PARIS LUCKE

CRITICAL PERSPECTIVES -
THESIS PROPOSAL OGR
THESIS ENQUIRY
TO WHAT EXTENT DOES HAYAO MIYAZAKI'S FILMS
'SPIRITED AWAY', 'HOWL'S MOVING CASTLE' AND
'MY NEIGHBOUR TOTORO' EXEMPLIFY SURREALISM
AND MIYAZAKI AS A SURREALIST FILM MAKER?
DISSERTATION SYNOPSES
This dissertation explores what makes Japanese film director Hayao Miyazaki a
surrealist film maker using Spirited Away, My Neighbour Totoro and Howl's
Moving Castle as case studies that exemplify Surrealism and reflect Miyazaki's
conscious/unconscious by linking Sigmund Freud's and mostly Carl Jung's
theories of psychoanalysis. Firstly, surrealism will be defined and it's history will
be explained in addition to establishing that Surrealism in Japan is the same as in
the West and providing societal historical context to the movement's beginnings
in Japan as well as the history of Japanese animation. Surrealism in the West is
next to be explored as Freud's and Jung's psychoanalysis theories are applied to
surrealism and animation, it will be argued why Jung's theories are more suited
for animation. Surrealist cinema follows, looking into what makes a film surreal?
What are the film making techniques? What are the genre's limitations? Finally
the case studies and Miyazaki as a director will be examined linking his films to
his culture, religion, childhood, history and psychoanalytic theories.
SURREALISM IN JAPAN

CHAPTER 1 SYNOPSES

The first chapter of this dissertation will explain what Surrealism is

by looking at its roots in Dadaism and how it evolved from that,
acknowledging that they are separate movements and what the
movements aims are. Next, surrealism's political resistance in Japan
is explored by looking into Japanese politics such as the 'thought
police' (Tokubetsu Kōtō Keisatsu) and the Peace Preservation Law
(Chian-ijihô) which sought to stop the movement's development by
looking at some surrealists of the time (Kansuke Yamamoto and
Shūzō Takiguchi). In addition to Surrealism's history, this chapter
also explores Japan's animation history before looking at more
modern surrealists such as Tetsuya Ishida and Yuko Shimizu.
SURREALISM IN THE WEST

CHAPTER 2 SYNOPSES

Chapter 2 of this dissertation will firstly look at the

psychoanalysis of Surrealism, looking at Freud's theories of
psychoanalysis and examining how famous Western Surrealists
apply his theories to their artistic methodology such as Salvador
Dali, Max Ernst, Andre Masson, Rene Magritte and Wolfgang,
Paalen. The next part of the chapter introduces Carl Jung's
theories of psychoanalysis and compares it to Freud. Surrealism
in terms of films is next to be explored defining what makes a
film a work of surrealism, what are the film making techniques
and what are the genre's limitations. To conclude chapter 2 it will
be argued why Jung's theories are best to explain animation.
MIYAZAKI AS A SURREALIST

