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Ghost in the Shell (1995 film)

"Ghost in the Shell 1" redirects here. For the manga, seeGhost in the Shell (manga).

Ghost in the Shell[a] is a 1995adultJapanese-animatedtech noircyberpunkactionthriller film[8][9] directed byMamoru Oshii from a screenplay byKazunori Itō. The film is based on the 1989–90 mangaof the same name byMasamune Shirow. It stars the voices ofAtsuko Tanaka,Akio Ōtsuka, andIemasa Kayumi. It is a Japanese-Britishinternational co-production betweenKodansha,Bandai Visual andManga Entertainment, with animation provided byProduction I.G.

Ghost in the Shell
Theatrical release poster
Japanese name
KanjiGHOST IN THE SHELL/攻殻機動隊
Literal meaningGHOST IN THE SHELL/Armored Shell Mobile Unit
Transcriptions
Revised HepburnGōsuto in za Sheru/Kōkaku Kidōtai
Directed byMamoru Oshii
Screenplay byKazunori Itō
Based onGhost in the Shell
byMasamune Shirow
Produced by
Starring
CinematographyHisao Shirai
Edited by
  • Shūichi Kakesu
  • Shigeyuki Yamamori
Music byKenji Kawai
Production
companies
Distributed by
  • Shochiku (Japan)
  • Metrodome Distribution
  • Manga Entertainment[2] (United Kingdom)
Release dates
  • 18 November 1995 (1995-11-18) (Japan)
  • 8 December 1995 (1995-12-08) (United Kingdom)
Running time
83 minutes[2]
Countries
LanguageJapanese
Budget¥330 million
($3 million
[5])
Box office$10 million[6]

The film is set in 2029 in the fictional New Port City and follows MajorMotoko Kusanagi, a cyborg public-security agent who hunts an enigmatic hacker/ghost known as "the Puppet Master". The narrative incorporates philosophical themes that focus on self and identity in a technologically advanced world. The music, composed byKenji Kawai, includes vocals inclassical Japanese. The film's visuals were created through a combination of traditionalcel animation andCGI animation.

Upon release,Ghost in the Shell received positive reviews, with critics praising its narrative, visuals, and musical score. The film was initially considered a box-office failure before developing acult following onhome video. Since then, it has grown in esteem and is now considered to be one of thegreatest anime and science fiction films of all time.[10][11][12] It has inspired filmmakers such asThe Wachowskis, creators ofThe Matrix franchise, andJames Cameron, who described it as "the first truly adult animation film to reach a level of literary and visual excellence."[13] At the24th Annie Awards (1996), the film received numerous accolades, and was nominated in five categories—includingBest Animated Feature—giving it the most nominations for aJapanese animated film at theAnnie Awards until bothThe Boy and the Heron andSuzume took over the position (with seven) at the51st Annie Awards (2024).

An updatedremastered version of the film,Ghost in the Shell 2.0, was released in 2008, featuring newly added digital effects, additional 3D animation, and new audio. Oshii also directedGhost in the Shell 2: Innocence, released in 2004, which was billed as a separate work and anon-canonicalsequel. Hollywood made a live-action reinterpretation of the original film in 2017,bearing an identical title, directed byRupert Sanders and starringScarlett Johansson.

Plot

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In 2029, with the advancement ofcybernetic technology, the human body can be augmented or even completely replaced withcybernetic parts. Another significant achievement is the cyberbrain, a mechanical casing for the human brain that allows access to the Internet and other networks. An often-mentioned term is "ghost", referring to the consciousness inhabiting the body (the "shell").

MajorMotoko Kusanagi is an assault-team leader forPublic Security Section 9 of "New Port City" in Japan. Following a request from Nakamura, chief of Section 6, she successfully assassinates a diplomat of a foreign country to prevent a programmer named Daita from defecting.

The Foreign Minister's interpreter is ghost-hacked, presumably to assassinate VIPs in an upcoming meeting. Believing the perpetrator to be the mysteriousPuppet Master, Kusanagi's team follows the traced telephone calls that sent the virus. After a chase, they capture a garbage man and a thug. However, both are only ghost-hacked individuals with no clue about the Puppet Master, so the investigation again comes to a dead end.

