There is no piece of creative work that escapes the socio-cultural context it was created in.
Underpinning cultural ideologies will always embed themselves within the art, and Kiki’s
Delivery Service, produced by Hayao Miyazaki, is no different. Published by the Japanese
animation company Studio Ghibli in 19891 as an adaption of the 1985 novel of the same
name;2 the stylistic animation follows a young witch, Kiki, accompanied by her talking cat, Jiji,
as they spend a year alone at a seaside town following her village’s traditions regarding
witches in training.3 Moreover, the overt narrative theme is one of growing up.4 The story deals
heavily with taking on responsibility and becoming independent, all while maintaining a sense
of adventure, the spark of magic for life. With regards to other such works like that of My
Neighbour Totoro (1988), Spirited Away (2001), and Princess Mononoke (1997), Miyazaki
consistently constructs works that seem to encapsulate the notion of the human experience.
Nick Bugeja argues that the overarching purpose of Studio Ghibli films, of which Miyazaki has
worked on substantial amount of, “is to tell stories of human tribulation and challenge, of selfexploration and triumph.”5 Which is also highly evident within Kiki’s Delivery Service. The piece
as a whole seems to consistently draw attention to the idea that a childlike wonder for the
world and the act of growing up and taking responsibility do not antithesize one another. But
rather that each act as components that complement one another and enrich the experience
of life.
This is further evident within the utilisation of a highly stylised and aesthetically pleasing
animation style, one that is hand-drawn and unique to Miyazaki’s works.6 As such, even
scenes/screen caps wherein the characters are depicted going through the routine of
scheduled chores, the animation and use of colours are almost always bright and wondrous.
There is an astounding amount of detail in every scene and at no point does it feel cluttered
or messy. Rather, there is something captivating about the whimsical way the animation
captures Kiki’s daily life. The Miyazaki seems to breathe magic into the scenes, bringing
originality and wonder to the banality of life. Further regarding the complex implementation of
colour, the animater utilised a master palette7 for Kiki, consistently contrasting the brightness
of her hair bow with the dull or dark outfits of her day to day life. Subjectively, this may be a
subtle reference to the underpinning theme of the animation, that one must embrace
responsibility without losing the excitement for life. It can also be noted that this is blatantly
evident in the story line wherein Kiki struggles with losing her magic as she takes on
responsibility.
When considering the contextualisation of the animation Kiki’s Delivery Service it’s important
to note that originally this was a Japanese production created by Stuido Ghibli. As such,
regarding the cultural idiosyncrasies of Japan, the notion of growing up and taking on
responsibility is a highly valued ideology. This is similarly expressed by Linda Bennett in their
work Expectations for Japanese Children, wherein they state that “a Japanese child is
encouraged to develop a sense of self-discipline and hard work… [and that they] are expected
to persist toward a goal, and it is considered more important to try hard and not give up than
to achieve the goal.”8 Moreover, there is also a prevalent notion that Kiki’s Delivery Service
seeks to empower women, rather than utilise them as objects to simply be observed. As such,
Jonathan Ellis in his work The Art of Anime states that “Miyazaki has frequently been praised
for placing female experience at the centre of his imaginative world,”9 further elaborating that
“the gaze of his films is not on women as objects… but on women as artists and creators in
1
(Pineda, R. 2017.)
Ibid.
3 Ibid.
4 (Camp, B. 2007. pg.173)
5 (Bugeja, N. 2016.)
6 (Ellis, J. 2010. pg. 14)
7 (Ekperigin, N. 201. pg. 86)
8
(Bennett, L. 2004.)
9 (Ellis, J. 2010. pg. 21)
2
their own right.”10 This idea can be explicitly noted within the animation as the film presents
two female characters, Kiki and Ursula, both of whom “express and revise their artistry”11 in
unique and depthless ways.
It is highly arguable that Hayao Miyazaki was successful in the conveyance of meaning in his
piece Kik’s Delivery Service. Furthermore, while the socio-cultural idiosyncrasies of the work
are evidently notable as they are fundamentally inseparable, by applying a critical lens and
deconstructing the work and its pieces, as well as being knowledgeable of personal bias and
preconceived notions, it can be stated that this work, to some extent, transcends the social
divide. From a subjective standpoint, the piece elicited a feeling of empowerment, safety, and
excitement for the unknown adventure that awaits. Almost as though the piece was stating
that while things may not go as planned, success is inevitable.
References:
Bennett, L. (2004). Expectations for Japanese Children. National Council for the Social
Studies. http://www.socialstudies.org/sites/default/files/publications/yl/1003/100306.html
10
11
Ibid.
(Ellis, J. 2010. pg. 22)
Bugeja, N. (2016). Studio Ghibli: a cinema of humanis. ACMI: Australian Centre for the
Moving Image. https://www.acmi.net.au/ideas/read/studio-ghibli-cinema-humanism/#top
Ellis, J. (2010). The art of anime: Freeze-frames and moving pictures in Miyazaki Hayao's
Kiki's Delivery Service. Journal of Japanese and Korean Cinema, 2(1), 21-22.
https://wwwtandfonlinecom.ezp01.library.qut.edu.au/doi/abs/10.1386/jjkc.2.1.21_1#aHR0cH
M6Ly93d3ctdGFuZGZvbmxpbmUtY29tLmV6cDAxLmxpYnJhcnkucXV0LmVkdS5hdS9kb2kv
cGRmLzEwLjEzODYvamprYy4yLjEuMjFfMT9uZWVkQWNjZXNzPXRydWVAQEAw
Pineda, R. (2017). Kiki's Delivery Service Novels Get Stage Musical in June. Anime News
Network. https://www.animenewsnetwork.com/news/2017-02-10/kiki-delivery-service-novelsget-stage-musical-in-june/.112064
Ekperigin, N. (2011). Inside the Artist's Studio: Master Palettes (1st ed.). ProQuest.
Camp, B. (2007). Anime Classics Zettai!: 100 Must-See Japanese Animation Masterpieces
(1st ed.). Stone Bridge Press.