导言
历史上，动画漫画和电影在战争中被用作"宣传"(Roffat 2011). 然而，一些动画片有助于传达反战的和平主义观点(Takai 2011). 因此，电影《波尔科·罗索》(1992年)可归类为“反战争宣传”(奥库达，2003年，第144页)。 虽然宫崎被第一次世界大战至第二次世界大战期间设计和制造的海机所吸引(2008年，Kiridowshi，第72页)，但本片传达了战争的重要记忆，尤其是战间时代和后冷战世界。 事实上，宫崎在Porco Rosso发行前的一次采访中表示，这部电影与海湾战争有关，并将南斯拉夫战争称为种族和民族主义冲突(宫崎1996，第519页；宫崎2002，第95页). 在此背景下，影片转发了宫崎的反战信息。
本文考察了波尔科·罗索(英语：Kurenai no Buta)，该作品基于Hikotei Jidai(飞船的黄金时代)的15页，由宫崎孝和发布在动画期刊"Model Graphics"中创作的漫画，1990年第14-16期(Kiridoshi 2008，第72页). 在波尔科·罗索(Porco Rosso)的开头，漫画故事的提要字面上是“类型”的，其内容如下：“这幅动画是在海洋飞机统治海浪的时代在地中海上空拍摄的。 它讲述了一只勇敢的猪的故事，他与飞行海盗作战，为他的骄傲，为他的情人，为他的财富。 我们故事中的英雄名叫Crimson Pig。”
有关这部电影的奖学金侧重于“战争与和平”问题，特别是“非战争”信息(如Okuda 2003)。 同样，Kazami等人(2002年)，除其他外，(Kano;Kiridoshi,2008年)对电影的中心问题提供了一些答案：为什么波尔科变成猪？主要原因是他受到战争的创伤。 在Kazami等人的工作基础上，本文将波尔科成为猪的原因归结为以下三个方面："人，国家与战争"(Waltz,1959). 国际政治理论家肯尼斯·瓦尔茨(Kenneth Waltz)认为，战争的原因发生在三个层面：个人，国内和国际。 与瓦尔茨一样，我在此认为波尔科之所以成为猪是因为他讨厌以下三个因素：人(egoism)，国家(民族主义)和战争(民兵主义). 因此，我对波尔科·罗索的分析是在和平研究和国际关系的框架内进行的，如非杀人哲学、软实力/硬实力以及预防冲突/解决冲突。
方法
在动画研究领域，Sudio Ghibli的动画电影经常被作为案例研究分析。 Ghibli动画片“常常被认为是艺术作品，既具有娱乐性又有意义”(Gan 2009，第36页)。 工作室Ghibli的电影，特别是宫崎孝男执导的电影，有大量出版物。 例如，信长Tsugata(2004年)与Astro Boy(1963年)的创作者Osamu Tezuka动画漫画相比，审查了宫崎的作品。 宫崎的电影也曾与迪士尼动画相比被讨论过。 例如，Kaori Yoshida(2011年)就迪士尼的宝佳康蒂(1995年)和吉卜利的莫诺诺克公主(1997年)的民族身份进行了比较分析。 此外，一些学者(如Kano 2006;Kiridoshi 2008)对宫崎的电影进行了全面的专题或结构分析。 然而，早期对宫崎动画的研究，或宫崎相关动画电影，并不一定注重战争与和平问题。 因此，本文从战争与和平的角度分析了宫崎相关动画片(表1)。
虽然表1中与宫崎相关的电影并不直接涉及战争本身，但都在一定程度上与战争与和平有关。 霍尔斯：太阳王子(1968年)是越南战争(1965年-1975年)中期的发布，影片的一些战斗场景代表战争。 宫崎以动画师的身份参与了本片的创作，导演伊绍·高河田，是一位朋友和同事。
风之谷的Nausicaä(1984年)是一部杰作，影片反映了冷战时期的国际政治。 引发末日战争的巨型勇士(英语：Kyoshinhei)，或称七日火，作为核武器的象征作用。 故事中两个强国佩吉特与托尔梅基亚的对峙同样可以被视为冷战两极结构的反映(秋本2014a). 拉普塔：天空中的城堡(1986年)也是在冷战中期创建的。 80年代中期，世界上核弹头的数量达到了顶峰，传说中的城堡拉普塔的军事技术也象征着核武器。 在这部电影中，"和平"一词只有一次被穆斯卡使用，穆斯卡试图通过占有拉普塔的军事技术征服世界。 显然，这是宫崎(Akimoto 2014b)的“政治讽刺”。 "萤火虫之坟墓"(1988年)，是一部关于太平洋战争末期日本男孩和小妹妹的虚构电影(1941-1945)，本片并非由宫崎 M执导，而是由另一位工作室吉布利导演伊绍·高哈塔(英语：Isao Takahata)执导(Akimoto 2014c)，但反映了类似的反战情绪。
