Miyazaki’s movies are always introducing heterotopias hosting imaginaries (I use the word imaginary here in an Edouard Glissant meaning) only accessible to people who did not give up their interpretation of the world as children. His movies fits absolutely with Foucault’s own definition of a certain kind of heterotopias, the parents’ bed which becomes a ship for example, but even more the most remote point of the garden, the one which remains unknown and therefore entertain all kind of fantasies and materialization of fear. Each of those movies are a journey following Lewis Caroll’s rabbit and dramatizes worlds where evil comes from a lack of imaginaries.

ハウルの動く城 (Howl’s Moving Castle) 2004
となりのトトロ (My Neighbor Totoro) 1988
天空の城ラピュタ (Laputa: Castle in the Sky) 1986
風の谷のナウシカ (Nausicaä of the Valley of the Wind) 1984
もののけ姫 (Princess Mononoke) 1997
千と千尋の神隠し (Spirited Away) 2001