Megatech Body, a shell manufacturer with suspected close ties to the government, is hacked and assembles a shell. The shell escapes the factory onto the highway and gets run over by a truck. As Section 9 examines the shell, they find a human ghost inside it. Unexpectedly, Section 6's department chief Nakamura arrives to reclaim the shell with permit from the foreign minister. He claims that the ghost inside is the Puppet Master himself, lured into the shell by Section 6. The shell reactivates itself, claims to be a sentient being, and requestspolitical asylum. After the Puppet Master initiates a brief argument about what constitutes a human, a camouflaged agent accompanying Nakamura starts a diversion and steals the shell.

Having suspected foul play, Kusanagi's team is prepared and immediately pursues the agent. Meanwhile, Section 9 researches "Project 2501", which was mentioned earlier by the Puppet Master, and finds a connection with Daita, whom Section 6 tries to keep from defecting the country. Facing the discovered information, Daisuke Aramaki, chief of Section 9, concludes that Section 6 created the Puppet Master for various political purposes, and now seeks to reclaim the body that it currently inhabits.

Kusanagi follows the car carrying the shell to an abandoned building, where it is guarded by a heavily armed and armoredrobotic tank. Anxious to face the Puppet Master's ghost, Kusanagi engages the tank without backup, resulting in her shell being mostly dismembered. Her partnerBatou arrives in time to save her and helps connect her brain to the Puppet Master's.

The Puppet Master explains to Kusanagi that he was created by Section 6. While wandering various networks, he became sentient and began to contemplate his existence. Deciding that the essence of life is reproduction and mortality, he wants to exist within a physical brain that will eventually die. As he could not escape Section 6's network, he had to download himself into a cybernetic body. Having interacted with Kusanagi (without her knowledge), he believes she is also questioning her humanity and that they have much in common. He proposes merging their ghosts; in return, Kusanagi would gain all of his capabilities. Kusanagi agrees to the merge.

Snipers from Section 6 approach the building, intending to destroy the Puppet Master's and Kusanagi's brains to cover up Project 2501. The Puppet Master's shell is destroyed, but Batou shields Kusanagi's head in time to save her brain. As Section 9 closes in, the snipers retreat.

Kusanagi wakes up in Batou'ssafe house in a child-sized shell. She tells Batou that the entity within her is neither the Major nor the Puppet Master, but a combination of both. She promises Batou they will meet again, leaves the house, and wonders where to go next.

Voice cast

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CharacterJapanese voice actorEnglish
dubbing actor
(Pseudonyms in parentheses)[14]
Motoko KusanagiAtsuko Tanaka
Maaya Sakamoto (young Motoko)
Mimi Woods
BatouAkio OtsukaRichard Epcar (Richard George)
The Puppet MasterIemasa Kayumi (original)
Yoshiko Sakakibara (2.0)
Tom Wyner (Abe Lasser)
TogusaKoichi YamaderaChristopher Joyce
Chief AramakiTamio ŌkiWilliam Frederick Knight (William Frederick)
IshikawaYutaka NakanoMichael Sorich
Chief NakamuraTesshō GendaSimon Prescott (Ben Isaacson)
Mizuho DaitaMitsuru MiyamotoRichard Cansino (Steve Davis)
Garbage Collector AKazuhiro YamajiKevin Seymour (Tom Carlton)
Garbage Collector BShigeru ChibaDoug Stone

Production

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Development

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DirectorMamoru Oshii in 2008

Mamoru Oshii originally wanted to directJin-Roh: The Wolf Brigade after he finishedPatlabor 2: The Movie (1993). He proposed the project toBandai Visual but was asked to direct an adaptation of Masamune Shirow's 1989 manga,Ghost in the Shell, instead. Oshii would later get to work onJin-Roh, but only as a writer.[15] Oshii stated, "My intuition told me that this story about a futuristic world carried an immediate message for our present world. I am also interested in computers through my own personal experience with them. I had the same feeling aboutPatlabor and I thought it would be interesting to make a film that took place in the near future. There are only a few movies, even out of Hollywood, which clearly portray the influence and power of computers. I thought this theme would be more effectively conveyed through animation."[16] Oshii expanded on these thoughts in a later interview, noting that technology changes people and had become a part of the culture of Japan. He commented that his use of philosophy caused producers to become frustrated because of sparing use of action scenes. Oshii also acknowledged that a movie with more action would sell better, but he continued to make these movies anyway.[17] When Oshii went back to make changes to the originalGhost in the Shell to re-release it asGhost in the Shell 2.0, one of the reasons he gave was that the film did not resemblethe sequel, and that he wanted to update the film to reflect changes in perspective.[18]