CHAPTER 3 SYNOPSES

The final chapter explores Miyazaki as a surrealist, looking into

his film making techniques through the psychoanalytic lenses of
Jung and partially Freud which exemplify Miyzaki's surrealist
methodology. As a case study this chapter looks at three main
films, (Howl’s Moving Castle, Spirited Away and My Neighbour
Totoro) for relations to Miyazaki’s conscious/unconsciousness -
his upbringing, Japanese culture/religions/politics in addition to
looking into his filmic/animated influences (Le Roi et l'oiseau).
This part also looks at the shared motifs and themes that reoccur
across all his films and what his films reflect about him in
addition to why the worldwide appeal of his films.
RESEARCH PROFORMA
Author: Colin Odell & Michelle Le Blanc
Critical position: Film Critics and Freelance Authors.
Title: Studio Ghibli The Films of Hayao Miyazaki and Isao
Takahata
Publisher/publication: Kamera Books
Place of Publication: Herts
Date: 2009
Chapter(s):
Introduction
The Films of Studio Ghibli
Subject/Key Points and potential use (50-100 words): (80
Words)
This book discusses Miyazaki’s background and childhood in
relation to his films, in addition to Japanese culture/society
(bathing, foods and shoes in the house as a taboo) and
religion/mythology (Shintō and Buddhism). Reoccurring
themes, motifs and tones such as flying, environmentalism,
weather, child protagonists, metamorphosis, worlds within
worlds, the optimistic tones and positive messages -
characters always have the chance at redemption and
growth. The book also discusses the appeal to the west which
reflects Jung’s theory of universal archetypes.
Quotations:
“The remarkable films of Studio Ghibli show, without a
shadow of doubt, that cinema can be art.” Pg. 13
“Miyazaki Hayao was born in the modern capital of
Tōkyō on 5 January 1941. These were difficult and
turbulent times for Japan; the long campaigns of World
War II had left the country devastated and hungry.
Following Japan’s defeat in 1945 the country was
occupied by the United States … the early post-war
years were particularly harsh.” Pg. 15
“Miyazaki, grew up with his three brothers, father and
mother, the latter of a free-thinking spirit who inspired
her sons to question everything. As a result of his
mothers long-term illness, the family had to move
around the country seeking the best medical support,
the situation many commentators have linked to the
genesis of My Neighbour Totoro (1988).” Pg. 16
“Miyazaki’s father worked for his brother at Miyazaki
Airplane, and Hayao developed a love of flying
machines. He began drawing what he saw as well as
imagining new forms of aviation. These roots would
like to see him design designing flying machines not
only for the animated movies but also specialist
modelling magazines.” Pg. 16
RESEARCH PROFORMA (SAME ONE CONTINUED)
“Many of the films of Studio Ghibli have common
themes and motifs that can make for a coherent
worldview, even if the films themselves can be radically
different in content or tone. Although the animations
often share these common elements and usually a
distinctive house aesthetic, they nevertheless retain the
characteristics and interests of their respective directors.”
Pg. 19
“Similarly, the fantastical world of Studio Ghibli are filled
with flying creatures – Totoro, … and Spirited Away. What
is interesting about these creatures is the way they
interact with humans in the story, serving as a metaphor
for growing up or showing that sometimes freedom
comes at a price. Often, as with Totoro, they fly with the
human character to show them the world from a
different perspective.” Pg. 22
“Closely linked to environmental concerns is Shintō,
Japan’s indigenous religion, which, until the US
occupation in 1945, was a part of the states affairs,
directly linking and pray to the gods. Ghibli’s do not
specifically refer to Shintō but its customs are enshrined
within Japanese culture. Shintō is at heart an animistic
religion that sees gods and spirits in everything, resulting
in a respect for human harmony with the natural
environment.” Pg. 27
“In My Neighbour Totoro, when Mei, Satsuki
and their father enjoy a relaxing bath together
it is a sign of family harmony. Bathing is a
traditional Japanese way of relaxing, distinct
from washing, which is performed prior to
bathing, so as not to dirty the bathwater.” Pg.
31
“The war in this film is politically motivated and
has parrallels with the US-led invasion of Iraq.
… Miyazaki was interviewed in US magazine
Newsweek in June 2005 and made his views
clear: ‘Actually, your country had just started
war against Iraq, and I had a great deal of rage
about that. So I felt some hesitation about the
award [Academy Award for Spirited Away]. In
fact, I had just started to make Howl’s Moving
Castle, so the film is profoundly affected by the
war in Iraq’.” Pg. 127
“Completing the misfit family – for Howl’s
Moving Castle is a film advocates finding your
own family rather than relying on the one you
