{"id":94071,"date":"2025-02-17T17:56:58","date_gmt":"2025-02-17T17:56:58","guid":{"rendered":"https:\/\/peraltafinancing.com\/animation\/metamorphosis-in-pom-poko-1994\/"},"modified":"2025-02-17T17:56:58","modified_gmt":"2025-02-17T17:56:58","slug":"metamorphosis-in-pom-poko-1994","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=94071","title":{"rendered":"Metamorphosis in Pom Poko (1994)"},"content":{"rendered":"


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The main characters in Isao Takahata\u2019s 1994 film Pom Poko<\/em> are tanuki, an animal attributed with shapeshifting powers in Japanese folklore. Their powers form part of an ethos of constant metamorphosis pervading Pom Poko, <\/em>enabling Takahata to address his socio-political concerns while avoiding what he perceived as the pitfalls of immersive realism. In his feature debut Horus: Prince of the Sun <\/em>(1968), Takahata (1983) attempted to express the interconnected processes forming a sustainable community. This interconnectedness, often extended to the community\u2019s interaction with nature, is core to his subsequent films, most explicitly in the exhaustive explanation of the roles, both in the community and ecosystem, played by the eponymous waterways in his live-action documentary The Story of Yanagawa\u2019s Canals<\/em> (1987).\u00a0<\/p>\n

Pom Poko <\/em>(1994) explores these themes in its depiction of tanuki who coexist with humanity (Yamamoto 1998) before their existence is threatened by the expansion of suburban areas as humanity rejects its relationship to nature. Like the villagers in Horus <\/em>(1968), the tanuki must defend themselves while remaining united in desperate circumstances. When they fail, some survive by using their transformational powers to assimilate into human society.\u00a0The association of these powers with pre-industrial folklore recalls Japan\u2019s postwar westernisation and its lost connection to nature, frequently thematized in Takahata and Hayao Miyazaki\u2019s works, with the tanuki\u2019s transformation into overworked salarymen pointedly commenting on the social cost of the economic boom. If any passerby or colleague could be a disguised tanuki, no part of modern, industrial society remains untouched by historical injustices. The distinction between human and tanuki slowly disappears.\u00a0By becoming us, they invite us to question if we are not also them.\u00a0What have we lost or sacrificed to survive or thrive under a capitalist, industrial society?\u00a0<\/p>\n

However, beyond its allegorical purposes in Pom Poko\u2019<\/em>s conclusion, metamorphosis has a formal purpose by creating an intensely hypermedial aesthetic that brings about a distancing effect, enabling the audience to contemplate the film\u2019s themes without becoming trapped in any one point of view. Takahata\u2019s earlier work, like Horus<\/em> (1968) and the television series Heidi: Girl of the Alps <\/em>(1974), explored ideas of community and interconnectedness through the depiction of carefully researched and immersive settings. Writing about Horus<\/em>, Takahata explains that the animated films \u201c<\/em>provide[d] [\u2026] a perspective through which [viewers] comprehend the unfolding events, capturing the entire situation<\/em>,\u201d (Takahata 1983: 28, author\u2019s emphasis) while after Grave of the Fireflies <\/em>(1988), he seems to have concluded that no single viewpoint was sufficiently external to do so.\u00a0These early animations created a sense of complete, believable worlds, through spatial continuity (Hikawa 2019) and techniques like long takes and deep compositions, inspired by live-action filmmaking, as well as the writing of Andr\u00e9 Bazin (Suzuki 2019). Such completeness and believability expressed the nature of the lives and communities they portrayed.\u00a0<\/p>\n

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Figure 1. Example of the dynamic, immersive shot compositions from Isao Takahata\u2019s Horus: Prince of the Sun <\/em>(1968). Note the depth of the staging and the variety of characters and activities presented. <\/strong><\/figcaption><\/figure>\n

Takahata later grew to believe that immersive filmmaking with realistic spatial rendering tended to \u201cdrive viewers into a position where they can only align themselves [with] the protagonist\u201d preventing them from \u201ccritically appraising [\u2026] the protagonist\u2019s actions\u201d (Hikawa 2019: 223-224). Citing Berthold Brecht, Takahata (2007) stated that he attempted to create animated films that prevented a complete immersion, instead maintaining a critical distance from their characters. Takahata felt that his most realist work, Grave of the Fireflies<\/em> (1988),<\/em> failed to achieve this (Dudok de Wit 2021), which might explain his stylistic shift in the subsequent works.\u00a0 In what Katsuo Suzuki calls a \u201csliding worldview\u201d, Takahata\u2019s post-Fireflies<\/em> films use visual styles that vary constantly, most relentlessly in Pom Poko<\/em>, where the tanuki\u2019s transformational powers metamorphose them between numerous visual styles (Suzuki 2019: 224).\u00a0<\/p>\n

