村上隆さんのインスタグラム写真 - (村上隆Instagram)「No.7 6) I interpreted the parakeets as a character symbolizing the 70s’ plastic public housing and frivolous sense of peace. And the crowds in the parakeet kingdom may be the students in the era’s campus activism and conflict? ※※※※※※※※※※※※※※※※※※※※※ As a visual, the parakeets pose the great mystery in the film. Why are they depicted so ugly? Could they be a self-portrait of the Japanese living in the ubiquitous 1970s apartment complexes? When I was a kid, all the slightly rich people (relatively speaking, that is, since my family was so intensely poor that everyone else looked rich...) had parakeets. Parakeets, needless to say, are imported birds in Japan. The blue heron is a bird native to Japan, but it has become a bald old man in the film, and in contrast the parakeets form a faceless crowd. They have a king, and they all carry him up. That scene seems to evoke the imported student activism of the 60s. A number of dramatic films have depicted the tragedy of the era’s student movement, but Hayao-san has portrayed it as a comedy. I thought that the scene where the parakeet king smashes the stones at the end was also a critical representation of the imported political movements in Japan, in the sense that nothing changes even when the stones are smashed. 7) The meaning of the geometric forms of the stones stacked up is a symbol of the shit dogma of Japanese art education. ※※※※※※※※※※※※※※※※※※※※※ Now on to the issue of the geometry of the stacked-up stones. Everyone calls them "stones" in the film but for those of us who studied for the art university entrance exams, they remind us of the most abominable plaster geometric forms. In the film, the "stones" all have chipped corners, just the same as the geometric plaster casts that we used to see in the art classrooms.」9月11日 6時49分