are born into” Pg. 128
RESEARCH PROFORMA
Author: James Douglas Thompson
Critical position: Amateur Film Maker
Title: Hayao Miyazaki: What You Can Imagine
Publisher/publication: Youtube
At: https://www.youtube.com/watch?
v=8STLqW7OAtk&feature=youtu.be
Date: 4 September 2016
Subject/Key Points and potential use (50-100 words):
(79 Words)
This video essay explores the decisions Miyazaki
makes in order to make his films impactful through
his emotionally relatable stories, well written
characters and visual appeal of his drawings by
analysing the documentary 'The Kingdom of Dreams
and Madness' which follows Miyzaki during the
making of his last film 'The Wind Rises', Thompson
concludes this mini video essay that Miyazaki was
creating animations of the worlds he imagined which
is why he named the video 'What can you imagine?'.
Quotation:
"The first thing I found compelling about
Miyazaki's process is that he never has a script for
any of his original films, he just has a general idea
of what he wants to do then he starts to visualise it
and he draws the entire film in storyboards,
sometimes he doesn't even add dialogue until
well into the storyboarding process"
"The fact that he is willing to tell the story simply
with images first sort of forces him to make the
story flow without dialogue, so that when dialogue
is added on top, it makes sense."
"This man wasn't just making films to tell stories,
he was drawing the realities he wanted to
experience, whether it be a train track moving
across the ocean or a castle in the sky, Miyazaki
was imagining these stunning worlds and bringing
them to life through his artistry."
RESEARCH PROFORMA
Author: Channel Criswell
Critical position: Film Analytic
Title: Hayao Miyazaki - The Essence of Humanity
Publisher/publication: Youtube
At: https://www.youtube.com/watch?
v=52raDbtNpa4
Date: 6 October 2015
Subject/Key Points and potential use (50-100
words): (70 Words)
This video essay explores what makes Miyazaki
different from other film makers - his humanity.
Looking into what his films say about him, he
incorporates his philosophy, his culture into films,
how characters are portrayed each having their
own traits no animation is ever recycled and how
his characters have an element of realism to
them, something we can identify ourselves in,
basing his characters on people in the real world.
Quotations:
"Miyazaki studies people, his comprehension
of human behaviour is displayed through the
action of characters, he never reuses the same
expression"
"his characters magnify the elements of
ourselves that we recognise most and
presents them to us in such a realistic manner"
"It's interesting to see a film maker's
philosophy permeate their film making to
such a degree as Miyazaki's have, but his
process involves capturing what he sees in
humanity so really it shouldn't come as such a
surprise that themes of his films are often
based around his social and spiritual beliefs.
One theme that presents itself is animism, the
notion of a spiritual kind of connection within
all of nature although Miyazaki believes
people to be a part of nature so they are
incorporated into this connection too."
RESEARCH PROFORMA (SAME ONE CONTINUED)
"The story is never about the protagonist winning,
it's about the protagonist adapting and growing
to a world that isn't built around their needs. We
are confronted with harsh realities however they
allow better things may arise."
"emphasise Miyazaki's human elements rather
than fantasy ... it is important to take into account
Miyazaki's attitude to film making because a lot of
this could be simply credited to the film's
production, Miyazaki never studied screen writing
and to this day leaves a lot to feelings and
intuition, it's a very interesting approach to film
making."
"Instead many scenes are planned out individually,
not as story threads but simply as methods of
conveying emotion. It's a technique where, if all
we saw was one scene we would understand all of
the emotion that was there. To achieve this,
Miyazaki simply continues to draw settings that
evoke feelings, he is never concerned with the
early stages - emotion is the key."
"With worlds as alien and obscure as Miyazaki's
there are bound to be elements that are left to
our interpretation, but the thing is we don't
have to understand everything, Miyazaki's
principals are emotion not logic and so a lot of
his design of the fantasy aspect isn't explained,
the reason for this is because an object is more
likely to capture our interest when we can't
explain it. The creatures Miyazaki often creates
are often ambiguous"
"his environments maybe disjointed at first
glance but his use of modern elements give us
something to recognize, and it's his
implementation of traditional Japanese design
that gives the world a mystery and consistency.
It all comes down to empathy with people and
reality of the world, Miyazaki offers a sense of
liberation to his characters and in turn to us, we