If Pom Poko<\/em> (1994) is Takahata\u2019s response to works where he believed visual realism drove audiences towards a single viewpoint, then the tanuki\u2019s metamorphoses unite numerous viewpoints\u00a0 within the animated film, or even within the same shot. They appear as: realistic tanuki, perhaps an external, documentary perspective; anthropomorphized characters, perhaps representing their traditional folkloric roles; ultra-stylized forms when completely unselfconscious; and as humans \u2013 the form they must take to interact with society.\u00a0Each perspective has strengths and limitations: documentary-like scenes help us understand tanuki behavior and their environment, but lack relatability, while the anthropomorphic form is perhaps too appealing, risking simplistic alignment with their point of view.\u00a0<\/p>\n

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Figure 2. The different visual styles in which the tanuki are represented in Pom Poko<\/em> (Isao Takahata, 1994). Top to bottom, left to right: the human form, the standard anthropomorphic form where the style and amount of clothing varies depending on their mood, a minimalist, simplified style, an even more minimalist style inspired by the manga of Shigeru Sugiura, and the realistic style. <\/strong><\/figcaption><\/figure>\n

Takahata wrote about different visual representations of tanuki in 1984, reflecting on his disappointment with the first tanuki he saw, as it did not resemble depictions of tanuki from Japanese art and popular culture (Fujita 2014).\u00a0This echoes his later concerns about films that solely align viewers with their protagonists: the single view of flat- and round-faced tanuki created by popular, anthropomorphized depictions of them had overshadowed the real animal\u2019s complexity and reality. In this context, constantly shifting representations in Pom Poko<\/em> attempt to prevent the dominance of any one view on the tanuki, and indeed Takahata wrote that he had consciously crafted the film to avoid \u201ccomplete immersion\u201d, enabling viewers to critically examine its protagonists (2007: 273-274).\u00a0Besides the avoidance of \u201ceasy sympathy\u201d (Yamamoto 1998: 64), visual metamorphoses constantly remind the viewer that these different styles and viewpoints nonetheless depict the same creatures.\u00a0Takahata bridged the troubling gap between and real tanuki with the constant metamorphic juxtaposition of their many forms, which contextualize them with each other, without temporal or spatial separation.\u00a0Similarly, the film itself regularly metamorphoses in style and genre, extending this approach beyond character animation to its storytelling and visual language as a whole by citing and parodying genres and media, including samurai films, nature documentaries, 1930s manga, and video games.\u00a0<\/p>\n

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Figure 3: Some of the many citations, remediations, and parodies in Pom\u00a0Poko<\/em> (Isao Takahata, 1994). From top to bottom: Video games used to\u00a0illustrate habitat destruction, spirits inspired by medieval picture\u00a0scrolls, and television talk shows.<\/strong><\/figcaption><\/figure>\n

This evolution from immediacy in his early work to hypermediacy in Pom Poko<\/em> echoes \u201cthe double logic of remediation\u201d identified by Bolter and Grusin across new media (1996: 313). The multiplicity of styles in Pom Poko<\/em> is analogous to the examples that they give of the windowed computer interfaces and TV news broadcasts that combine images, sound, and text (1996): its hypermediacy creates a more complete view of its world.<\/p>\n

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References<\/strong><\/p>\n

\u201cArupusu no Sh\u014djo Haiji [Heidi, Girl of the Alps].\u201d Fuji TV, January 6, 1974.<\/p>\n

Bolter, J. David, and Richard A. Grusin. \u201cRemediation.\u201d Configurations<\/em> 4, no. 3 (1996): 311\u201358. https:\/\/doi.org\/10.1353\/con.1996.0018<\/a>.<\/p>\n

Dudok de Wit, Alex. Grave of the Fireflies<\/em>. 1st ed. BFI Film Classics. Bloomsbury, 2021.<\/p>\n

