2014年，Daisuke Akimoto发表了一项针对宫崎骏动画电影《红猪》的学术研究，深入剖析了影片中的战争根源与和平主题 1。该研究借助肯尼斯·沃尔兹（Kenneth Waltz, 1959）提出的“人、国家与战争”理论框架，将战争的成因划分为个人利己主义、国内民族主义以及国际军国主义三个层面，并以此解释主角波鲁克为何选择变成一头猪 1。Akimoto指出，波鲁克的这一转变象征着他对于人性自私、法西斯民族主义及军国主义战争的深刻厌恶 1。
文章通过详细解读电影中九组关键场景和角色对话，探讨了宫崎骏所传达的反战思想及对战争记忆的反思 1。研究特别聚焦于波鲁克坚持的“不杀生”原则，引用了Glenn D. Paige关于“non-killing”的研究术语；同时分析了女性角色吉娜和菲奥所体现的力量，并结合Joseph Nye对“soft power”的定义进行阐释 1。作者认为，波鲁克拒绝变回人类的原因在于他憎恨导致朋友柏林尼死亡的战争和国家体制，宁愿做一头‘猪’也不愿成为‘法西斯’ 1。此外，文中提及宫崎骏在访谈中表示，《红猪》与海湾战争及南斯拉夫内战相关，旨在传达反战信息 1。该研究还将《红猪》与《风之谷》、《天空之城》及《起风了》等其他吉卜力作品进行了对比，分析它们在不同历史背景下对和平主题的表达方式 1。
A 2014 academic article by Daisuke Akimoto provides a detailed analysis of Hayao Miyazaki’s animated film Porco Rosso (Kurenai No Buta), examining the psychological and social roots of the protagonist’s transformation into a pig 1. The study utilizes Kenneth Waltz’s “Man, the State, and War” theoretical framework to categorize the causes of conflict into three levels: individual selfishness, domestic nationalism, and international militarism 1. According to Akimoto’s interpretation, these factors explain why Porco chooses to remain a pig rather than return to being human, reflecting his deep-seated aversion to the fascist nationalism and militaristic wars that led to the death of his friend Berlino 1.
The research highlights how the film conveys Miyazaki’s pacifist ideology through specific character dynamics and principles. Akimoto analyzes nine key scenes and dialogues, focusing on Porco’s strict “non-killing” policy, a term referenced from Glenn D. Paige’s studies, as well as the influence of female characters Gina and Fio, who embody Joseph Nye’s concept of “soft power” 1. The article notes that Miyazaki stated in interviews that Porco Rosso was connected to the Gulf War and the Yugoslav Wars, aiming to transmit an anti-war message 1. By comparing this work with other Studio Ghibli films such as Nausicaä of the Valley of the Wind, Castle in the Sky, and The Wind Rises, the study illustrates how the studio explores peace themes across different historical contexts 1. Ultimately, the analysis concludes that Porco’s refusal to revert to human form signifies his rejection of becoming a fascist, choosing instead to exist as a “pig” to oppose the state systems responsible for war 1.
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