宫崎骏动画电影中女性主义的投射与限度

Abstract

Female characters in Hayao Miyazaki's animations are often hailed as exemplars of "strong subjective consciousness," yet this assessment may obscure the specific conditions underlying their construction of subjectivity. Using Beauvoir's theory of the Other and Lacan's theory of the gaze as frameworks, this paper conducts a close textual reading and structural analysis of Miyazaki's 11 feature-length theatrical animations from 1984 to 2023, revealing a deep paradox within his feminist expression: the independence and agency of his female characters are, to a large extent, the projection of Miyazaki's own "ideal ego." This projective mechanism operates on three levels—the structural differentiation of narrative functions between male and female protagonists, the self-idealizing encoding of female kindness, and the "idealized" position of female characters in autobiographical works. The "strong women" created by Miyazaki are essentially mirror images mediated by the male ideal ego; their on-screen agency is perpetually under the gaze of the creator's ideal ego, rather than an authentic unfolding of female subjectivity. This finding offers a new critical perspective for understanding the complex configurations of feminism in popular culture.