Since the 1960s, anime in both fi lm and television has become a part of global screen culture. 1 It is Miyazaki Hayao who may take the credit for being the most highly regarded anime fi lmmaker known across the world. The global popularity and success of his fi lms encourage us to link his works to transnationalism. But is Miyazaki transnational only because of his global popularity? There is another perspective in which we may take Miyazaki’s transnationalism: through fi lm aesthetics and narrative, for his works may be said to enable mobile fantasy.