About the Lost One in the Work of Hayao Miyazaki

Neshchadim Dmitrii ORCID: 0000-0001-5575-1459 PhD in Biology Associate Professor of the Department of Psychology, Pedagogy and Law; Novosibirsk State University of Economics and Management 630099, Russia, Novosibirsk region, Novosibirsk, Kamenskaya str., 52/1 d.neshchadim@mail.ru

Introduction. Director Hayao Miyazaki is a real mystery for today's global mass culture. His magical worlds amaze the imagination and cling to the depths of almost everyone's soul, regardless of age and gender. However, this is not just a visionary director, but a real "man of the world" with a certain philosophical view of modern problems of mankind, which is directly proved by his work and his reasoning in numerous interviews ^{[1, 2]}. His animated paintings incorporate a multi-layered and complex fusion of traditional Japanese and Western cultures. The same fusion occurred in relation to Japanese psychoanalysis. Keigo Okonogi notes that Japan went through a difficult path of assimilation of classical psychoanalysis, and it took many decades for it to adapt and assimilate the "new method" while preserving the Eastern worldview ^[3]. As a result, Japanese psychoanalysis gave us the concepts of the "Ajase complex" (Heisaku Kosawa), the theory of amae (Takeo Doi) and others. Director Miyazaki's vision and thinking are fascinating, as he shares an unusual view of what is happening both outside and inside each of us. His love for children's literature went through all the years, which had a direct impact on his worldview and all his work. Through animated films, Miyazaki has found the most accurate way to tell every child about the world around them. Miyazaki's work also reminds an adult what it's like to be a carefree child, to have direct contact with their feelings, desires, intuition and creativity, what good and evil mean, as well as how to survive in a rapidly changing adult world.

The modern world is characterized by a large number of large-scale disasters and cataclysms, which leads to traumatization of modern man. The importance of the theme of sadness and melancholy in the life of a frontal person was also noted by the Austrian psychoanalyst Z. Freud at the beginning of the last century ^{[4, p. 171]}. He was one of the first from a scientific point of view to draw attention to the phenomenon of "mental trauma". Freud showed that living in sadness and melancholy is associated with the loss of a beloved object, which triggers the work of grieving. This article examines the phenomenon of the lost and the work of sadness in Miyazaki's work on the example of the film "The Walking Castle" from the perspective of applied psychoanalysis ^{[5; 6, pp. 87, 133]}. This film in 2004 became a turning point in the director's work, as during this period he continued to grieve over the death of his close friend and colleague Yoshifumi Kondo, experienced the ongoing collapse of the animation studio "Ghibli", the outbreak of the war in Iraq, as well as the imminent onset of old age and withering ^{[7, p. 325]}. All this is not variably reflected in the director's latest paintings, where the catastrophic present is mainly comprehended on the eve of an uncertain and anxious future.

Miyazaki adapted the novel of the same name "The Walking Castle" by the English writer Diana Jones ^[8]. At first glance, the main character in this fairy tale is the milliner Sophie Hutter. Upon closer examination of the story, three main characters can be distinguished in it — Sophie, the wizard Howl and the Walking Castle itself. In essence, this is a story about the initiation of a love couple, where each character goes through his own transformational path of growing up. Both characters embody, respectively, the loss of the feminine and the masculine, gradually gaining integrity through the mutual influence of each other. We can safely assume the compromise nature of the "Walking Castle" as a work reflecting the unconscious mental conflict of the author. Next, we will sequentially consider the images of the main characters through the prism of the phenomenon of the lost.