在冷战后背景下，宫崎生产了波尔科·罗索(1992年)，描绘了亚得里亚海与南斯拉夫战争(1991年)的战间期(1919-1939年). 宫崎为创建"心之Whisper"(1994年)做出了贡献，"心之Whisper"曾传承过第二次世界大战(1939-1945年). 莫诺诺克公主(1997年)处理日本内战以及人与动物的对抗。 Howl's Moving Castle(2004)和最新电影"风起云起(2013年)"与2003年伊拉克战争和亚太战争(1931-1945年)有关(秋本2014d；秋本2014e). 因此，可以从和平研究(和平研究)的角度分析宫崎或吉卜利工作室参与的电影，和平研究是一个研究战争原因与和平条件的学术领域。 虽然在教授日本动画时需要仔细考虑伦理和法律问题(McLelland,2013年)，但 Studio Ghibli动画电影可以作为大学一级的教育材料(Yonemura,2003年，第10页)，特别是在和平研究与和平教育领域。 从和平研究的角度来说，波尔科·罗索做了一个特别丰富的CAS e研究，特别是因为宫崎荣获1993年安妮西国际动画电影节最佳故事片奖(Annecy.org 2013). 由于该奖项是国际最有声望的动画电影节之一，该片在国际上受到好评，宫崎也因此被定性为"华特迪士尼日本人"(Christin,1997，第184页).
关于波尔科·罗索的大部分评论和奖学金倾向于一般性分析，没有具体侧重于战争与和平(例如1992年、2011年；Kazami等人，2002年；Okuda,2003年；Kano,2006年；Kiridoshi,2008年)。 此外，宫崎本人对自己的工作也提出了类似的评论(宫崎1996,1997,2013). 然而，这部电影的早期研究都没有从和平研究的角度对其进行调查。 为了研究波尔科·罗索(Porco Rosso)，他向风起(Kaze Tachinu)传达了类似的反战信息(2013年)，其中讲述了日本的战间期和战争责任(Akimoto 2013a)，本文采用了将和平研究与动画研究相结合的跨学科方法。 作为分析方法，本文将上述关键词分析与人物行以及历史事件的序列分析结合起来。 测序分析是检查时间顺序(Abbott 1995)的有用工具，适用于电影研究，特别注重历史背景中的人物行。 因此，本片的五个主角以及历史背景需要在本节中加以概述。
首先，这部电影的英雄是一只猪波尔科·罗索(Porco Rosso)，他驾驶着他的Crimson海平面飞行，SAVIA S-21. 作为赏金猎人，他在第一次世界大战后在亚得里亚海的Aero Viking(英语：Aero Viking (Sky Pirates))上破门而入。 他曾经是一名人类(Marco Paggot)和意大利空军的王牌飞行员，但他在战后决定离开军队并诅咒自己，变成一只猪。 如我下文所述，波尔科因战争经历而受到创伤(Animage 2011，第35-37页)。 第二，吉娜女士，波尔科的童年朋友和阿德里诺酒店的夫人，是本片的两位女主角之一。 在电影中，地中海的飞行员往往会爱上她，为了她的歌曲而拜访阿德里亚诺酒店(Hotel Adriano). 她嫁给了三名飞行员，他们都是她小时候组织的飞行俱乐部的成员，但都死于大战，或飞行事故。 吉娜暗恋波尔科，反之亦然(同上，第54-57页)。
第三，另一个女主角菲约·皮科洛(Fiyo Piccolo)是一位17岁的女性机械师，也是皮科洛大师的孙女。 她修复了波尔科的海面飞机，并发展了与他的青少年迷恋(同上，43-45)。 第四，唐纳德·柯蒂斯(英語：Donald Curtis)是一名美国飞行员，也是波尔科的对手，被Aero Viking雇佣来对抗波尔科。 他是一个称职的飞行员，并且有志于首先成为好莱坞电影明星，之后成为美国总统。 柯蒂斯一见钟情地爱上了吉娜，接下来爱上了菲约(同上，第48-51页). 第五，在第一次世界大战后，亚得里亚海最大的Aero Vikings人之一Mamma Aiutos窃取和绑架为生(同上，第63-65页)。 如下文表2所示，本研究在以下历史背景中审查了五个字符的行。
在宏观层面上，需要考虑作为电影历史背景的战间纪年，因为这一背景对于理解本片内容至关重要。 在微观一级，将审查影片的关键场景和主角的台词。 这对理解电影对战争与和平问题的影响也是必不可少的。 影片中九大重要场景的顺序如下：
1) Porco的 " 不杀人 " 政策：与Mamma Aiutos人的战斗
(2) 吉纳的 " 软实力 " 和 " 和平预防冲突 "
3) 吉娜在战争与和平中的生活
4) 波尔科对国家和战争的反感
5) Fiyo和Porco战斗机的修理
6)"猪与意大利空军":"比"法西斯"更好的猪".
