‘Ghost in the Shell’: What’s inside the Shell? Part 6.

Welcome to final ‘Ghost in the Shell’: What’s inside the Shell? This time we skip three scenes which were not suitable for analysis, if you wish to though you could analyse these yourself and post them on here, and go stright to one of ‘Ghost in the Shell’s’ signature scenes: scene 13.  Oshii’s pretentiousness seeps through into most of work, tainting it and asphyxiating any attempt to make it watchable. Conversely, the Floating Museum cuts off that seeping ooze and rather allows Oshii to realise his perfect scene. This scene is the synthesis of complex animation and story line complimented by a stunning score and a truly perplexing ending. This last ‘Ghost in the Shell’: What’s inside the Shell? Will attempt to reconcile this synthesis in what is truly Oshii’s defining piece. ‘Patlabor’, and most of Oshii’s other work, cannot even attempt to reach the heights of what ‘Ghost in the Shell’ does! This scene is one of the reasons why.

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‘Ghost in the Shell’: What’s inside the Shell? Part 5.

This week’s ‘Ghost in the Shell’: What’s inside the Shell? is very short and covers the scene occuring directly after the last scene we critqued which was the scene involving the Puppet Master and Its attempt to define itself, at least if we read between the lines it was practically begging for life in a rather mechinal fashion, in order that it escape death and continue its line of Puppet Mastery. The last scene asked many questions of you, the viewer, and as such required you too like the Puppet Master to define your humanity. I wounder if anyone could actually define humanity in a way that would satisfy everybody. I think, much like the word religion and God that it is not easily definable.

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‘Ghost in the Shell’: What’s inside the shell? Part 4.

This week’s ‘Ghost in the Shell’: What’s inside the Shell critiques one of my favourite scenes from the film. This week we going diving with Kusanagi both in the computerised sense as well as to the bottom of the sea. The scene is a perfect scene and is a representation of the heights that can be achieved within the animated genre. It is essentially a scene which can speak about the film itself without using many words. It represents this ability to maintain the ‘Ghost in the Shell’s’ Byzantine shell whilst simultaneously exploring the core essence of ‘Ghost in the Shell’. This scene therefore acts as an excellent critique of exploring how the Ghost can escape, temporarily, the shell but cannot indefinitely.

Then we skip the eighth scene where Kusanagi is roaming around Newport City in a scene that really reaches the pinnicle of animation. A beautiful score accompanies a superbly animated scene. We, instead, skip ahead to a scene in which may begin to question our Ghost; our own humanity. Scene Nine will prompt many questions for you to try and answer and whether you can actually answer them. A scene which poses many questions but unfortantly does suffer from some pretentiousness of its creator, Mamoru Oshii. I wonder if any readers have any opinions of the questions posed by The Puppet Master in scene nine. If you do I’d love to hear from you. I’d love to hear from you if you have anything to say about these two scenes or ‘Ghost in the Shell’ in general.

Anyway let’s get to business…

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‘Ghost in the Shell’: What’s inside the Shell? Part 3.

This week’s ‘Ghost in the Shell’: What’s inside the Shell? will examine scene three, the scene in which The Republic of Gavel is introduced as a side plot operating as a shroud to distract the viewer from the real story. We also explore scenes four, five and six which are about the hunt for the Puppet Master and its various puppets. The scenes are linked in a remarkable fashion to ensure that the viewer observes a change in the attitude of Kusanagi and her colleges as we start exploring the real aim driving the plot: that of Kusanagi’s over-riding desire to define herself as a human and her journey in trying to differentiate herself from the Puppets in scenes four, five and six.

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‘Ghost in the Shell’: What’s in the Shell? Part 2

“In the near future- corporate networks reach out to the stars, electrons and light flow throughout the universe.The advance of computerisation, however, has not yet wiped out nations and ethnic groups.”

Oshii and Shirow have a lot to say in their masterpiece(s). This introductory paragraph is no exception. Setting the scene it illustrates the rate at which the corporations have controlled technology to their advantage in, not just making money but, controlling the lives of those people it relied upon to fuel their original growth and their insatiable appetite for more.

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‘Ghost in the Shell’: What’s inside the Shell?

‘Ghost in the Shell’ is one of the classic anime. It is certainly, and will be in the future, regarded as one of the greatest films of the genre. In many ways Oshii created a philosophically and aesthetically beautiful film. However, just what is inside that beautifully crafted, yet Byzantine, shell? Well, this article is designed to delve into and, ultimately, understand just what Oshii, and too a extent Shirow, is attempting to say in this landmark film.

Before this piece commences on its journey though the heart of ‘Ghost in the Shell’ it is, perhaps, more important to understand what the surrounds The Shell of ‘Ghost in the Shell’. This part of the article is focused on defining ‘Ghost in the Shell’ adequately whilst simultaneously examining the sub-genre ‘Ghost in the Shell’ redefined in 1995: Cyberpunk science fiction.

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