The main character Sophie is a plain girl of 17 years old who lives in a small provincial town of Market Chipping. She works as a milliner in the family hat shop, which is run by her stepmother. In Japanese animation, this type of character is called "shojo" (Japanese for "girl"), i.e. a girl between the ages of 12 and 18. She is not yet a full-fledged adult sexy woman, but she is no longer a child. Her younger sister Letty is her complete opposite. She is bright, attractive and active. She managed to leave home, get a job at Caesari's pastry shop and surround herself with a lot of fans. Their father died a year ago, and now Letty is persuading Sophie to take off her mourning, leave the hat shop and find herself a man. She also warns her older sister to be careful with the wizard who saved her from annoying soldiers when she went to the pastry shop. However, upon returning to the hat shop, Sophie encounters the Witch of the Wasteland, who, out of jealousy, turns the girl into a ninety-year-old woman (the first plot of the story). Sophie quickly comes to terms with her new look, which is consistent with her inner sense of self. These circumstances remove the need for her to be an attractive girl and look for a betrothed. Nevertheless, Sophie leaves her home in search of a Witch to remove the curse from her, and along the way comes across Howl's Walking Castle. In the future, the whole story takes place around the interaction of Sophie and the wizard, who turned out to be just as cursed. The second claim of the story is Sophie's secret contract with the fire demon, according to which she must find out what connects him with the owner of the Castle. In return, the demon promises to remove the spell from the heroine. However, in moments of emotional excitement, Sophie's charms temporarily recede, but then return again. After the fact, the viewer learns that wizard Howl lifted the curse from Sophie from the first day, but the heroine unconsciously did not want to become young again, which determines her neurosis. In this regard, one can see how the heroine consistently solves the issue of sexual identity for herself ^[9].

Sophie functions as a neurotic, where the conflict between her unconscious drives and the protective instance of the ego ("I") manifests itself ^{[10, p. 91]}. According to Sophie's psychological portrait, it is possible to identify hysterical neurosis with mental conflict: "I want, but I don't give" ^[11]. It can be noted that she has rather high demands on others and a lack of demands on herself. In this case, hysteria is not demonstrative (as in her stepmother and stepsister), it manifests itself through the counter-behavior of the "gray mouse". As an adult, Sophie is faced with the fact that she is not the best, which, in turn, is hard for her to accept. The death of her father closes her in even more, although the mental basis of her childhood psychotrauma is the death of the primary object in the person of her own mother, when Sophie was still an infant. All this leads to mental disintegration (disunity) and the difficulty of sexual identification with one's female and maternal parts. However, active interaction with female figures in the person of the Witch of the Wasteland and the court sorceress Madame Saliman give the heroine the opportunity to assemble and integrate her feminine nature. In parallel with this, Sophie also goes through the process of redirecting attraction from the idealized father figure towards female phallicity (superwoman), which is essentially a rejection of masculine power. And subsequently, the heroine switches her libido back to an external love object. Wizard Howl becomes her lawful husband, and then she becomes pregnant, which will finally resolve her Oedipus complex. Thus, the work of sadness for the lost parent object allows the main character to finally grow up.

The main character, Wizard Howl, is a rather pompous, selfish and narcissistic young man of 27 years old. He mainly uses people without caring about them and their feelings. In relation to women, he is only interested in their falling in love with him, after which he immediately abandons them (breaks their hearts). In this, he shows signs of avoidant attachment (counter-dependence). As a child, he caught a fallen star, with which he made a secret pact. The star turned out to be a fiery demon who gave the boy power and strength instead of his childish heart, which helped the demon not to disappear like a fallen star. The loss of the heart symbolizes the emptiness and coldness of the magician in his relations with people. In the story, Howl has no contact with adult male characters. It can be assumed that in this way he avoids competition with strong male figures. In general, the wizard is a pronounced narcissistic personality: on the one hand, independent, demanding and moody, and, on the other hand, very vulnerable, fragile and vulnerable. His inner world is literally split and represented by disparate partial objects ("good" and "bad"). His weak ego is constantly under attack from the moral and oppressive superego, which requires constant feeding of love and self-esteem from the outside (there is a "void" inside). In order to gain his inner stability and "integrity", the magician pursues two goals: to receive absolute love from all women and to have absolute power and might by eliminating powerful male figures. His narcissism is a way to save and protect his vulnerable inner core of the psyche ^{[12, p. 51]}.

