Food in films often feels like a casual backdrop, a simple detail to make scenes relatable. But what if food was more than just set dressing? What if the way characters interact with food could reveal hidden depths about their personalities, intentions, and even the story itself? This is the fascinating realm of “Food Theory,” a concept developed by Japanese writer and snack researcher Fukuda Rika. Originally presented in a Japanese podcast episode in 2012, food theory offers a unique lens through which to analyze storytelling, particularly effective in animation. This article delves into the core principles of food theory, exploring its profound implications, especially within the context of Hayao Miyazaki’s celebrated animated works.
The Core Principles of Food Theory
Fukuda Rika’s food theory, as discussed in the podcast, rests on three fundamental observations about how food functions in narrative:
1. The Joyful Eater: A Sign of Trust and Goodness
According to food theory, characters who genuinely enjoy their food are immediately perceived as trustworthy and likeable. The act of eating with gusto, described in Japanese as “showing the bottom of their stomach,” is interpreted by the audience as a sign of openness and honesty. When a character enthusiastically devours a meal, mouth wide open, it subconsciously signals their emotional accessibility. Viewers instinctively gravitate towards and place their trust in characters who display this uninhibited enjoyment of food. This principle taps into our primal understanding of vulnerability and sincerity; someone comfortable enough to relish their food is likely comfortable revealing their true self.
2. The Uneaten Meal: Mystery and Hidden Intentions
Conversely, characters who avoid eating or eat sparingly often project an aura of mystery or hidden motives. By not fully engaging with food, these characters withhold a part of themselves from the audience. They don’t “show the bottom of their stomach,” maintaining a distance that shrouds them in enigma. This technique prevents the audience from perceiving them as ordinary or predictable, enhancing their mystique. This applies to characters across the moral spectrum. For instance, iconic figures like Lupin the 3rd and Jigen, known for their coolness and almost superhuman abilities, should not be depicted as overly relatable or indulging in food with abandon. Fukuda Rika even suggests that the famous spaghetti scene in Castle of Cagliostro, while beloved, might be a misstep in “food grammar” for Lupin, potentially making him too ordinary. This kind of hearty eating is more fitting for purely innocent characters like Conan in Future Boy Conan, highlighting a potential carry-over in directorial style.
3. Wasting Food: The Mark of a Villain
The most potent and negative application of food theory involves the act of wasting food. This principle suggests that whether a villain eats or refuses to eat, their disregard for food triggers a deep-seated negative reaction in the audience. Food, at a fundamental level, is tied to our survival instincts. Witnessing someone waste food violates these primal instincts of preservation and resourcefulness. This violation evokes a sense of unease and moral disapproval, effectively signaling villainy.
A striking example of this principle is the strudel scene in Inglourious Basterds featuring Colonel Landa. Initially, Landa savors the strudel, praising its quality, which might momentarily soften the audience’s perception of him. However, this carefully constructed image is shattered when he callously extinguishes his cigarette in the remains of the pastry. This seemingly minor act is profoundly disturbing. It’s not a grand display of villainy, but within the context of food theory, it speaks volumes. This casual desecration of food, something essential for life, subtly communicates Landa’s capacity for cruelty and disregard for human life itself. It connects the seemingly small act of wasting food to the much larger and more horrific acts he is capable of, tapping into the audience’s visceral revulsion.
Food Theory in Miyazaki Anime: A Masterclass in Subtlety
Many viewers appreciate the appealing depiction of food in Hayao Miyazaki’s films, often remarking on how “delicious” the animated meals look. However, food theory reveals a much deeper and more intentional purpose behind food in Miyazaki’s storytelling. Miyazaki is not merely making food look appetizing; he is meticulously employing a “grammar of feeding,” carefully considering who eats, how they eat, and with whom they share their meals. He masterfully uses food to define character relationships and emotional states, often avoiding communal eating between characters lacking genuine emotional connection.
Miyazaki’s sensitivity to food’s narrative potential may stem from his early aspirations to be a comic artist and his involvement in a Children’s Literature research group during his university years. In children’s literature, food holds significant power. Before complex themes of sexuality or violence become relevant, depicting food is a key way to engage children’s interest and create relatable scenarios. Works like Nakagawa Eriko’s “Guri to Gura” exemplify this, where food plays a central role in captivating young readers.
