Skryencki then paints the powerful image of rejection using the identifiable image of a barrier because of its authoritarian implications, using the barrier as a simile for a pointing finger "and it rose up and down like a pointing finger" to capture the alienation experienced by migrants as outsiders, not accepted as part of a wider community
Thereby, Skyrnecki concludes that cultural connections are imperative (important) in creating a sense of belonging, shown by the metonymy (metaphor) "Nationalities sought each other out instinctively," stressing the need for acceptance as a response to the dichotomous nature of belonging. .
The human desire to form an authentic (or genuine) connection with people and place when alienated due to pressures of an unacquainted setting is reflected in Spirited Away with further allusions to the migrant experience. This animated bildungsroman (coming of age story, a story of where the character grows up) follows a sullen 10 year old girl, Chihiro, who while moving to a new neighborhood, becomes trapped in a spirit world where she is the only human. The opening scene, like Migrant Hostel, institutes a sense of alienation by establishing the protagonist Chihiro's aversion to change shown through the quote "I liked my old school." Once inside the new world, she is referred to as a "human" in a derogatory (insulting) tone and the quote "this is certainly no place for humans" is employed to hyperbolize the alienation undergone by migrants. Miyazaki employs the extended metaphor of a bridge, which connects the two worlds, to symbolically embody that a sense of acceptance can serve as a bridge between belonging and not belonging. This visual imagery is strengthened through the use of lighting: when Chihiro first enters the spirit world and there is no bridge, the light changes to a dark background, however when she leaves the spirit world to go back home over the bridge that now exists, the lighting is at its brightest, reflecting the shift in moods undergone from discovering acceptance.