see people in a suffocating society but
ultimately shows characters that have become
self reliant."
RESEARCH PROFORMA
Author: Asher Isbrucker
Critical position: Film Analytic
Title: The Immersive Realism of Studio Ghibli
Publisher/publication: Youtube
At: https://www.youtube.com/watch?v=v6Q6y4-
qKac&feature=youtu.be
Date: 23 November 2016
Subject/Key Points and potential use (50-100
words): (54 words)
This video essay looks at the films of Studio Ghibli
through the lens of world building to create
immersive realism within the films, what subtle
things have been put in place that the audience
won't consciously acknowledge but helps to
fabricate this imaginary world, this video also
explains why animation is an effective medium.
Quotation:
"Through masterful animation and attention
to detail, Studio Ghibli consistently crafts
immersive unique films that strike a difficult
balance between fantasy and reality."
"The animator must fabricate a lie that
seems so real, viewers will think the world
depicted might possibly exist." - Hayao
Miyazaki, Starting Point
"As Ghibli has so eloquently proven,
animation is a medium not a novelty,
valuable for not only its vivid expression of
fantastical worlds and magic but for
communicating universal ideas and pure
emotions in a way that only animation can,
the films of Studio Ghibli circumvent their
expectations of what animation can be
leaving us vulnerable to their magic."
RESEARCH PROFORMA
Author: Amanda Maddox
Critical position: Assistant Curator in the Department of
Photographs at the J. Paul Getty Museum
Title: Japan's Modern Divide The Photographs of Hiroshi
Hamaya and Kansuke Yamamoto
Publisher/publication: Getty Publications
Place of Publication: California
Date: 2013
Chapter:
Disobedient Spirit: Kansuke Yamamoto and his engagement
with Surrealism
Subject/Key Points and potential use (50-100 words): (86 words)
Japan's Modern Divide has a whole chapter about Surrealism in
Japan which discusses how the movement spread there
(through Nishiwaki teachings) and how it spread (through
Takiguchi's and Yamanaka's exhibition Kaigai Chogenjitsushugi
Sakuhinten). The chapter also looks into the political and
societal problems it faced from the Tokko (Thought Police) who
enforced the Peace Preservation Law during the 1930s. The
main Japanese surrealist studied in this chapter is Kansuke
Yamamoto who exemplified Surrealism in every medium and
captured Surrealism's spirit combining Western theories with
Japanese culture.
Quotations:
"Visual artists quickly embraced Surrealist ideology, an
Surrealism soon emerged as an international movement that
promoted innovative poetic and artistic practices. Japan was
among the first countries outside Europe to feel reverberations
of the movement, but its relationship with Surrealism has been
complicated, as Surrealist art has no always bee recognised
within the canonical history of Japanese art". (Maddox, 180)
"Critized as a movement "imported" from the West and
imitated by Japanese artists" Pg 180
"In 1925 the Japanese government began to suppress
freedom through the Chian-ijiho (Peace Preservation Law),
which targeted individuals potentially linked to communist or
leftist activities. As the Surrealist movement gained momentum
in Japan in the 1930s, the Tokko (short for Tokubetsu Kōtō
Keisatsu, known as the "Thought Police") who enforced the
Peace Preservation Law became more aggressive. The threat of
persecution or imprisonment for the so-called thought crimes
was so extreme that avant-garde and Surrealist artists, writers,
and intellectuals began to strip their work of any liberal,
potentially subversive content." Pg 180
"The common view is that Japanese poet Junzaburo Nishiwaki
(1894-1982) a student at Oxford University who was exposed
to Modernist literature and Surrealist ideology whilst he was in
England, brought word of Surrealism in Japan when he
returned to teach at Keio University in the mid 1920s. The initial
wave of Surrealism starts there, in Nishiwaki's classes and
various literary cycles in Tokyo." Pg 180
RESEARCH PROFORMA (SAME ONE CONTINUED)
"As the Surrealist network began to disband in Europe toward the end
of the 1930s, the movement made a profound impact on Japan. By
that time Shuzo Takiguchi (1903-1979), one of Nishiwaki's students,
had emerged as a prominent art critic and leading advocate of
Surrealism in Japan. In the 1930s Takiguchi established an epistolary
friendship with Breton, who likely inspired Takiguchi's artistic
experiments with the technique of decalcomania and supported an
exhibition of Surrealist works in Japan. In collabortaion with poet
Chiru (Tiroux) Yamanaka (Japanese, 1905-1977) and with the aid of
Surrealists such as Paul Eluard (French, 1895-1952) and Roland
Penrose (English, 1900-1984), Takiguchi was responsible for
organizing and bringing the Kaigai Chogenjitsushugi Sakuhinten
(Exhibition of Overseas Surrealist Works) to Tokyo, Osaka, Kyoto and