7. 菲约的 " 软实力 " 和 " 和平解决冲突 "
8) 战争与拼写：他为什么变成猪？.
9) 波尔科在最后战役中的"不杀人"哲学
因此，这九节中的主要人物对话是需要认真调查的主要来源，与我先前的论点相结合，也是在战争期间作为次要来源的有关出版物。 将通过在和平研究和国际政治中使用关键词来审查影片和人物行的顺序分析。
调查结果
1. 波尔科的 " 不杀人 " 政策：与Mamma Aiutos人的战争
影片以主角波尔科·罗索(似乎正在享受他的假期——在海滩上喝酒打午睡)的场景开始，醒来时接到紧急电话。 他作为合同作战飞行员工作，以打击飞行的海盗和帮派，如马玛·艾乌托人。 虽然他离开了意大利军队，但他为亚得里亚海的和平与安全而努力，以取代墨索里尼的国家法西斯党。 意大利是国际联盟安全理事会的成员国之一(1920年-1946年)，但其集体安全体系没有发挥作用，最终无法阻止"满洲事件"(1931年)和"阿比西尼亚危机"(1935年-1936年)，或第二次意大利-埃塞俄比亚战争(1935年-1936年)的发生。 这样，波尔科在电影中的工作
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Introduction
Historically, animated cartoons and movies have been used as ‘propaganda’ in war (Roffat 2011). Some animated films, however, contribute to conveying an anti-war pacifist point of view (Takai 2011). As such, the film Porco Rosso (1992) can be categorized as “anti-war propaganda” (Okuda 2003, p. 144). Although Miyazaki has been attracted by seaplanes designed and manufactured during the period between the First World War and the Second World War (Kiridoshi 2008, p. 72), this film conveys the important memory of war, especially the interwar era and the post-Cold War world. Indeed, in an interview just before the release of Porco Rosso, Miyazaki stated that the film is relevant to the Gulf War, and referred to the Yugoslav Wars as ethnic and nationalistic conflicts (Miyazaki 1996, p. 519; Miyazaki 2002, p. 95). In this context, the film forwards Miyazaki’s anti-war message.
This paper examines Porco Rosso (Kurenai no Buta), which is based on 15 pages of Hikotei Jidai (The Golden Age of the Flying Boat), a comic created by Hayao Miyazaki and released in the animation journal, Model Graphics, No.14-16 in 1990 (Kiridoshi 2008, p. 72). A synopsis of the comic story is literally “typed” at the beginning of Porco Rosso, as follows: “This motion picture is set over the Mediterranean Sea in an age when seaplanes ruled the waves. It tells a story of a valiant pig, who fought against flying pirates, for his pride, for his lover, and for his fortune. The name of the hero of our story is Crimson Pig.”
Scholarship on this film has focused on issues of “war and peace,” especially in terms of the “non-war” (hisen) message (e.g. Okuda 2003). Similarly, Kazami et al (2002), among others, (Kano 2006; Kiridoshi 2008) provide some answers to the central question of the film: Why did Porco turn into a pig? The primary reason is that he was traumatized by the war. Building on Kazami et al’s work, this paper attributes the reason that Porco became a pig to the following three aspects: “man, the state and war” (Waltz, 1959). According Kenneth Waltz, theorist of international politics, the causes of war occur on three levels: individual, domestic, and international. Like Waltz, I argue here that Porco became a pig because he hates the following three factors: man (egoism), the state (nationalism) and war (militarism). Accordingly, my analysis of Porco Rosso is situated in the framework of peace research and international relations, such as non-killing philosophy, soft power/hard power, and conflict prevention/conflict resolution.
