÁN INNOVÁCIÓS SZEMLE. 14 (2), 85-102. DOI: 10.61177/HISZ.2023.14.2.6
Greenberg, R. (2018). Hayao Miyazaki: Exploring the Early Work of Japan’s Greatest Animator. Bloomsbury Academic
Hairston, M. (2015), Miyazaki’s View of Shōjo. In T. Masami (Ed.). International Perspectives on Shojo and Shojo Manga: The Influence of Girl Culture (101-108). Routledge
Hakim, L., & Kurnia, W. (2023). Representation of Feminism in Miss & Mrs. Cops (John Fiske’s Semiotic Analysis). Islamic Communication Journal. 8 (1), 21-40. https://doi.org/10.21580/icj.2023.8.1.12601
Kress, G., & Van Leeuwen, T. (2002). Colour as a Semiotic Mode: Notes for a Grammar of Colour. Visual Communication, 1(3), 343-368. https://doi.org/10.1177/147035720200100306
Lenburg, J. (2012). Hayao Miyazaki: Japan’s Premier Anime Storyteller. Chelsea House
Martin, B., & Ringham, F. (2000). Dictionary of Semiotics. Cassell
Meshcheryakova, A. (2022). Looking at Gender Stereotypes in Language Behaviour: Questions, Compliments, and Interruptions in the Films of Hayao Miyazaki. [Bachelor thesis, Stockholm University]. urn:nbn:se:su:diva-224164
Miyazaki, H. (Producer), Miyazaki, H. (Director). (1989). Kiki’s Delivery Service [Motion Picture]. Studio Ghibli
Napier, S. J. (2005). Anime from Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. Palgrave Macmillan
Nugraheni, P. T., Bezaleel, M., & Utami, B. S. (2023). A Semiotic Analysis of Asian Women’s Stereotypes on Cho Chang. CAPTURE: JURNAL SENI MEDIA BEKAM, 14 (2), 136-153. DOI: 10.33153/capture.v14i2.5019
Odell, C., & Le Blanc, M. (2015). Studio Ghibli: The Films of Hayao Miyazaki and Isao Takahata. Kamera Books
Okuyama, Y. (2015). Japanese Mythology in Film: A Semiotic Approach to Reading Japanese Film and Anime. Lexington Books
Pirry, L. N., & Poernomo, M. I. (2023). Feminist Analysis of The Film “Kartini (2017)” Using Rolland Barthes Semiotics. International Journal of Humanities Education and Social Sciences. 3 (3), 1278 – 1292. DOI: https://doi.org/10.55227/ijhess.v3i3.651
Reinders, E. (2016). The Moral Narratives of Hayao Miyazaki. McFarland & Company
Shalina, I. V., & Vorobyova, L. A. (2022). The Content and Modelling Aspect of Coloratives in Japanese Linguoculture. Papers of SHS Web of Conference, 134, DOI: https://doi.org/10.1051/shsconf/202213400153
Sugawa-Shimada, A. (2019). Shōjo in Anime: Beyond the Object of Men’s Desire. In J. Berndt, K. Nagaike, & F. Ogi (Eds.), Shōjo Across Media: Exploring “Girl” Practices in Contemporary Japan, (181-206). Palgrave Macmillan
Taşkin, H., & Inanç, A. (2023). Reflections of the Female Identity Constructions in Animation Movies: An Analysis of Disney and Hayao Miyazaki. Erciyes İletişim Dergisi. 10 (1). 57-78. DOI:10.17680/erciyesiletisim.1183539
Taulbee, C. (2021). BAKENEKO: A Look into the Origins of Japan's Supernatural Cats [Bachelor thesis, Portland State University]. https://doi.org/10.15760/honors.989
Berton, G. (2021). The Works of Hayao Miyazaki: The Japanese Animation Master. Third Éditions
Bloor, M. (2016). Addressing Social Problems through Qualitative Research. In D. Silverman (Ed.), Qualitative Research (43-57). Sage
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. McFarland & Company
Chandler, D. (2022). Semiotics: The Basics (4th ed.). Routledge
Cho, E., & Macomber, R. (2022). A Content Analysis: Gender Roles in Studio Ghibli Films. Journal of Student Research. 11 (4). https://doi.org/10.47611/jsrhs.v11i4.3722
Danesi, M. (2019). Understanding Media Semiotics (2nd ed.). Bloomsbury Academic