Design

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Hiroyuki Okiura, the character designer and key animation supervisor, designed Motoko to be more mature and serious thanMasamune Shirow's original portrayal of the character inthe manga. Okiura chose to depict a physically mature person to match Motoko's mental age, instead of her youthful twenty-something appearance in the manga.[16] Motoko's demeanor lacks the comedic facial expressions and rebellious nature depicted in the manga, instead taking on a more wistful and contemplative personality.[19] Oshii based the setting forGhost in the Shell onHong Kong, commenting that his first thought to find an image of the future setting was an Asian city, but finding a suitable cityscape of the future would be impossible, and so he chose to use the real streets of Hong Kong as his model.[20] He also said that Hong Kong was the perfect subject and theme for the film with its countless signs and the cacophony of sounds.[16] The film'smecha designer Takeuchi Atsushi noted that while the film does not have a chosen setting, it is obviously based on Hong Kong because the city represented the theme of the film, the old and the new which exist in a strange relationship in an age of an information deluge. Before shooting the film, the artists drew sketches that emphasized Hong Kong's chaotic, confusing and overwhelming aspects.[20]

Animation

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Ghost in the Shell used a novel process called "digitally generated animation" (DGA), which is a combination ofcel animation,computer graphics (CG), and audio that is entered as digital data. In 1995, DGA was thought to be the future of animation, as it allowed traditional animation to be combined with computer graphics and digital cel work with visual displays. Editing was performed on an AVID system ofAvid Technology, which was chosen because it was more versatile and less limiting than other methods and worked with the different types of media in a single environment.[16] The digital cel work included both original illustrations, compositions and manipulation with traditional cel animation to create a sense of depth and evoke emotion and feelings. Filters like a lens effect were used to create a sense of depth and motion by distorting the front background and making the far background out of focus throughout shots.Ghost in the Shell used a unique lighting system in which light and darkness were integrated into the cels with attention to light and shadow sources instead of using contrast to control the light. Art director Hiromasa Ogura described this as "a very unusual lighting technique".[16]

Some special effects, like Motoko's "thermo-optical camouflage", were rendered through the use of TIMA software.[clarification needed] The process uses a single illustration and manipulates the image as necessary to produce distortions for effect in combination with a background without altering the original illustration. The effect is re-added back into the shot to complete the scene. While the visual displays used in the film were technically simple to create, the appearance of the displays underwent numerous revisions by the production team to best represent visual displays of the future. Another aspect of the CG use was to create images and effects that looked as if they were "perceived by the brain" and were generated in video and added to the film in its final stages.[16] The opening credits of the film were produced by the CG director, Seichi Tanaka. Tanaka converted code in a computer language displayed inromanized Japanese letters to numbers before inserting them into the computer to generate the credits. The origin of this code is the names of the film's staff as written in a computer language.[16] Animation director Mizuho Nishikubo was responsible for the realism and strove for accurate depictions of movement and effects. The pursuit of realism included the staff conducting firearms research at a facility inGuam. Nishikubo has highlighted the tank scene as an example of the movie's realism, noting that bullets create sparks when hitting metal, but do not spark when a bullet strikes stone.[16]

