Garrard’s interpretation of the pollution motif in "Ecocriticism: The New Critical Idiom" (2004) focuses on the idea that pollution serves as both a literal and metaphorical signifier of the disruption caused by human activities in the natural world. He emphasizes that pollution represents not only the physical degradation of landscapes and ecosystems but also the moral and ethical corruption that stems from humanity's failure to coexist harmoniously with nature. Pollution, in this context, can symbolize the broader consequences of industrialization, consumerism, and the exploitation of natural resources, illustrating the imbalance between humanity and the environment.
In Hayao Miyazaki’s film "Princess Mononoke" (1997), the pollution motif is profoundly and intricately portrayed, capturing the essence of Garrard's definition through various narrative and visual elements. The film itself presents a dichotomy between industrial society and the natural world, highlighting how human activities lead to ecological destruction.
Example 1: The Iron Town and its Environmental Impact
One of the most glaring representations of pollution in "Princess Mononoke" is Iron Town (Tatara Ba). Led by Lady Eboshi, Iron Town symbolizes technological advancement and industrial exploitation. The town's very existence depends on mining iron, which leads to deforestation, land degradation, and the poisoning of the surrounding landscapes. This destruction is visually represented through the barren, darkened areas around the town contrasted with vibrant, lush forests inhabited by spirits and animals.
Justifying this example through Garrard’s pollution motif, Iron Town embodies the literal pollution of the environment. The logging and mining processes result in physical harm to the ecosystems, reflecting the degradation caused by human greed and the pursuit of progress. This pollution is not merely local but also has far-reaching implications, affecting the spirits of the forest and the balance of life. Therefore, Iron Town acts as a critical representation of how industrialization can lead to environmental and spiritual pollution, aligning with Garrard's view of pollution as both an ecological and ethical issue.
Example 2: The Cursed Boar, Okkoto
Another critical representation of pollution comes through the character of the boar god, Okkoto, who becomes cursed due to the wounds inflicted by human activities. After being shot by a hunter from Iron Town, Okkoto’s physical deterioration symbolizes the intersection of pollution and injury—both literal and metaphorical. His transformation into a corrupted, rage-filled creature represents not only the pain inflicted by humans but also the larger ecological crisis, where the natural world retaliates against human exploitation.
This example fits Garrard's pollution motif as it illustrates the degradation of nature not just as a physical process but as a reflection of moral and ethical corruption. Okkoto’s curse is emblematic of the broader consequences of environmental destruction—where the once noble creatures become monstrous due to human actions. This transformation highlights how the pollution of nature can lead to the corruption of traits traditionally associated with the environment, reinforcing Garrard's assertion that pollution reflects deeper moral failings in humanity's relationship with the earth.
In summary, both Iron Town and Okkoto serve as poignant representations of the pollution motif in "Princess Mononoke," delineating the complex interactions between humanity and nature as highlighted by Garrard in his ecocritical framework. Through these examples, the film underscores the grave consequences of environmental exploitation and the need for a harmonious coexistence with the natural world.