Nagoya in 1937. .. the exhibition was hugely influential and
introduced many Japanese people to Surrealism for the first time." Pg
181
"A Japanese translation of Breton's first Surrealist Manifesto (1924)
was published in 1929. In that manifesto Breton used the then-current
dictionary definition of the word "Surrealism" describing it as "pure
psychic automatism," which suggests that Surrealist activity and art
spring from the unconscious. ... These definitions acted as guideposts
for Surrealists in the West in their attempts to channel automatism and
to represent the unconscious thing using a variety of mediums,
including poetry, painting, sculpture, and photography. Driven by an
endless curiosity, Yamamoto studied all these forms of Surrealist
representation." Pg 185
"Yamamoto also studied philosophy and psychology, and he read the
works of Sigmund Freud, whose ideas about the unconscious, dreams,
and sexuality shaped Surrealist principals, but whose theories were
generally not widely known or assimilated in Japan." Pg 185
"Takiguchi declared that "Surrealism, that is, the movement
of 'surrealism' which has spread from France, cannot, in its
original form, completely match the situation in our country."
That is to say, Surrealism in Japan was specific to that nation,
its language, and its cultural traditions, which were as
foreign to Surrealists of Europe as "the French intellectual
context" might have seemed to Surrealists in Japan." Pg 190
"The effects of the war on the Surrealist movement in Japan
were extreme, whereby artists and intellectuals experienced
acute persecution by the Thought Police and some,
including Takiguchi, were eventually imprisoned." Pg 197
"In 1947 Yamamoto established his own association, VIVI,
with his good friend and fellow photographer Kei'ichiro
Goto (Japanese, 1918-2004) and other artists in Nagoya, in
order to keep the spirit of Surrealist ideology alive." Pg 199
"In 1938, he [Yamamoto] wrote, "no one can strangle the
freedom of human dreams and defence of that culture. If
that gets strangled by the institutions of society, that means
we need the courage to break the insitution." Although
Yamamoto was conscious to the problem, it was through
Surrealism that he could convey that sentiment and attempt
to incite change. At its core, according to philosopher Raoul
Vaneigem, "Surrealism attempted to provoke, from the
intellectual and moral point of view, a crisis of consciousness
of the most general and serious kind." Yamamoto was trying
to wake up Japan in order to encourage it to dream." Pg 202
RESEARCH PROFORMA
Author: Richard Leslie
Critical position: Independent Art Historian and Art Critic
Title: Surrealism The Dream of Revolution
Publisher/publication: Todtri Productions Limited
Place of Publication: New York
Date: 1997
Chapter: The Internationalization of Surrealism
Subject/Key Points and potential use (50-100 words): (57
words)
This book features many illustrations exemplifying
surrealism in several mediums and how well suited it is
for surrealism, there is a section on why photography is a
good medium for surrealism which could be useful
before introducing Japanese surrealist Kansuke
Yamamoto who uses a lot of photography in his work
expressing that surrealism is not just paintings.
Quotation:
“It is often argued that the
introduction of photography in the
mid-nineteenth century created a
problem for art, since painting now
had to find a new role outside
representation. Surrealism, though,
turned the tables and
problematized photography by
using its very strength, it's inherent
ability to create an image we
assume is factual and objective, to
its advantage. Once a sense of the
mysterious could be located within
and through photography, it was
the perfect medium for Surrealism
and no movement employed
photography so extensively." Pg 86
RESEARCH PROFORMA
Author: Joan Stanley-Baker
Critical position: Emeritus Professor of Art History,
Author of several books on Japanese and Chinese art
Title: Japanese Art
Publisher/publication: Thames & Hudson Ltd
Place of Publication: London
Date: 2014
Chapters:
Chapter 7: Modern Japan (1868-1965)
Chapter 8: Japan Today (1965-)
Subject/Key Points and potential use (50-100 words): (62
words)
This book discusses Japanese Art from prehistoric times
through to Japan's present day. Chapter 7: Modern
Japan doesn't discuss Surrealism in Japan but does
mention Western influence on Japan and how the West
spread to Japan, it also talks about the effect of World
War II and America's controls which leads to discussion
of modern manga and anime which includes Miyazaki's
films.
Quotations:
"The cultural experience of the Meiji, Taishō and
Shōwa eras involved a massive ingestion of European
and American learning. Japanese students studied in
the West and foreigners established universities and
colleges in Japan." Pg 194
"Western oil painting was called Yōga" Pg 194
"The description yūgen, 'mysterious and profound',"
Pg 200
"Reflecting a new order of consciousness and