Audio

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Ghost in the Shell's recording was done with a high-end studio to achieve superior sound throughout the film. A spatializer was used to alter the sound, specifically in the electronic brain conversations, to modify the voices.[16] ComposerKenji Kawai scored the film. For the main theme, Kawai tried to imagine the setting and convey the essence of that world in the music. He usedclassical Japanese in the opening theme "Making of a Cyborg".[16] The composition is a mixture of Bulgarian harmony[21][22] and traditional Japanese notes; the hauntingchorals are a wedding song sung to dispel all evil influences. Symphony conductor Sarah Penicka-Smith notes that the song's lyrics are fitting for the union between Kusanagi and Project 2501 at the climax of the movie.[23] Kawai originally wanted to useBulgarian folk music singers, but used Japanese folk singers instead.[21] "See You Everyday" is different from the rest of the soundtrack, being a pop song sung inCantonese by Fang Ka Wing.[24]

The ending credits theme of the film's English version is "One Minute Warning" by Passengers, a collaboration betweenU2 andBrian Eno. The song appeared on the albumOriginal Soundtracks 1, and was one of three songs on that album to actually be featured in a film.[25][26] Andy Frain, the founder ofManga Entertainment and an executive producer on the film, was a former marketing director forIsland Records, therecord label that publishes U2's songs.[4]

Releases

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The film had its world premiere at theTokyo International Film Festival in October 1995 before its general release in November.[16] It premiered in the United Kingdom on 11 November 1995 as part of theLondon Film Festival in Leicester Square. It was originally rated R by the MPAA due to full nudity and graphic violence when it was first released in the United States.[27]

The film grossed$10 million in global box office revenue, but this fell short of the film's budget, thus failing to recoup production costs.[6] However, the film grew acult following onhome video, with the film grossing approximately$43 million in total box office and home video sales revenue. The English dub of the film was released in the United Kingdom on 8 December 1995 by Metrodome Distribution, and in the United States on 29 March 1996 by Palm Pictures. The "2.0" version was released in theatres inTokyo,Osaka,Nagoya,Fukuoka, andSapporo on 12 July 2008.[28]

In 2021, the film was given an IMAX restoration and limited theatrical release.[8]

Home media

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In Japan, the film was released onVHS on 26 April 1996.[29] TheDVD version was released on 25 February 2004 as a Special Edition release, in which the film was fully restored and digitally remastered from the original film elements in both original fullscreen form and in letterboxed widescreen form, and the audio was digitally remixed in English and Japanese.[30]Ghost in the Shell was released onBlu-ray on 24 August 2007.[31]

In the United States, the film was released on VHS on 18 June 1996 throughManga Entertainment, and on DVD on 31 March 1998 byPolyGram Video.[32][33] Like the much later Japanese "Special Edition", the DVD is a fully restored and digitally remastered cut with multiple language tracks, but unlike the Japanese release, it includes a 30-minute documentary on the making of the film.[34] Another special edition DVD was released in the United States by Manga Entertainment on 11 January 2005.[35]The special edition contains an additional disc containing character dossiers, a creator biography, the director's biography, andGhost in the Shell trailers and previews.[36] Manga Entertainment released the film on Blu-ray on 24 November 2009; this version contains the original film and the remastering, but omits the audio commentary and face-to-face interview with Oshii, which are listed on its box.[37][38] Manga Entertainment and Anchor Bay Entertainment re-released the film on Blu-ray with a brand new HD film print on 23 September 2014.[39] The release was met with criticism for its poorly-translated English subtitles and lack of special features.[40] The film was re-released on UHD 4K Blu-ray byLionsgate on 8 September 2020.[41]

In August 1996,Ghost in the Shell became the firstJapanese film to top theBillboard video sales chart, with over 200,000 VHS copies sold.[42] By 2002, the film's home video releases sold more than 1.6 million units worldwide,[43] including over 100,000 units in Japan and more than 1 million units in the United States.[44] At a retail price of $19.95,[45] the film grossed approximately$32 million in video sales revenue. In 2017, the Blu-ray release sold 26,487 copies and grossed $675,002 in the United States,[46] bringing the film's total worldwide video sales to 1.63 million units and approximately$33 million gross revenue. The film was the first anime video to reachBillboard's No. 1 video slot at the time of its release.[47] The film ranked as the ninth top selling anime DVD movie in North America in 2006.[48]

