{"id":14286,"date":"2023-08-23T13:44:33","date_gmt":"2023-08-23T17:44:33","guid":{"rendered":"https:\/\/desis.osu.edu\/seniorthesis\/?p=14286"},"modified":"2023-08-23T13:44:35","modified_gmt":"2023-08-23T17:44:35","slug":"the-fantasy-of-flight-porco-rosso-and-miyazakis-lifelong-obsession","status":"publish","type":"post","link":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/2023\/08\/23\/the-fantasy-of-flight-porco-rosso-and-miyazakis-lifelong-obsession\/","title":{"rendered":"The fantasy of flight: Porco Rosso and Miyazaki\u2019s lifelong obsession"},"content":{"rendered":"\n<p>&#8220;Miyazaki\u2019s obsession with flight is evident throughout his films. In fact, flying sequences feature in all but three of his 11 pictures (Ponyo, Princess Mononoke and The Castle of Cagliostro are the exceptions). Flight, in general, is often central to the plot, most notably in 2014\u2019s The Wind Rises (about an aviation engineer) and 1992\u2019s wonderful fantasy Porco Rosso, about a flying pig&#8230;.&#8221;<\/p>\n\n\n\n<p>&#8220;&#8230;Another breathtaking sequence occurs when Porco flies over Gina\u2019s hotel, to let her know he\u2019s still alive (she has already lost three pilot husbands). As his plane dips towards her, the perspective shifts to Porco\u2019s point of view and the scenery is suddenly inverted, with Gina and the hotel grounds swirling around the screen. This shot, coupled with a later point-of-view sequence \u2013 in which the plane speeds low over the countryside, its shadow visible on the ground below, before hurtling out over the sea \u2013 captures the sheer speed and spectacle of flying, but from the pilot\u2019s perspective; a visual thrill that appeals to both Miyazaki and his audience on a visceral level (the effect is equivalent to being on a roller coaster ride)&#8230;&#8221;<\/p>\n\n\n\n<p>&#8220;&#8230;As well as capturing both the technical detail and the physical sensation of flight (note the use of sound and visual flourishes, such as the spatter of engine oil), Miyazaki fills Porco Rosso with a multitude of tributes to early aviation&#8230;&#8221;<\/p>\n\n\n\n<p>&#8220;&#8230;Porco Rosso stands as the perfect crystallisation of Miyazaki\u2019s lifelong obsession, capturing the technical artistry of airplanes, the visual poetry of them in action, the visceral, physical sensation of soaring through the air, and the sheer child-like wonder of seeing the fantasy of flight come to life.&#8221;<\/p>\n\n\n\n<p>___________________________________________________________________________<\/p>\n\n\n\n<p>Turner, M. (n.d.). <em>The Fantasy of Flight: Porco Rosso and Miyazaki\u2019s lifelong obsession<\/em>. VODzilla.co. https:\/\/vodzilla.co\/reviews\/the-fantasy-of-flight-porco-rosso-and-miyazakis-obsession\/<\/p>\n\n\n\n<p>___________________________________________________________________________<\/p>\n\n\n\n<p>I just watched Porco Rosso, and it has a really compelling way of making you interested in the planes themselves and communicating the rush of flying completely visually. It could be interesting to see how that communication style that conveys excitement and passion could be used to create a more immersive education experience. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Miyazaki\u2019s obsession with flight is evident throughout his films. In fact, flying sequences feature in all but three of his 11 pictures (Ponyo, Princess Mononoke and The Castle of Cagliostro are the exceptions). Flight, in general, is often central to the plot, most notably in 2014\u2019s The Wind Rises (about an aviation engineer) and 1992\u2019s [&hellip;]<\/p>\n","protected":false},"author":99,"featured_media":14295,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[],"class_list":{"0":"post-14286","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts"},"_links":{"self":[{"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/posts\/14286","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/comments?post=14286"}],"version-history":[{"count":1,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/posts\/14286\/revisions"}],"predecessor-version":[{"id":14296,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/posts\/14286\/revisions\/14296"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/media\/14295"}],"wp:attachment":[{"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/media?parent=14286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/categories?post=14286"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/desis.osu.edu\/seniorthesis\/index.php\/wp-json\/wp\/v2\/tags?post=14286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}