This is because Miyazaki showed his strong opposition to the US-led War on Terror, especially US President George W. From a perspective of peace research, this movie is related to Miyazaki’s anti-war philosophy in the post-9/11 political context and the ensuing US-led War on Terror, especially the 2003 Iraq War. In particular, as emphasised by Producer Toshio Suzuki, Miyazaki desired to depict “love under fire” or “romance under the fire of war” ( senka no koi) (Suzuki 2005: 97). Still, the clearest and most significant difference between the original novel and the animated movie lies in the fact that the latter specifically focuses on ‘war’, whereas the former only touched upon the issue (Yomiuri Online 2004 Smith 2011). Hibi 2003 Kano 2006 Levi 2008 Kiridoshi 20 Chen 2010 Fujitsu 2010 Hikawa 2010 Kotani 2010 Maejima 2010 Otsuka 2010 Suzuki and Inaba 2010 Yanagi 2010 Smith 2011 Napier 2012 Robinson 2013), and of course, some analysts point out in the existing literature both similarities and differences in the movie and the film (e.g. There is a large amount of earlier research that provides general academic analyses (e.g. For a casual observer, it is basically a love story between the Wizard Howl, who travels with his moving house, and Sophie Hatter, who suddenly turns 90 years old under a spell. Jones, as a big fan of Miyazaki animation films, willingly accepted a request from Studio Ghibli to animate her original novel (Yomiuri Online 2004). The story is based on the novel of the same name written by the British fantasy novelist, Dianna Wynne Jones (1934-2011), in 1986. This is a film review of Howl’s Moving Castle, directed by Miyazaki Hayao and released by Studio Ghibli on 20 November 2004. Keywords: Article 9, Howl’s Moving Castle, passive conscientious objection, Iraq War, War on Terror. Finally, this paper offers a critical analysis of the 2003 Iraq War regarding its legitimacy and Japan’s response. Moreover, utilising ‘transformative adaptation’ as an analytical research method, this paper provides a ‘transformative analysis’ of symbolism reflected in the main characters: Howl, Sophie, Calcifer, and Madam Suliman, which could respectively represent: Japan, Article 9 of the Japanese Constitution, the Japanese Self-Defense Forces, and the United States in the post-9/11 international politics. From a perspective of peace research, this paper reviews the storyline of the film with a special focus on war and peace issues. From a perspective of peace research, however, this movie is related to Miyazaki’s anti-war philosophy in the post-9/11 political context and the following US-led War on Terror, especially the 2003 Iraq War. This movie is based on the novel of the same title written by Dianna Wynne Jones in 1986. This paper is a film review of Howl’s Moving Castle, directed by Miyazaki Hayao and released by Studio Ghibli in November 2004.
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