Fujita, Kenji. ANIME: ISAO TAKAHATA\u2019s Gauche the Cellist Archive<\/em>. Translated by Shinichiro Tanaka and Lauren Thompson. Onebilling inc, 2014.<\/p>\n

Heisei Tanuki Gassen Ponpoko [Pom Poko]<\/em>. Blu-Ray.\u00a0 Studio Ghibli, 1994.<\/p>\n

Hikawa, Ryusuke. \u201cTakahata Isao, Animation Revolutionary.\u201d In Takahata Isao Ten: Nihon No Anim\u0113shon Ni Nokoshita Mono [Takahata Isao\u202f: A Legend in Japanese Animation]<\/em>, edited by Chikashi Sait\u014d and Ry\u014dko Tsutsui, translated by Christopher Stephens, 218\u201325. Japan: NHK Purom\u014dshon, 2019.<\/p>\n

Hotaru No Haka [Grave of the Fireflies]<\/em>. Blu-Ray. Studio Ghibli, 1988.<\/p>\n

Suzuki, Katsuo. \u201cThe Directorial Style of Takahata Isao: Aesthetics of Landscape in Animation.\u201d In Takahata Isao Ten: Nihon No Anim\u0113shon Ni Nokoshita Mono (Takahata Isao\u202f: A Legend in Japanese Animation)<\/em>, edited by Chikashi Sait\u014d and Ry\u014dko Tsutsui, translated by Christopher Stephens, 232\u201336. Japan: NHK Purom\u014dshon, 2019.<\/p>\n

Taiyou No Ouji Horusu No Daibouken [Horus: Prince of the Sun]<\/em>. Blu-Ray. Toei Animation, 1968.<\/p>\n

Takahata, Isao. Anim\u0113shon no kokorozashi: \u201cYabunirami no b\u014dkun\u201d to \u201c\u014c to tori\u201d [Aspirations for Animation: \u201cThe Shepherdess and the Chimney Sweep and \u201cThe King and the Mockingbird\u201d]<\/em>. T\u014dky\u014d: Iwanami Shoten, 2007 (Translation by Ngoc Nhu Nguyen).<\/p>\n

Takahata, Isao. Horusu no eiz\u014d hy\u014dgen (Cinematographic Expression in Horus)<\/em>. Animage Bunko. Tokuma Shoten, 1983 (Translation by Ngoc Nhu Nguyen).<\/p>\n

Yamamoto, Fumiko Y. \u201cHeisei Tanuki-Gassen: Pom Poko.\u201d Post Script<\/em> 18, no. 1 (1998): 59\u201367.<\/p>\n

Yanagawa Horiwari Monogatari\u00a0 [The Story of Yanagawa\u2019s Canals]<\/em>. DVD. Studio Ghibli, 1987.<\/p>\n

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Idris Kellermann Williams<\/strong> holds an honours degree in film from the University of Adelaide with a thesis on Isao Takahata. He is currently undertaking a PhD at the same university, which expands on that thesis, and he also edits the university\u2019s film society newsletter.\u00a0 He presented a paper titled <\/em>Depth, Flatness, and Community in Isao Takahata\u2019s \u2018Horus: Prince of the Sun\u2019 at the 2024 Society for Animation Studies conference and will be presenting one titled <\/em>Isao Takahata\u2019s minimalism in the unseen writings and works of an underseen master at the 2024 SSAAANZ conference.\u00a0<\/em><\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

The main characters in Isao Takahata\u2019s 1994 film Pom Poko are tanuki, an animal attributed with shapeshifting powers in Japanese folklore. Their powers form part of an ethos of constant metamorphosis pervading Pom Poko, enabling Takahata to address his socio-political concerns while avoiding what he perceived as the pitfalls of immersive realism. In his feature […]<\/p>\n","protected":false},"author":1,"featured_media":94072,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12035],"tags":[35204,44845,3028],"dealstore":[],"offerexpiration":[],"class_list":["post-94071","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation","tag-metamorphosis","tag-poko","tag-pom"],"yoast_head":"\nMetamorphosis in Pom Poko (1994) - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=94071\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Metamorphosis in Pom Poko (1994) - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"The main characters in Isao Takahata\u2019s 1994 film Pom Poko are tanuki, an animal attributed with shapeshifting powers in Japanese folklore. 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Their powers form part of an ethos of constant metamorphosis pervading Pom Poko, enabling Takahata to address his socio-political concerns while avoiding what he perceived as the pitfalls of immersive realism. 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