Simultaneously, Eboshi’s efforts to de-stigmatize her workers ultimately punts perceived expendability from ailing humans to the dying, “irrelevant” kami outside Irontown’s walls, such that ancient religion becomes understood as illness. Through an analysis of Irontown’s fortified architecture, I argue that Princess Mononoke criticizes Eboshi’s “progressive” modernization, for Irontown’s reinforcement of segregation misguidedly reinscribes the Shinto religion’s view of disease as the boundary that determines social worth. ![]() Irontown leader Lady Eboshi drives a transition from Japanese feudalism to capitalist militarization, stoking the resentment of dying kami and gaining the gratitude of her employed prostitutes and people with leprosy. ![]() ![]() Hayao Miyazaki’s Princess Mononoke (1997) constructs an apocalyptic narrative in which hostility between Shinto gods ( kami) and human industrialization manifests in a curse.
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