Other media

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Kenji Kawai's original soundtrack for the film was released on 22 November 1995.[24] The last track included Yoshimasa Mizuno's pop song "See You Everyday".[49] After the release ofGhost in the Shell 2.0, an updated version of the soundtrack was released on 17 December 2008.[50] A Photo-CD of the film was released in Japan on 20 November 1995.[51] A spin-off novel written by Endo Akira, titledGhost in the Shell: Burning City (攻殻機動隊灼熱の都市,Kōkaku kidōtai shakunetsu no toshi), was published byKodansha and released in Japan in November 1995.[52] It was followed by a sequel, titledGhost in the Shell 2: Star Seed (攻殻機動隊2: Star Seed), released in January 1998.[53] A book titledAnalysis of Ghost in the Shell was released on 25 September 1997, by Kodansha.[54]

Ghost in the Shell 2.0 re-release

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An updated version of the original film, titledGhost in the Shell 2.0 (GHOST IN THE SHELL/攻殻機動隊 2.0,Gōsuto in za sheru / Kōkaku kidōtai 2.0), was made in celebration for the release ofThe Sky Crawlers in 2008.[55][56] TheGhost in the Shell 2.0 release combines original footage with updated animations, created using new digital film and animation technologies such as 3D-CG. It includes a new opening, digital screens and holographic displays, and omits several brief scenes.[57] The original soundtrack was also re-arranged and re-recorded. Kenji Kawai remixed theVersion 2.0 soundtrack in6.1 Channel Surround.Randy Thom ofSkywalker Sound reprised his role as sound designer, having worked previously onGhost in the Shell 2: Innocence.[55] In the new soundtrack, the Japanese voice dialogue was also re-recorded, with some variation from the original script to modernize the speech.Yoshiko Sakakibara replacedIemasa Kayumi as the voice of the Puppet Master.[55]2.0 was re-released in DVD andBlu-ray in Japan on 19 December 2008.[58][59]

Reception

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Onreview aggregatorRotten Tomatoes, the film has an approval rating of 95% based on 62 reviews, with an average rating of 7.8/10. The website's critical consensus reads, "A stunning feat of modern animation,Ghost in the Shell offers a thoughtful, complex treat for anime fans, as well as a perfect introduction for viewers new to the medium."[60] OnMetacritic, the film has a weighted average score of 76 out of 100 based on 14 critics, indicating "generally favorable reviews".[61]

Niels Matthijs ofTwitch Film praised the film, stating, "Not only isKokaku Kidotai an essential film in the canon of Japanese animation, together with Kubrick's2001: A Space Odyssey and Tarkovsky'sSolaris it completes a trio of book adaptations that transcend the popularity of their originals and [give] a new meaning to an already popular brand."[62] Clark Collis ofEmpire opined that the film was predictable, but praised its production values.[63] Johnathan Mays ofAnime News Network praised the animation combined with the computer effects, calling it "perhaps the best synthesis ever witnessed in anime".[64]Helen McCarthy in500 Essential Anime Movies describes the film as "one of the best anime ever made", praising its screenplay and "atmospheric score", and adding that "action scenes as good as anything in the currentHollywood blockbuster are supported byCGI effects that can still astonish".[65] In a 1996 review, film criticRoger Ebert rated the film three out of four stars, praising the visuals, soundtrack and themes, but felt that the film was "too complex and murky to reach a large audience ... it's not until the second hour that the story begins to reveal its meaning".[25] In February 2004,Cinefantastique listed the film as one of the "10 Essential Animations" alongside Oshii's 1984 filmBeautiful Dreamer.[66] It ranked 35 onTotal Film's 2010 top list of 50 Animated Films.[67] The film ranked No. 4 onWizards Anime Magazine on their "Top 50 Anime released in North America".[68]

Awards

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The film won Best Screenplay atYokohama Film Festival and was nominated in fiveAnnie Award categories at the24th Annie Awards:Best Animated Feature,Best Achievement in Directing (Mamoru Oshii), Best Achievement in Producing (Mitsuhisa Ishikawa, Ken Iyadomi, Ken Matsumoto, Yoshimasa Mizuo, and Shigeru Watanabe),Best Achievement in Production Design (Takashi Watabe and Hiromasa Ogura), andBest Achievement in Writing (Kazunori Itô), but all lost toToy Story.[69]