Denison, R. (2023) Studio Ghibli: An Industrial History. Palgrave Macmillan
DeWeese-Boyd, I. (2009), Shōjo Savior: Princess Nausicaä, Ecological Pacifism, and The Green Gospel. The Journal of Religion and Popular Culture, 21 (2), doi:10.3138/jrpc.21.2.001
Finley, J. (2023). Defamiliarizied Gender in the Works of Hayao Miyazaki. [Bachelor thesis, Western Kentucky University]
Freiberg, F. (2006, July). Miyazaki’s Heroines. Senses of Cinema. https://www.sensesofcinema.com/2006/feature-articles/miyazaki-heroines/
Gajdos, N. (2023). The Linguistic Representation of Women in Hayao Miyazaki's Movies. HUMÁN INNOVÁCIÓS SZEMLE. 14 (2), 85-102. DOI: 10.61177/HISZ.2023.14.2.6
Greenberg, R. (2018). Hayao Miyazaki: Exploring the Early Work of Japan’s Greatest Animator. Bloomsbury Academic
Hairston, M. (2015), Miyazaki’s View of Shōjo. In T. Masami (Ed.). International Perspectives on Shojo and Shojo Manga: The Influence of Girl Culture (101-108). Routledge
Hakim, L., & Kurnia, W. (2023). Representation of Feminism in Miss & Mrs. Cops (John Fiske’s Semiotic Analysis). Islamic Communication Journal. 8 (1), 21-40. https://doi.org/10.21580/icj.2023.8.1.12601
Kress, G., & Van Leeuwen, T. (2002). Colour as a Semiotic Mode: Notes for a Grammar of Colour. Visual Communication, 1(3), 343-368. https://doi.org/10.1177/147035720200100306
Lenburg, J. (2012). Hayao Miyazaki: Japan’s Premier Anime Storyteller. Chelsea House
Martin, B., & Ringham, F. (2000). Dictionary of Semiotics. Cassell
Meshcheryakova, A. (2022). Looking at Gender Stereotypes in Language Behaviour: Questions, Compliments, and Interruptions in the Films of Hayao Miyazaki. [Bachelor thesis, Stockholm University]. urn:nbn:se:su:diva-224164
Miyazaki, H. (Producer), Miyazaki, H. (Director). (1989). Kiki’s Delivery Service [Motion Picture]. Studio Ghibli
Napier, S. J. (2005). Anime from Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. Palgrave Macmillan
Nugraheni, P. T., Bezaleel, M., & Utami, B. S. (2023). A Semiotic Analysis of Asian Women’s Stereotypes on Cho Chang. CAPTURE: JURNAL SENI MEDIA BEKAM, 14 (2), 136-153. DOI: 10.33153/capture.v14i2.5019
Odell, C., & Le Blanc, M. (2015). Studio Ghibli: The Films of Hayao Miyazaki and Isao Takahata. Kamera Books
Okuyama, Y. (2015). Japanese Mythology in Film: A Semiotic Approach to Reading Japanese Film and Anime. Lexington Books
Pirry, L. N., & Poernomo, M. I. (2023). Feminist Analysis of The Film “Kartini (2017)” Using Rolland Barthes Semiotics. International Journal of Humanities Education and Social Sciences. 3 (3), 1278 – 1292. DOI: https://doi.org/10.55227/ijhess.v3i3.651
Reinders, E. (2016). The Moral Narratives of Hayao Miyazaki. McFarland & Company
Shalina, I. V., & Vorobyova, L. A. (2022). The Content and Modelling Aspect of Coloratives in Japanese Linguoculture. Papers of SHS Web of Conference, 134, DOI: https://doi.org/10.1051/shsconf/202213400153
Sugawa-Shimada, A. (2019). Shōjo in Anime: Beyond the Object of Men’s Desire. In J. Berndt, K. Nagaike, & F. Ogi (Eds.), Shōjo Across Media: Exploring “Girl” Practices in Contemporary Japan, (181-206). Palgrave Macmillan
Taşkin, H., & Inanç, A. (2023). Reflections of the Female Identity Constructions in Animation Movies: An Analysis of Disney and Hayao Miyazaki. Erciyes İletişim Dergisi. 10 (1). 57-78. DOI:10.17680/erciyesiletisim.1183539
Taulbee, C. (2021). BAKENEKO: A Look into the Origins of Japan's Supernatural Cats [Bachelor thesis, Portland State University]. https://doi.org/10.15760/honors.989