Changing narrative within the scope of "Mono No Aware" aesthetic perception in animation and unhappy endings

The role of the narrative in the development and self-expression of humanity has been important. The variability of the narrative, which developed with humanity and took new forms of expression, did not go unnoticed by the theorists who studied it and enabled them to develop certain rules by researching the narrative. Considering that the narrative reflects not only periodical but also cultural characteristics, it can be said that civilizations that have progressed in culturally different ways handle the narrative differently. The stereotyped narrative style of narratives shaped by Western culture, and especially Hollywood-style happy endings, which is one of the most popular narrative forms of western cinema, was intensely liked by the audience, and the resulting happy ending narratives became identified with western civilizations. However, Japan, an eastern civilization, has a different view of the narrative, and they still use the narrative form with the aesthetic perception of "Mono No Aware", which has a less fairy tale and more melancholic structure instead of a happy ending. This study focuses on the perception of "Mono No Aware", a Japanese aesthetic and beauty concept. By examining the historical process and examples of the concept, it is aimed to present an alternative narrative development to the Hollywood-style "happy ending" cliché for animated films. In order to set an example for the use of the concept in today's animation narratives, Isao Takahata's film named "The Tale of Princess Kaguya" will be examined within the framework of the concept of "Mono No Aware". In addition, it is aimed to explain to the reader through this perception that the western style narrative has started to break today and the character roles in the narratives have started to go beyond the Hollywood patterns