Editing Castle in the Sky (section)

== Themes ==

=== Roles of nature and technology ===

''Castle in the Sky'' contains a strong theme of [[environmentalism]], questioning humanity's relationship with nature and the role of technology.{{sfn|Odell|Le Blanc|2009|pp=20–21}} McCarthy interprets the giant tree of Laputa as a "metaphor for the reviving and life-giving power of nature."{{sfn|McCarthy|2002|p=98}} However, in contrast with the more optimistic conclusions of Miyazaki's previous works, Napier notes that the film ends with an "unsettling view" of the castle flying away, suggesting that humanity may not deserve to exist in the natural world.{{sfn|Napier|2018|p=94}} Literary scholar Anthony Lioi interprets Laputa as an ecological [[utopia]] that demonstrates the peace that can be established between nature and advanced technology, but also serves as a criticism of modernity when "[the] peace is shattered by human violence."{{sfn|Lioi|2010}} Lioi notes that this outlook differs from dominant Western ideas, eschewing the extremes of [[capitalism]] and [[industrialism]], as well as radical environmentalism and [[conservationism]].{{sfn|Lioi|2010}}

[[File:Laputa Castle in the Sky, screencap 2.jpg |thumb|While Laputa's giant tree is seen as a metaphor for the restorative capability of the natural world, its underside is a symbol of the immorality of modernity.{{sfn|Lioi|2010}} |alt=The flying castle Laputa, with the giant tree on top and weapons system underneath]]

Critics note the philosophical ambiguity of the castle; while Laputa initially appears to be an ideal union of nature and technology, it is later revealed to have a much harsher and more oppressive underside;{{sfn|McCarthy|2002|p=98}} Napier writes that Laputa is "deeply paradoxical".{{sfn|Napier|2018|p=98}} Laputa itself takes direct inspiration from the [[Laputa|island of the same name]] from ''[[Gulliver's Travels]]'' (1726),{{sfnm|1a1=Miyazaki|1y=2009|1p=252|2a1=Napier|2y=2018|2p=88}} and film scholar Cristina Cardia claims that, like its namesake, the island is introduced with benign intentions but is ultimately "exploited for perverse ends, in this case war."{{sfn|Cardia|2018|p=14}} Lioi argues that Laputa is used as a means to comment on the ethics of contemporary culture,{{sfn|Lioi|2010}} based on Ildney Cavalcanti's observation that such a utopia also "must contain an overtly dystopian element, such that the implicit critique in utopian discourse becomes explicit."<ref>{{harvnb|Cavalcanti|2004}}, cited in {{harvnb|Lioi|2010}}.</ref> However, he interprets the ultimate destruction of the castle's weapons as a demonstration that "violence is not the heart of the city", and that the dystopic elements of modernity can be healed.{{sfn|Lioi|2010}}

The film also presents an ambiguous view on the usage of technology.{{sfn|Odell|Le Blanc|2009|p=21}} The robots from Laputa provide an example of this view, as they are introduced in the film as a violent force capable of extreme destruction. However, when the protagonists next meet a robot, it is entirely peaceful, tending to the gardens and fauna on Laputa.{{sfn|Napier|2018|p=95}} Lioi argues that the robots, as a representation of Laputan technology, are caretakers by default and only become destructive in response to human brutality.{{sfn|Lioi|2010}} McCarthy argues that "this is not a comment on technology but on man's inability to use it wisely."{{sfn|McCarthy|2002|p=95}} Odell and Le Blanc conclude that "technology{{nbsp}}... is not necessarily a bad thing, but we must consider how it's used and to what extent."{{sfn|Odell|Le Blanc|2009|p=21}} The duality of nature and technology is further explored in Miyazaki's later film ''[[Princess Mononoke]]'' (1997).{{sfn|Odell|Le Blanc|2009|p=21}}

=== Innocence of children ===

Like many other films by Miyazaki, ''Castle in the Sky'' features young children as protagonists.{{sfn|Odell|Le Blanc|2009|p=22}} Miyazaki values the portrayal of children as good-hearted, confident in their own agency, and resilient and upbeat in response to adversity.{{sfn|Napier|2018|p=92}} He criticized reviewers of his television series ''[[Future Boy Conan]]'' (1978) who described the titular character as "too much of a goody-two-shoes", admitting he was tempted to retort "So you want to see 'bad characters', you fool?"<ref>{{harvnb|Miyazaki|2009|p=295}}, cited in {{harvnb|Napier|2018|p=92}}.</ref> Film critics [[Colin Odell and Michelle Le Blanc]] argue that creating a film with younger protagonists generates perspectives that an adult would not perceive, saying "the children in Ghibli's films are a liberating force that allows anything to be possible."{{sfn|Odell|Le Blanc|2009|p=23}}

The lack of parental oversight of the protagonists is an element Miyazaki feels to be important in promoting children's independence. The protagonists of his films are, like Sheeta and Pazu, often orphaned, or in some way parted from their parents.{{sfn|Napier|2018|pp=92–93}} Miyazaki believes that "one of the essential elements of most classical children's literature is that the children in the stories actually fend for themselves."<ref>{{harvnb|Miyazaki|2009|p=341}}, cited in {{harvnb|Napier|2018|p=92}}.</ref> The presence of parents, in his opinion, would stifle the children's autonomy.{{sfn|Napier|2018|p=93}} The limitations that children have in their abilities are also explored in the film; for example, Pazu comes close to forsaking Sheeta and his quest for Laputa.{{sfn|Greenberg|2018|p=111}} Additionally, unlike Miyazaki's previous works, the protagonists do not succeed at convincing the antagonists of their wrongdoing, which offers a more pessimistic view on children's ability to educate others.{{sfn|Greenberg|2018|p=111}}

Napier proposes that Miyazaki's insistence on showing the freedom of children in ''Castle in the Sky'' can be credited to the influence of ''[[Panda and the Magic Serpent]]'' (1958).{{sfn|Napier|2018|p=93}} Miyazaki first watched the film at age 17, and it moved him to pursue a career in animation.{{sfn|Greenberg|2018|p=4}} At a lecture given in 1982 at [[Waseda University]], he said "When I saw ''Panda and the Magic Serpent'', it was as if the scales fell from my eyes; I realized that I should depict the honesty and goodness of children in my work." He considers this a focal point in his endeavors.<ref name="MN" /> The theme of innocence is explored further in Miyazaki's succeeding film ''[[My Neighbor Totoro]]'' (1988).{{sfn|Napier|2018|p=105}}