The magician's psychopathology is determined by the nature of his early relationship with his mother, whom he supposedly lost early. According to the level of structure, organization and functioning, Wizard Howl's psyche is borderline (if not psychotic), which is expressed in a significant weakness of ego defenses, diffuse self-identity, weakness of bodily and emotional boundaries, in distorted reality testing ^{[10, p. 101]}. Meeting with Sophie helps the wizard to "patch up" the gaps in his soul (psyche) for a while, as if the old woman had taken on the role of his own mother. The wizard appoints Sophie as his "false mother" before sending her to the palace to blacken his name in front of the king. Nevertheless, she fights back against the "bad" mothers, respectively, in the guise of the Witch of the Wasteland and Madame Saliman, who are chasing Howl. As a result, the wizard performs his first heroic act, saving Sophie from the court sorceress. He gives her a decisive rebuff, which reveals the separation from the "bad" parent object in order to preserve the "good". The wizard is surrounded by powerful "mothers" where male paternal figures have no place (they are either weak or they do not exist at all). The wizard has to piece together his inner male image, which subsequently enters into a struggle with Madame Saliman's army. Howl resolves the Oedipus complex by going through the classic heroic path of initiation ^{[13, 14]}. Since the completion of the wizard's initiation, an enchanted scarecrow named Turnip takes on the appearance of a handsome prince, freeing Howl from excessive narcissism. Sophie allows her lover to find a new "refuge" in a relationship, not of a narcissistic, but of a libidinous nature. As a result, the return of the heart to the chest of the magician clearly marks his bodily boundaries. However, despite this, he will still function at the "borderline" level, but with stronger ego defenses and with the weakened influence of the punishing superego.

A love couple in a fairy tale. "The Walking Castle" is a characteristic fairy tale with a combined initiation of a love couple in the person of Sophie and Howl, where both characters find their salvation in each other. Earlier, we gave examples of love couples in the Arabic fairy tale from The Arabian Nights about the magic horse and in the short film "Mr. Dough and Princess Egg" (directed by Hayao Miyazaki, 2010) ^{[14, pp. 89, 105]}. The primary basis for the novel "The Walking Castle" by Jones are the myths about Peleus and Thetis (Ovid) ^{[16, p. 246]} and about Cupid and Psyche (Apuleius) ^{[17, p. 77]}. Subsequently, these myths were repeatedly retold in different variations in different times and cultures: for example, "Young Tamlane" (Scotland), "King of Pigs", "Prince of Verde Prato" (Italy), "Beauty and the Beast" (France), "Finist's Feather of the Falcon", "Scarlet Flower" (Russia) and so on. Director Miyazaki also turns to the plot of the fairy tale of a loving couple to solve the gender and love relationships of modern people through traditional ways of self-denial and self-sacrifice. In particular, in the film in question, the woman still continues to sacrifice herself for the sake of the man in order to escape from her growing independence and gender isolation. The romantic genre in this case shows powerful women whose potentially frightening qualities are restrained by love for men. Thus, the romantic genre brings to the surface the hidden anxieties of the male viewer (as well as the director), introducing some confusion and uncertainty only in order to finally restore the established social order of the dominant man and the submissive, devoted woman. Miyazaki also speaks in favor of spiritual rebirth after unimaginable loss. For example, young Sophie "disappears" in the image of an old woman, which reflects her deep sense of loss and anxiety. On this occasion, Japanese psychiatrist Hayao Kawai notes the following: "It is inherent in the cultural Japanese paradigm that a woman should disappear to express her sadness, than complete the feeling of her beauty" ^{[18, p. 249]}. As the film progresses, Sophie discovers other benefits of old age. She understands that you can do what you like and not worry about the consequences, and comprehends the power of "invisibility" that old age gives. Thus, Sophie's "disappearance" is literally an experience of coming of age, which meets and overcomes some of the darkest fears of the shuttle – aging, illness and death.

American researcher Susan Napier notes that the image of the sezde heroine, once popular in the 1980s. in modern Japanese culture, is increasingly losing ground and is replaced by a sense of loss and emptiness ^{[18, p. 277]}. Modern Japan (and with it the whole world) falls into a threshold state, whether it's fantasy, purgatory, cyberspace or an amusement park. Just as shojo, stuck in the border space between childhood and adulthood, do not have a definite identity, Japan has also been trying on various forms of self-determination in recent years. Shojo's vulnerability and fragility may also indicate Japanese fear for the preservation of their own culture. And Japan seems to be between forgetting and remembering. Sophie, as a vivid example of shojo, illustrates the need to go beyond this ambiguous position. However, all the heroines of Miyazaki are the only ones who are really connected with the cultural past, but the process of establishing this connection is very difficult (and sometimes even painful). "The Walking Castle" shows the willingness of the shojo heroine to disappear and become a mature female figure. Although Sophie returns to her youth at the end of the film, she still has silver hair. It follows that it is time for Japanese cinema and even Japanese society to recognize that youth is not a permanent condition and that, magically or not, all shojo will eventually disappear. As a result, no matter how banal it may sound, but, according to Miyazaki, salvation from social destruction is still a manifestation of self-sacrifice for the sake of love.

