In our earlier work (Rustin and Rustin, 2001, 2003), we developed readings of classic works of

fiction for children that focused on their symbolisation of crucial moments of emotional
development. We argued that finding symbolic equivalents for the normal anxieties and
transitions of childhood was a major achievement of this tradition, enabling one to understand
the imaginative impact on adult as well as child readers of such stories as E.B.
White's Charlotte's Web and Phillippa Pearce's Tom's Midnight Garden. We noted that child
characters often find themselves separated from their parents, not as in earlier writing for
children such as Frances Hodgson's Burnett's The Secret Garden through suffering the death of
parents, but more often through the milder separations caused by holidays or family illnesses.
Through this device, the stories explore the idea that separation from parents is a normal
experience of childhood, beginning with the days of infancy, when no mother can be fully
available. Living with the pains of separateness - but also with its compensating joys and
opportunities - is part of the emotional experience of being a child. D.W. Winnicott's famous
'transitional objects' - in-between objects, like the special blankets or teddies to which small
children become deeply attached - refer to how children fashion ways of keeping in touch with
internal representations of a mother-figure in her absence.

Like many of Miyazaki’s films, a major theme in Spirited Away is a child’s

symbolic journey into the world of adulthood. If we take a psychological view, the
film can be read as a manifestation of Chihiro’s unconscious as she navigates the
cold and frantic world of adulthood. 

The unconscious mind is basically the part of the mind that contains
underlying feelings, thoughts and urges that influence conscious behaviour
and emotions. Psychologist C.G. Jung determined the idea of archetypes.
They’re symbolic images and thoughts that represent our psychology,
manifested in dreams, literature or art.

Spirited Away is rich in these archetypes and symbolism, reflecting

Chihiro’s growth and the subconscious workings of her psyche. Let’s take
a look at some of the psychological revelations in the film.

But she is still just a child. We often see Chihiro holding her tears in or
crying her secret as she attempts to manage her responsibilities and her
feelings. 
Chihiro crying during her break (Image credit: Studio Ghibli)

When Chihiro suddenly bursts into tears while she eats, Jung would
consider this as her unconscious emotions rising to the surface. She’s been
too busy to meet everyone’s expectations of her that she hasn’t had the
chance to even feel sad or process her emotions.

Like Jung’s description of the spirit archetype, she forces the hero to face the issue.
Yubaba triggers Chihiro’s growth into adulthood by throwing challenges at the
child hero. 

A comparison of the ending scene of the film to the opening reveals her
growth from a child to a hero. Watching Chihiro’s journey gives us an
insight into our own. And with this psychological view, it’s comforting to
know that the challenges thrown our way is something everyone must
contend with in our own ways. 
“The hero’s main feat is to overcome the monster of darkness: it is the
long-hoped-for and expected triumph of consciousness over the
unconscious.”
C.G. Jung

The beauty of Spirited Away is in its universality despite the fantastical

atmosphere. Like Chihiro, we have all experienced some kind of
subconscious transformation accompanied by challenges. Miyazaki’s film
shows us the necessity of leaving our childhood behind, but also reminds
us that the child hero will always live within us.