In the discussion of these issues, anime is viewed not as a text, but as a hub of interrelations, including the interrelations between audience groups. But does the same kind of criticality that Lamarre finds in Miyazaki’s prior works also apply to the latest one, and if so, to what extent? These questions leads one to reconsider whether the conclusions Lamarre arrives at actually capture the critical potential of his theory. This free, critical relation seems to be most noticeably depicted in Nausicaä of the Valley of the Wind (Kaze no tani no Naushika, 1984) and Castle in the Sky (Tenkū no shiro Rapyūta, 1986). What Lamarre sees in Miyazaki’s manga eiga is a new way of gaining “a free relation to technology” as idealized by Heideggerian philosophy, but, of course, “in animation” (Lamarre 62). Mimicking the first part of Lamarre’s book, this article approaches Miyazaki’s last work, The Wind Rises (Kaze tachinu, 2013). This article aims to demonstrate how exactly Thomas Lamarre reads movement, plot, and characters in The Anime Machine (2009), as defined to an extent, yet not completely determined by the concept of the animetic machine.
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