The Walking Castle is an anthropomorphic character driven by the magic of a fire demon. The title of the film (as well as the original book) adjusts the viewer's perception of the Walking Castle as the central character of the entire story. His ugly and menacing appearance is a flight of fancy of the boy Howl, who endowed him with his desires and fears. A lot of guns scare away all unwanted visitors and guests. The pipes sticking out in different directions emphasize the theme of the lack of phallicity of the host. A large number of windows speak in favor of total fear and a convulsive desire to control the outside world. The massive Castle stands on small four chicken legs, which emphasizes the general weakness and loneliness of the boy (there is nothing to lean on). At the same time, the Lock shows a large metal tongue, like a moody spoiled child expressing an inner protest to the whole world. The entire interior of the Castle reveals the same chaotic and disharmony as the outside. There is a magical space in Howl's private room, which is strewn with a variety of amulets that protect him from powerful witches chasing him. Depending on the emotional state of the owner, this room can take on various forms. For example, when he was injured in the form of a bird monster, the room turned into a "shelter" in the form of a long cave with children's toys from his past.

The most interesting element of the Castle is a magic door with a multicolored relay. Through this door you can get to four different places, and you can also move through time. When the wizard was mortally wounded, and Sophie was desperately looking for him, she found him behind a black door. Behind her, she found herself in Howl's past, where she learned the secret of his curse. It is possible that thanks to the power and strength of the fire demon, the wizard was able to master the fundamental parameters of the life of all things. On the other hand, it indicates that he is constantly trying to break the boundaries of the physical world. The general disharmony of the Castle, its chaotic nature, the lack of clarity of internal boundaries with thick external armor, as well as the general clutter and emphasized external masculinity – all speak in favor of the "borderline" wizard Howl ^{[10, p. 101]}. The image of the Castle directly embodies the inner mental world of that child who many years ago gave his frightened heart to a fallen star, which expresses the vulnerability of the wizard. Thus, a Walking castle is both a fortress and a wizard's "prison", as well as a place where time and space above their inhabitants are beyond control, which embodies the narcissistic "garden of Eden". However, the theme of death is always on the heels of the main characters, somehow reminding them of themselves. Living forever young is also a form of "death" in life. It is also worth pointing out that the Castle is presented in the form of a large hut on chicken legs (a coffin on legs), where Baba Yaga returned in the image of old Sophie.

In the early 2000s, Miyazaki felt more and more clearly the gradual disintegration of the animation studio "Ghibli", which was directly reflected in the content of two of his films: "Gone with the Ghosts" (2001) and "The Walking Castle" (2004) ^{[7, pp. 303, 325]}. An analysis of both films shows that the thoughts and experiences of the director were embodied, respectively, in the image of the "disintegrating" baths of Yubaba and the Walking Castle. In particular, the Walking Castle as an artistic image reflected the final and physical disintegration of the main studio staff. According to the plot, the Castle undergoes a forced magical transformation, and subsequently, due to the desires and passions of its inhabitants, it is reborn into a lighter version, and then completely splits into two parts, until it eventually completely crumbles. Miyazaki's pessimism was clearly and obviously manifested in the image of this Castle, but his faith in the new still did not leave him. After a complicated series of mutual influences of the characters of the story, as well as through self-sacrifice and mutual love, the Castle is reborn again and now takes on an airy shape. The idea of the sky and flights is the central line in the work of Miyazaki, who dreamed of becoming an aircraft designer in his youth and following in the footsteps of his father ^{[2, pp. 176, 393]}. This idea also embodies the director's dreams of a new rebirth of his studio.