Methodology
In the field of animation studies, animation films by Studio Ghibli have been frequently analyzed as a case study. Ghibli animation films are “often considered as artistic productions, both entertaining and meaningful” (Gan 2009, p. 36). There are a large number of publications on the Studio Ghibli’s films, particularly those directed by Hayao Miyazaki. Nobuyuki Tsugata (2004), for instance, examined Miyazaki’s works in comparison with the animated cartoons of Osamu Tezuka, the creator of Astro Boy (1963). Miyazaki’s films also have been discussed compared with Disney animation. For instance, Kaori Yoshida (2011) offered a comparative analysis on Disney’s Pocahontas (1995) and Ghibli’s Princess Mononoke (1997) in terms of national identity. Moreover, some scholars (e.g. Kano 2006; Kiridoshi 2008) provided comprehensive thematic or structural analyses of Miyazaki’s films. However, earlier studies on Miyazaki animation, or Miyazaki-related animation films, do not necessarily focus on the issue of war and peace. Therefore, this paper offers an analysis of Miyazaki-related animation films in terms of war and peace (Table 1).
Although the Miyazaki-related films in Table 1 do not directly deal with war themselves, all of them are related to war and peace to a certain extent. Hols: Prince of the Sun (1968) was released in the middle of the Vietnam War (1965-1975) and some combat scenes of the film represent the war. Miyazaki was involved as an animator in the creation of the film with director Isao Takahata, a friend and colleague.
Nausicaä of the Valley of the Wind (1984) is a masterpiece, and the film reflects the international politics during the Cold War. The Giant Warrior (kyoshinhei) that caused an apocalyptic war, or the Seven Days of Fire, functions as a symbol of nuclear weaponry. The confrontation between Pejite and Tolmekia, the two powerful countries in the story can similarly be regarded as reflection of the Cold War bipolar structure (Akimoto 2014a). Laputa: Castle in the Sky (1986) was also created during the middle of the Cold War. The number of nuclear warheads in the world reached its peak in the mid-1980s, and the military technology of the legendary castle, Laputa, also symbolizes nuclear weapons. In this film, the word, “peace” is used only one time by Muska, who tries to conquer the world by taking possession of Laputa’s military technology. Obviously, this is a “political satire” by Miyazaki (Akimoto 2014b). Grave of the Fireflies (1988), a fictional film about a Japanese boy and his little sister at the end of the Pacific War (1941-1945), was not directed by Miyazaki but instead by Isao Takahata, another Studio Ghibli director (Akimoto 2014c), but reflects similar anti-war sentiment.
In the post-Cold War context, Miyazaki produced Porco Rosso (1992) which depicts the interwar period (1919-1939) of the Adriatic Sea in conjunction with the Yugoslavian War (1991). Miyazaki contributed to the creation of Whisper of the Heart (1994) that has a passing reference to the Second World War (1939-1945). Princess Mononoke (1997) deals with Japanese civil war as well as confrontation between humans and animals. Howl’s Moving Castle (2004) and the latest film, The Wind Rises (2013) are related to the 2003 Iraq War, and the Asia Pacific War (1931-1945) (Akimoto 2014d; Akimoto 2014e). Thus, the films in which Miyazaki or Studio Ghibli is involved can be analyzed from a perspective of peace research (peace studies), an academic field which examines causes of war and conditions for peace. While ethical and legal issues need to be carefully taken into consideration when teaching Japanese animation (McLelland 2013), Studio Ghibli animation films can be useful as educational materials at the university level (Yonemura 2003, p. 10), particularly in the fields of both peace research and peace education. From the perspective of peace research, Porco Rosso makes a particularly rich case study, particularly because Miyazaki won the best feature film award in the 1993 Annecy International Animation Film Festival (Annecy.org 2013). Due to the award, which is one of the most internationally prestigious animation film festivals, the film was internationally acclaimed, and Miyazaki characterized as “Walt Disney Nippon” (Christin 1997, p. 184).