Specific Examples in Miyazaki’s Works
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Lupin the 3rd: Castle of Cagliostro: While the spaghetti scene might be debated within food theory, the film masterfully utilizes cigarettes. Cigarettes, in this context, contribute to Lupin’s nihilistic persona and serve as a barrier to communication, representing unspoken truths and hidden agendas. The visual language of cigarettes is meticulously crafted – from the opening credits to Clarisa’s thanks causing Jigen to drop his cigarette, and Zenigata sharing a half-smoked cigarette with Lupin in the tunnels. This shared cigarette perfectly encapsulates the delicate balance of rivalry and respect between them, maintaining the appropriate distance between these complex characters.
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Porco Rosso: In contrast to Castle of Cagliostro, Porco Rosso showcases a more successful application of “spaghetti acting.” The scene in Milan where the women at Picolo’s factory prepare spaghetti before starting their workday beautifully illustrates the connection between labor and sustenance. Miyazaki emphasizes the exchange of energy – characters expend energy through work and replenish it through food. He elevates food to a romanticized element, similar to how other directors might romanticize objects like guns or love, imbuing it with symbolic weight.
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Kiki’s Delivery Service: The Grey Area of Food Theory: The herring pie incident in Kiki’s Delivery Service presents a nuanced example, showcasing what could be termed “grey food theory.” Despite Kiki and the grandmother’s dedicated effort, the granddaughter rejects the pie with ingratitude. While it’s easy to dislike the granddaughter, this scene resonates with audiences who understand the complexities of food preferences and familial expectations. Many have experienced receiving unwanted food from relatives or feeling resentment towards dishes made with perceived obligation rather than genuine care. This scene, therefore, acts as a subtle didactic tool, prompting reflection on unspoken family dynamics and individual tastes. Interestingly, the Japanese word for “herring” (nishin) is a homonym for “double-faced” (ni-shin), potentially adding another layer of symbolic meaning to the granddaughter’s seemingly duplicitous reaction.
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Food as Fuel for the Journey (Ponyo, Laputa, Princess Mononoke, Nausicaa): Miyazaki consistently emphasizes the practical necessity of food for characters embarking on journeys or facing challenges. From Ponyo to Laputa, characters are frequently shown packing food for their adventures. This contrasts with many live-action films, where characters’ sustenance is often implicitly assumed. In Miyazaki’s animation, depicting characters preparing and consuming food grounds them in a tangible reality. When characters like Ashitaka in Princess Mononoke are forced to flee, the items they prioritize—food, money, weapons—reveal their core values. Master Yupa in Nausicaa, a knight, is depicted with a pack animal solely dedicated to carrying supplies, underscoring the arduous nature of his journey in a way that is both practical and visually compelling.
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Food and Compassion (Nausicaa, Spirited Away, Princess Mononoke, Kiki’s Delivery Service): Miyazaki uses food to illustrate characters’ compassion and relationships, especially with animals and those in need. Nausicaa feeding animals before herself demonstrates her selfless nature. Lin in Spirited Away shares candy with the soot sprites and brings Kamajii water and tendon, subtly revealing ongoing care and connection. In Princess Mononoke, Ashitaka’s act of feeding Yakul before himself, and even sharing food from his own hand, highlights his nobility and deep bond with his animal companion. Even Jiji in Kiki’s Delivery Service, initially sharing meals with Kiki at the table, gradually shifts to eating separately as their relationship evolves, reflecting their growing independence. Miyazaki’s portrayal of animals emphasizes the importance of feeding in building relationships, moving beyond simplistic gestures like petting to depict a more nuanced and realistic bond.
Conclusion: The Deeper Meaning in Every Bite
Food theory, as articulated by Fukuda Rika and brilliantly exemplified in Miyazaki’s anime, reveals a powerful and often overlooked dimension of visual storytelling. It demonstrates that food is not merely a prop but a potent narrative device capable of conveying character, relationships, and thematic depth. By consciously or unconsciously applying these principles, Miyazaki elevates the simple act of eating into a rich source of meaning, enriching his films with layers of subtle yet profound communication. Understanding food theory allows viewers to appreciate the artistry behind even the most mundane actions on screen, revealing the delicious depths hidden within animated worlds and beyond.