universality, they avoid conquest-worship and focus
mainly on issues of global concern. Pride of place
goes to Miyazaki Hayao (b.1941), whose extraordinary
tales stress compasionate sharing rather than targeted
growth, as well as the Oneness of all beings, plants,
planets, and cosmic energy, ... His heroes are not
Supermen, but intelligent, softly spoken girls, who
fearlessly tackle planetary problems bequeathed by
previous generations. ... As Miyazaki himself says:
We've reached a time when the masculine mode
of thinking has reached its limits. Girls or women are
more flexible. This is why a female point of view better
suits our present times." Pg 210
RESEARCH PROFORMA
Author: Michael Richardson
Critical position: Widely Published Author on Surrealism
Title: Surrealism and Cinema
Publisher/publication: Berg
Place of Publication: New York
Date: 2006
Chapter:
Introduction: Surrealist Film Theory and Practice
Chapter Three: Jacques Prévert and the Poetry of the Eventual
Subject/Key Points and potential use (50-100 words): (84 words)
Surrealism and Cinema's introduction discusses the intention of
surrealists when making film. In a later chapter, Richardson discusses a
French surrealist, Jacques Prévert who was a poet and screenwriter,
Prévert in 1980 collaborated with an animator named Paul Grimault to
make a surreal animation called Le Roi et l'oiseau based on a Hans
Christen Anderson story which was incompleted and released three years
after Prévert's death. The animation later on would have a great influence
Hayao Miyazaki and Isao Takahata when making their animations.
Quotation:
"We also need to take into account here the question of intention.
Surrealists are not concerned with conjuring up some magical world that
can be defined as 'surreal'. Their interest is almost exclusively in
exploring the conjunctions, the points of contact, between different
realms of existence. Surrealism is always about departures rather than
arrivals." Pg 3.
"If surrealism is not a style, it is equally not a fixed set of attitudes." Pg
3.
"In fact there is no such thing as a "surrealist film'. There are only films
made by surrealists and films that have an affinity or correspondence
with surrealism, as well as those that have no affinity with surrealism"
Pg 6
"Looking outside the West, Surrealism has been a pervasive influence
on Japan from the twenties ... The director who appears to have
engaged, with surrealist ideas most explicitly here has been Hiroshi
Teshingahara, especially in The Woman of the Dunes (1964) and The
Face of Another (1966) the films he worked on with the novelist Kobo
Abe, who himself drew upon surrealism to probe questions of
identity. More recently, the animated features of Hayao Miyazaki bear
a distinct kinship with surrealism in both theme and intent." Pg
169-170
"Prévert's characters can be reduced to three or four different types
but that does not mean they lack complexity. Each of them is
memorable in his or her own way, but Prévert was less interested in
the characters as such than in the relation that exists between them.
Their simplicity or characterisation is thus deceptive." Pg 58.
"Prévert's world is a strangely ambivalent one in which a glance or a
moment's touch offers the possibility of profound transformation that
is often prevented by the workings of a destiny they are powerless to
act against, since human beings are trapped within a world that is
foreign to them. The sense of conflict in Prévert's world is not really
between good and evil but between recognition and non-recognition.
"[Le Roi et l'oiseau] A brilliantly animated film which has been
enormously influential on Japanese anime, especially on the work of
Hayao Miyazaki, whose own sensability appears to have much in
common with Prévert's, Le Roi et l'oiseau , within its fairy tale context,
is perhaps the purest realisation of Prévert's worldview." Pg 59.
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‣ Hayao Miyazaki - The Essence of Humanity (2015). [user-generated content online]. Creat.
Channel Criswell. 06 October 2015 At: https://www.youtube.com/watch?v=52raDbtNpa4

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Thompson, JD. 04 September 2016 At: https://www.youtube.com/watch?
v=8STLqW7OAtk&feature=youtu.be

‣ Keller, J and Maddox, A. (2013). Japan's Modern Divide: The Photographs of Hiroshi
Hamaya and Kansuke Yamamoto. California: Getty Publications.

‣ Leslie, R. (1997). Surrealism The Dream of Revolution. New York: Todtri Productions Ltd.

‣ Oddel, C and Le Blanc, M. (2009) Studio Ghibli The Films of Hayao Miyazaki and Isao
Takahata. Kamera Books.

‣ Richardson, M. (2006) Surrealism and Cinema. New York: Berg.

‣ Stanley-Bakerm J. (2014) Japanese Art. (Third Edition). London: Thames and Hudson.

‣ The Immersive Realism of Studio Ghibli (2016). [user-generated content online]. Creat.
Isbrucker, A. 23 November 2016 At: https://www.youtube.com/watch?v=v6Q6y4-
qKac&feature=youtu.be