Most reviews of and scholarship on Porco Rosso tend toward general analysis, lacking a specific focus on war and peace (e.g. Animage 1992, 2011; Kazami et al. 2002; Okuda 2003; Kano 2006; Kiridoshi 2008). Moreover, Miyazaki himself has made similar comments on his own work (Miyazaki 1996, 1997, 2013). Yet, none of the earlier studies of the film have investigated them from a perspective of peace research. In order to examine Porco Rosso, which conveys a similar anti-war message to The Wind Rises (Kaze Tachinu) (2013), which narrates Japan’s interwar period and war responsibility (Akimoto 2013a), this paper employs an interdisciplinary approach which combines peace research with animation studies. As an analytical method, this paper combines keyword analysis described above with sequence analysis of character’s lines as well as historical events. The sequence analysis is useful tool to examine timeline sequence (Abbott 1995) and it is applicable to film studies with a particular focus on character’s lines in historical context. Accordingly, the five main characters as well as historical background of this film need to be overviewed in this section.
First, the hero of this film is a pig, Porco Rosso who flies in his crimson seaplane, SAVOIA S-21. As a bounty hunter, he cracks down on Aero Viking (Sky Pirates) in the Adriatic Sea after the First World War. He used to be a human (Marco Paggot) and the ace pilot of the Italian Air Force, but he decided to leave the army after the war and cursed himself, turning into a pig. As I outline below, Porco was traumatized by his experiences in the war (Animage 2011, p. 35-37). Second, Madam Gina, a childhood friend of Porco and a madam of Hotel Adriano, is one of the two heroines of this film. In the film, it is said that pilots in the Mediterranean Sea tend to fall in love with her and visit Hotel Adriano for her song. She was married to three pilots who were all members of the Flying Club she organized as a child, but all of them died in the Great War, or in a flight accident. Gina is in secret love with Porco and vice versa (ibid, p. 54-57).
Third, Fiyo Piccolo, the other heroine, is a 17-year old female mechanic and the granddaughter of Master Piccolo. She repairs Porco’s seaplane and develops an adolescent infatuation with him (ibid, 43-45). Fourth, Donald Curtis, an American pilot and Porco’s rival, is hired by Aero Viking to fight against Porco. He is a competent pilot and has an ambition to first become a Hollywood movie star, and then US President afterwards. Curtis falls in love with Gina at first sight and falls for Fiyo next (ibid, pp. 48-51). Fifth, the Mamma Aiutos, one of the largest Aero Vikings in the Adriatic Sea, steals and kidnaps for a living after the First World War (ibid, p. 63-65). This study examines the five character’s lines in the following historical context as demonstrated by Table 2 below.
At a macro level, the chronology of the interwar period as the historical background for the film needs to be taken into consideration, as this background is crucial in understanding the content of this film. At a micro level, key scenes and main characters’ lines of the film will be examined. This is also imperative to comprehend the implications of the film for the issue of war and peace. The sequence of the nine most significant scenes in the film are as follows:
1) Porco’s “Non-Killing” Policy: Battle with the Mamma Aiutos
2) Gina’s “Soft Power” and “Peaceful Conflict Prevention”
3) Gina’s Life in War and Peace
4) Porco’s Antipathy towards the State and War
5) Fiyo and Repair of Porco’s Fighter Plane
6) The Pig and the Italian Air Force: “Better a Pig than a Fascist”
7) Fiyo’s “Soft Power” and “Peaceful Conflict Resolution”
8) The War and the Spell: Why Did He Turn Into a Pig?
9) Porco’s “Non-Killing” Philosophy in the Final Battle
The main characters’ dialogue in these nine sections accordingly constitute the primary source to be carefully investigated, in combination with my earlier argument, and relevant publications as secondary source in the context of the interwar period. The sequence analysis of the film and characters’ lines will be examined by using keywords in peace research and international politics.
Findings
1. Porco’s “Non-Killing” Policy: Battle with the Mamma Aiutos
The film begins with a scene in which the main character, Porco Rosso (who seems to be enjoying his vacation – drinking wine and taking a nap at a beach), wakes up with a phone call for an emergency. He works as a contract combat fighter pilot in order to crack down on flying pirates and gangs, such as the Mamma Aiutos. Although he left the Italian Army, he works for peace and security of the Adriatic Sea in place of Mussolini’s National Fascist Party. Italy was one of the member states of Security Council on the League of Nations (1920-1946), but its collective security system did not function, and eventually could not prevent the occurrence of the Manchurian Incident (1931) and the Abyssinian Crisis, or the Second Italy-Ethiopian War (1935-1936). In this way, Porco’s work in the film
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