2029: A female cybernetic government agent, Major Motoko Kusanagi, and the Internal Bureau of Investigations are hot on the trail of “The Puppet Master,” a mysterious and threatening computer virus capable of infiltrating human hosts. Together, with her fellow agents from Section 9, the embark on a high-tech race against time to capture the omnipresent entity. —Manga Entertainment
As a student, Mamoru Oshii was fascinated by the film La Jetée by Chris Marker as well as the films of Andrzej Wajda, Jerzy Kawalerowicz, Andrzej Munk and Ingmar Bergman. In 1976, he graduated from The Fine Arts Education School of the Education Department of Tokyo Liberal Arts University. The following year, he entered Tatsunoko Productions and worked on his first anime as animation director on Ippatsu Kanta-kun. In 1980, he moved to Studio Pierrot under the supervision of his mentor, Hisayuki Toriumi. During production of the Nils no fushigi na tabi (“Wonderful Adventures of Nils”) and Kagaku Ninja-Tai Gatchaman II TV series, Oshii first met longtime collaborators, writer Kazunori Itō and painter and character designer Yoshitaka Amano. Mamoru Oshii’s work as director and storyboard artist of the animated Urusei Yatsura TV series brought him into the spotlight. Following its success, he directed two Urusei Yatsura films: Urusei Yatsura 1: Only You in 1983 and Urusei Yatsura 2: Beautiful… read more
"Ghost In The Shell" loves to asks it's audience questions. What is it that makes us human? Is it the soul (refered to as 'ghosts' in this film)? Or is it flesh and bone? What happens when your memories can be erased and replaced like music on your iPod? If your body is entirely mechanical, can you still call yourself human? If your consciousness is active, yet your body is nowhere to be found, do you still exist?
Dank, brooding Blade Runner-esque environs with ambient soundtrack, bringing to mind even Laloux’s Fantastic Planet in its tableaus. Ultraviolent, psychedelic dystopia, whose emotional crux lies, amidst the globalised political backdrop, in its anthropomorphic examination: the paradoxical humanoid cyborg - the restlessness, an unknown diaspora; the emotional ethics surrounding the eponymous ghost in its mechanical shell. Save for leaden philosophical monolog, a tense, pulsing, even beautiful montage, in ways.
This frame is definitely not from the movie, which is disappointing because there is a lot of beautiful ‘shots’ (idk what you call anime frames) to be seen. Speaking of which, who decides what frames… read review