Minor characters. Minor characters include: scarecrow, fire demon, wizard's assistant Markle and dog Hin. They are not all true men ("non-men"). In the "Walking Castle" there are no examples of real adult men, brave, persistent and brave. Wizard Howl is also not initially an example of masculinity, although in the end he still manages to show it. Soldiers and citizens of different cities perform more the role of extras or impersonal mannequins than real people. Even the king, who appeared for a moment in the palace, appears as an obsessed adult "child" playing war games and not thinking about the value of human life. In many ways, the men in this story are "eternal boys" (Latin puer aeternus). The story is vaguely reminiscent of the fairy tale about Peter Pan from Neverland, about a seven-year-old boy who did not want to grow up in any way. He was surrounded by the same children, only younger, leading an idle and carefree life. With the advent of the teenage girl Wendy Darling in the magical land, everything changes. Here we can also cite the Japanese legend of Urashima Taro, which tells about a young fisherman who lived with his mother ^{[18, p. 186]}. He once saved a turtle and went with it to her father, the dragon king. Three years later, he decided to return home. The princess gave him a precious box with her, which he was supposed to open only in an emergency. When the fisherman returned home, he found that everything around him had changed, because he had been absent not for three years, but for three hundred years. The fisherman opened the box, and smoke rose from it, which turned him into an old man. He died shortly after that. In this legend, Urashima undertakes a journey, but by Western standards he ends up getting nothing. But, on the other hand, he still gains something, namely self-understanding. Having plucked up the courage to leave the dragon king's palace and open the precious box, Urashima finally deals with his past. The death of a fisherman can be interpreted as accepting the inevitable consequences of the passage of time and (on a personal level) aging.

All the characters of the "Walking Castle" face reality, from which they escape by means of metamorphoses and curses. Young men are not ready to integrate into society, who refuse to fight the dragon (i.e. consciously avoid conflicts with their father) and who need a woman (mother) to gain the meaning of life ^{[4, p. 83]}. Of course, we are talking about immature (infantile) men who are not ready to enter into an adult, independent and responsible life. The modern realities of Japan, as well as our country, only confirm what is happening in the film: for example, the widely represented phenomenon of hikomori (literally, "being in seclusion") or lonely "parasites", namely unmarried young men and women who continue to live with their parents. Modern women have also begun to refuse to break off contact with their parental family, wanting to see men mostly as "daddies", betting on their careers, delaying time for marriage and the birth of children, or completely abandoning family and children in favor of their individual desires and needs. It must be said that this phenomenon is not only psychological in nature, but is also associated with the economic and social problems of a modern multicultural society. However, Miyazaki brings an optimistic view to this situation, showing the way of formation and maturation of young and inexperienced people through the idea of love and family, which promises them the acquisition of both masculinity and femininity.

Antagonists and "absolute evil". In Miyazaki's films, there is no clear image of "evil" concentrated in a single character. At first glance, one can see evil in the supposed enemy, and later it turns out that he has good features, and, conversely, a seemingly benevolent character turns into an insidious villain. Perhaps, in many ways, the Japanese religion, represented by Shintoism, Buddhism and Confucianism, leaves its mark on the director's worldview, where there is a completely different attitude towards good and evil than in the Western and European world ^{[19, 20]}. The director often refers to the universal human weaknesses and the shadow sides of the human soul (psyche). For example, the same "seven deadly sins" in Christian teaching: pride, greed, anger, envy, adultery, gluttony and despondency. One or another sin can be found in each character of the "Walking Castle". For example, Sophie is depressed, which makes her detached from the world around her and locks her in on herself. Echoes of despondency can also be found in Howl and Markle, who are often lazy and can even get covered in green slime at critical moments. Pride encompasses both Howl and powerful witches, including the main character Sophie. Greed, anger, envy and adultery literally permeate the Witch of the Wasteland, which sets her apart from all the other characters. By the way, the wizard himself is also reputed to be that heartthrob, falling in love and abandoning other women. Gluttony is represented by a voracious fire demon.

