Archetypal representation of universal codes in Hayao Miyazaki cinema

Intercultural communication and information sharing has become easier today. The role of technology in this condition is very important. On the other hand, the communication codes used by societies with different cultures are quite different from each other. These intercultural separations that have formed still create problems in communication. Despite this contrast, Hayao Miyazaki films are globally acclaimed films. Hayao Miyazaki, who was born in the post-war period, is one of the most important screenwriters and directors of Japanese animation cinema (anime). Miyazaki's films contain many code of Japanese local culture. Although the films are processed with these local cultural codes, it is remarkable that they are loved by different cultures. Understanding how this situation is possible will help to learn the method of revealing a universal accepted work. For this reason, the hypothesis put forward is that Hayao Miyazaki has abundant in universal cultural codes and archetypes in his cinema. In order to test this hypothesis, the mythologies of the world were examined primarily and Carl Gustav Jung's archetype concept was detailed. Local Japanese culture was examined after these concepts, which were considered to be universal cultural codes. In order to reveal the accuracy or inaccuracy of the hypothesis, the films directed by Hayao Miyazaki were identified and 8 films were selected as sample. These 8 selected films were analyzed through Roland Barthes's semiotic theory. The results of the analysis were evaluated and revealed that Hayao Miyazaki benefited from universal mythological symbols and stories in his films. In addition, archetypes were used extensively and extra popular culture elements were also found. Since two of the films examined were adaptation of Western novels, a decrease in local cultural codes was observed, but it was seen that they reached a good audience in Japan thanks to the universal codes they contained.