Management: This essay is meant to be less of a review and more of analysis of the show being examined. It contains plot spoilers for the Your Name anime.
We’re acquainted with these tales of from folklore and myth, the premises of horror stories, those testimonials people caught on special TV channels: a place of some awful significance is haunted by undead spirits. Moldering graveyards, abandoned asylums, scarred battlefields, places of disaster… In the fields of Gettysburg, for example, some locals claim that they can hear the dead, soldiers from long ago who haunt the former battlefield. Gettysburg was the location of the American Civil War’s bloodiest battle, and its legacy as the site of mass slaughter has made the more superstitious perceive it as a site of restless energy. In the popular imagination, these places serve as liminal spaces, locations and sites where all-too-natural dichotomies are not normally observed: death intermingling with life, life intermingling with death. The dead have not passed into the afterlife, the ether, or permanent rest as they ought to have. Instead, their undead spirits wander the grounds, bound to some place of awful significance.
While Your Name is not a horror film in the way the genre is conventionally understood, the narrative of Your Name plays an awful lot with liminal spaces. The concept of liminality in religious and anthropological studies has a definition that’s a little broader than just the spaces the mortal and the infinite occupy. Liminality is the concept referring to transformation and intersection, where clearly delineated dichotomies of “one” blur and bleed into the “other,” branching into or becoming new and distinct entities. Life and death is the domain of liminality, but so is the profane and the sacred; the child and the adult, the individual and the communal, this direction and that, this person and that, and even time and space itself. Directed by Makoto Shinkai, Your Name is a story layered with examples of its characters passing through various thresholds, states, and spaces of liminality to resolve a conflict. The film starts with the blurring of one traditional dichotomy: the inexplicable bleeding of its two protagonists into each others’ lives, a body-swap. Midway, the film grounds its supernatural gimmick with its extant reason: a place of disaster.