The antagonists of the "Walking Castle" are successively Howl with a fire demon, the Witch of the Wasteland and Madame Saliman. At the beginning of the story, before Sophie was in the Castle, the viewer is dealing with a verbal portrait of the wizard. He appears as an evil and insidious black sorcerer who literally rips out the heart of naive and amorous girls, which scares the whole neighborhood of the town. Sophie's first encounter with the wizard shows that she is confronted by a moody, self-centered and quarrelsome young man who revels in self-admiration. During her journey, Sophie discovers that for all the beauty and callousness, Howl has a lively childish heart, and also that inside he is vulnerable and scared. The image of the insidious and evil sorcerer crumbles, and he becomes another inexperienced hero who seeks to complete his path of initiation. The same deceptive impression is made by a fire demon who secretly keeps the heart of his master and is very afraid to die. The first obvious antagonist of the story is the Witch of the Wasteland, who curses Sophie out of jealousy of Howl. The wizard partly absorbed the idealized image of Sophie's deceased father, which served to develop romantic feelings for him. In fairy tales, the evil stepmother usually sends the girl into the forest or orders her subordinates to kill her. In this case, Sophie goes from her native home to search for a Witch to remove the curse from herself, but on the way she gets into a Walking castle. A witch can also personify the maternal image of the main character, absorbing all her negative experiences of such a kind as "bad maternal breasts" ^{[21, p. 103]}. Sophie immerses her jealousy, envy, greed, anger and guilt into it, which gives her the opportunity to free herself from these frightening and haunting feelings. As a result, the Witch appears as a kind of libidinous "evil" who wants to get Howl's heart at any cost. In the king's palace, she falls into Madame Saliman's trap, as a result of which she loses all her magical powers. It becomes clear that all her former power and beauty have been maintained for many years thanks to her fiery demon. She is even partially pitied at times, although sometimes a lively and wise woman wakes up behind the mask of a crazy old woman, already supporting Sophie and the household of the Castle. Thus, the Witch's evil hides her vulnerability to time, old age and death.

The Witch of the Wasteland is replaced by a new antagonist in the person of Madame Saliman. At first glance, she gives the impression of a kind sorceress, but during the audience, Sophie discovers that she is pursuing her insidious goals to catch and subjugate Howl's former student to her will. Sophie does not hold back and directly reports all this to Madame Saliman's face. At this moment, the sorceress notices that the "mother" is in love with her cowardly "son", which finds Howl's weak spot. After that, Sophie and the wizard fall into the illusion of a sorceress, where Howl assumes the true form of a bird monster and reveals the shadow side of his soul. It can be noted that the Witch of the Wasteland and Madame Saliman switched roles among themselves – the "evil" passed from the body of the first into the body of the other. It should be noted that Madame Saliman is shown in the film in a wheelchair. Her majestic image stands in stark contrast to her inability to move. This vulnerability reflects a woman's weakness and lack of omnipotence. She also stays in the glass greenhouse of the palace all the time, as if she were in a "garden of eden" isolated from the outside world. Bombs that fall on the capital cannot fall on the palace itself, as the sorceress has cast a spell on it. Even if they fall, they bounce to the sides, killing civilians, but not the inhabitants of the palace. In all this, it can be seen that Madame Saliman does not value human life (like the king), pursuing only her own goals. If you look closely at the environment of the sorceress, you can see numerous young pages who look like two drops of water. In some ways, the boy Howl from the memories also resembles them. It can be assumed that there is an unconscious union of the Mother of God and the divine child, which reflects Madame Saliman's fixation in the role of an all-powerful phallic mother on a defenseless "child". A sorceress cannot give up power for the sake of love because of the lack of strong male figures around her. She also cannot come to terms with her dependent position, in every possible way surrounding herself with the illusion of omnipotence. Howl, in love with Sophie, gets the opportunity to fight back against his former mentor. This process ends at the moment when he regains his childish heart. The self-sacrifice of the main characters neutralizes all curses, gaining inner integrity and harmony. Only in this case, Saliman accepts the rejection of his claims and decides to end "this senseless war."

The Witch of the Wasteland, Madame Saliman and old Sophie all act as a "bad" maternal object for the infantile "child" Howl. All three women represent the corresponding type of anxiety ^[22]. The Witch of the Wasteland is an image of psychotic or perceptual anxiety (persecution anxiety) — anxiety associated with the fear of destroying or violating the integrity of the ego in a monad situation (an autistic child completely immersed in himself, this kind of egocentrism or narcissism). Madame Saliman is an image of depressive or separation anxiety — anxiety associated with the fear of separation or loss of an object in a dyadic "mother and child" situation (the child separates from the mother and experiences guilt and aggressive impulses towards her, and in order to protect himself and her goes into a depressive phase). And Sophie is an image of neurotic or castration anxiety — anxiety associated with the fear of punishment and loss of love of a significant person in an oedipal situation, where we are already dealing with the triad "child, mother and father". It can be noted that Sophie also embodies the image of Baba Yaga, who returned to the hut on chicken legs. Sophie in the image of an old woman is a guide to the realm of the dead, and the Castle-hut is a portal to it. At the same time, there is ambivalence in her image, which can also be seen in the image of other witches. The Witch of the Wasteland is a passionate and loving powerful woman, embodied in the image of a large and corporeal "mother of God", but, on the other hand, she is a possessive woman who literally wants to capture and devour the heart of Howl (psychosis). Madame Sadliman is a caring and worried mentor about the fate of her student, and, on the other hand, she is a persecuting and punishing teacher with a staff in her hands ("phallic mother"). Sophie, Madame Saliman and the Witch of the Wasteland can be called, respectively, mothers of love, power and "life/death". In general, they represent three important figures, with each of whom Howl realizes his unconscious mental conflict.

Director Miyazaki masterfully dissolves the classic perception of the "hero-antagonist" system, helping the viewer to unfocus and see "evil" wider than it can be. First of all, it should be noted that director Miyazaki is a "child of war", since he was born in 1941, which was certainly reflected in all his work ^{[7, p. 19]}. The most important antagonist of the film, in his opinion, is precisely the war. The book version of the story only mentions the war, without focusing much attention on it. Miyazaki boldly expands the theme of war in the film, but not particularly showing us the realities and horrors of military operations, as was shown in another studio film "The Grave of Fireflies" (dir. Isao Takahata, 1988). This technique, when a part is shown instead of the whole (Latin pars pro toto), acts with much greater force on the viewer's perception than they would observe a "chronicle" of what is happening. The wizard's metamorphosis, when he gradually and irrevocably turns into an embittered monster, is a clear embodiment of the war, which sought to cope with its shadow side. The fire demon convinces his master to stop reincarnating into a bird during his nocturnal forays into battlefields. He warns him that if he does not stop, then over time the "evil" will completely consume him, and he will not be able to turn back into a human. In this changing image, the idea is manifested that evil cannot defeat "evil". Any evil generates only "evil". When it comes to "absolute evil", we mean that "evil" that is devoid of passion (libido) – its main goal, if I may say so, is the destruction of any connections and meanings. In essence, "absolute evil" is antimatter and the complete opposite of love, which, on the contrary, is aimed at the birth of meanings and new connections. The French psychoanalyst Andre Green in the article "Why evil?" examines in more detail the concept of "absolute evil" ^{[23, p. 369]}. Miyazaki brings the audience closer to the theme of "evil", saying that there is nothing creative in war except destruction, horror and pain.

"Nostalgia" for the lost. At the end of the analysis of Miyazaki's film, we present the director's recollection of the landscape of lost Tokyo, told by him in an interview in 2006 ^{[2, p. 393]}. As an elementary school student, Miyazaki came across Genzaburo Yoshino's book "How are You?" (Japanese Kimitachi wa Dou Ikira ka, 1937) in one of the second-hand bookstores. Literally, the name can be translated: "How will you live on?". The book contained illustrations of elementary school boys walking on the sidewalk, which caused Miyazaki to have an unfamiliar feeling of "nostalgia" for the time before he was born. Subsequently, as an adult, the director again encountered this feeling of "nostalgia" when he examined the volume of the collection of photographs of the "Lost Imperial Capital Tokyo". He remembered another illustration from the book "How are you?". It showed a boy named Koper and his uncle looking at the city of Tokyo from the roof of a department store. The terrace on which the characters stood has long been gone, since the store (even before the war) was renovated and expanded. At that time, the country was living at the beginning of the Seva era (the "Enlightened World", 1926-1989), filled with ideological and academic oppression, as well as inciting racial nationalism in order to create young people ready to die for their country. At an abnormal rate, the militaristic government of the Seva era was rapidly approaching disaster. Miyazaki noticed that during this period, when the views depicted in the "Lost Imperial Capital of Tokyo" disappeared before the eyes of Genzaburo Yoshino, the writer could look at Tokyo and seriously think about what he could say to the future generation at that time, and wrote his book. For this reason, the title is "How are you?" it carries a deeper meaning.

In director Miyazaki's "nostalgia", one can see the manifestation of covering memories of something lost, which he cannot directly and distinctly recall ^{[4, p. 17]}. Judging by the nature of the problems raised in the director's films, as well as by the difficulties that his main characters and heroines solve, it can be assumed that Miyazaki deeply "yearns" for the loss of a narcissistic connection with a powerful mother when he was still a helpless and completely dependent child on her. These are rather amorphous and irrational experiences, which, as a rule, are quickly replaced and "forgotten" over time. They reflect the complex empathic and identification processes of the mother's relationship with the child, which, in turn, actualize the mother's own memories of early relationships with her mother, i.e. with her grandmother. This phenomenon is described in sufficient detail in the articles by the French psychoanalyst Thierry Bokanovsky on the fate of the "feminine" in men ^{[24, p. 219; 25]}. The repeated experience of "nostalgia" for the lost prompted Miyazaki to think about the question that Genzaburo Yoshino also thought about at the time, namely, how modern youth is doing and how they will live on. According to the Japanese director, this author of the book expressed the idea that we should continue to live despite all our problems: "He does not say that if we live a certain way, then the problems will disappear and everything will be fine. He says that we must think seriously about things and that, overcoming all kinds of difficulties, we must continue to live, even if we end up dying in vain" ^{[2, p. 401]}. Miyazaki also emphasizes that Genzaburo Yoshino could not directly write about the violence of his time, so all he could tell us what to do when such times come is to continue living without giving up his humanity. This statement was just embodied by the Japanese director in his latest film "How are you?", which was released in the world and Russian film distribution under the title "The Boy and the Bird" (eng. The Boy and the Heron).

Conclusion. Essentially, "The Walking Castle" is a fairy tale about the initiation of a love couple growing up. The main characters embody, respectively, the loss of the feminine and masculine, gradually gaining integrity through interactions with each other. In the film, women are shown to be quite omnipotent and phallic "mothers", while men are represented by weak and infirm "children". The main "antagonist" has a complex structure where "evil" gradually moves from character to character (Howl, fire demon, Wasteland Witch and Madame Saliman). Witches embody the formidable image of destructive and persecuting "mothers" who want to devour or subjugate the "eternal boy" to their power. But the central enemy of the whole story is the theme of senseless war, which embodies the manifestations of "absolute evil", pursuing only destruction and "emptiness". In contrast, the director considers the gradual formation of each character, following the fate of their libidinal drives. At the same time, all the characters are enchanted and are not who they seem, which also bears the seal of loss of something. Even at the end of the story, when Sophie kisses the enchanted handsome prince in the guise of a scarecrow (because of whose disappearance the war began), she immediately denies him mutual love, because she is in love with another. The prince returns home empty-handed (as does the fisherman Urasimo Taro), but this is the apparent picture of things. He finds loss, which triggers the process of sadness and the possibility of his further mental development. The same goes for the main characters who are aware of their mortality. Sophie ends her mourning for her father by shifting libido from the paternal object to the wizard, while Howl sacrifices himself for the sake of his beloved, also shifting his attraction from the maternal object to a new one. Both characters are living through the early trauma of losing affection, which brings possible relief, but does not give them complete healing. The walking castle is also repeatedly transformed throughout history, up to the actual destruction, but eventually becomes an Air Castle, which embodies the image of an immortal soul.

The story of the "Walking Castle" gives an opportunity to touch the theme of grieving for the lost, presenting a variety of images of the unconscious in the author. The animated film "The Walking Castle" embodies Miyazaki's general concern about the impact of capitalist relationships and new technologies on modern man, about world wars and catastrophes, about the imminent collapse and rebirth of his studio, about the passing of his faithful teachers, colleagues and friends, as well as about the direct collision of the director with his own aging and withering. The inner world of the director was directly reflected and continues to be directly reflected in all his work. His animated films contain his philosophical and life reflections and reflections on modern man and the world around him. Miyazaki in his work designates the image of "nostalgia" for the lost, which is more clearly manifested in his subsequent works (for example, "The Wind grows Stronger", 2013). In particular, Miyazaki worries about the future of his grandchildren, as a reflection of more global concerns about humanity as a whole today and tomorrow. As a result, his concern was embodied in the film adaptation of Genzaburo Yoshino's landmark book "How are You?". This article can serve as a springboard to explore the magical world of the director, as well as prepare to get acquainted with his latest film testament: "The Boy and the Bird", or "How are you?".

The material of this article was presented in the form of an oral report at the XII interregional psychoanalytic conference RO CPT-Chelyabinsk "On the lost ..." (October 21-22, 2023).