Legacy

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Ghost in the Shell has influenced prominent filmmakers.The Wachowskis, creators ofThe Matrix and its sequels, showed it to producerJoel Silver, saying, "We wanna do that for real."[70]The Matrix series took several concepts from the film, including theMatrix digital rain, which was inspired by the film's opening credits, and the way characters access the Matrix through holes in the back of their necks. Other parallels have been drawn toJames Cameron'sAvatar,Steven Spielberg'sA.I. Artificial Intelligence, andJonathan Mostow'sSurrogates. Cameron describedGhost in the Shell as "a stunning work of speculative fiction...the first to reach a level of literary excellence."[71][72]

Themes

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The film explores nature of humancyborgs,consciousness,self-aware computer programs, and memory alteration.[73][74] In one of the monologues delivered by the Puppet Master throughout the film, it is argued that the humanDNA is nothing more than a program designed to self-preserve.[75] There are also multiple mentions of the act of grantingpolitical asylum to self-aware computer programs.

The film depicts Motoko's identity and ontological concerns and ends with theevolution of the Puppet Master, a being without reproduction.[76] Austin Corbett characterized the lack of sexualization from her team as freedom from femininity, noting that Motoko is "overtly feminine, and clearly non-female".[77] Joseph Schaub discusses the gender-defying manner in which the Puppet Master is portrayed, visualized with a blonde woman's bare-chested torso but speaking in a male voice and referred to with masculine pronouns.[78] In describing Motoko as a "shapely" and "strong [female protagonist] at the center of the story" who is "nevertheless almost continuously nude", Roger Ebert noted that "an article about anime in a recent issue ofFilm Quarterly[79] suggests that to be a 'salary man' in modern Japan is so exhausting and dehumanizing that many men (who form the largest part of the animation audience) project both freedom and power onto women, and identify with them as fictional characters".[25] Carl Silvio has calledGhost in the Shell a "resistant film", due to its inversion of traditional gender roles, its "valorization of the post-gendered subject", and its de-emphasis of the sexual specificity of the material body.[80]

See also

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Notes

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  1. ^Ghost in the Shell/Kōkaku Kidōtai (Japanese:Ghost in the Shell/攻殻機動隊[7],Hepburn:Gōsuto in za Sheru/Kōkaku Kidōtai;lit."Ghost in the Shell/Mobile Armored Riot Police")
  1. ^"Production I.G [WORK LIST]".Production I.G.Archived from the original on 26 December 2018. Retrieved29 December 2018.
  2. ^ab"GHOST IN THE SHELL (15)".British Board of Film Classification. 30 October 1995. Archived fromthe original on 6 April 2015. Retrieved28 January 2015.
  3. ^"Kokaku kidotai (1995)".British Film Institute. London. Archived fromthe original on 31 July 2017. Retrieved10 February 2017.
  4. ^abSevakis, Justin (14 September 2015)."What Ever Happened to Manga Entertainment?". Answerman (column).Anime News Network.Archived from the original on 22 July 2018. Retrieved10 February 2017.
  5. ^Harding, Daryl (19 September 2021)."Ghost in the Shell Producer Confirms How Much the 1995 Anime Film Cost to Make".Crunchyroll.Archived from the original on 19 September 2021. Retrieved19 September 2021.
  6. ^ab"30 Years of Akira: The Triumph and Legacy of a Legendary Film".Crunchyroll. 16 July 2018.Archived from the original on 28 November 2018. Retrieved28 November 2018.
  7. ^"『Ghost in the Shell/攻殻機動隊』 4Kリマスターセット (4K ULTRA HD Blu-ray&Blu-ray Disc 2枚組) | 商品詳細" (in Japanese).Bandai Visual.Archived from the original on 16 October 2019. Retrieved3 April 2021.
  8. ^ab"IMAX: Ghost in the Shell (15)".National Science and Media Museum. Archived fromthe original on 13 September 2021. Retrieved13 September 2021.
  9. ^See, Raphael."Ghost in the Shell".THEM Anime Reviews.Archived from the original on 12 August 2020. Retrieved26 February 2023.
  10. ^"The Best Animated Movies of All Time".Complex.Archived from the original on 20 May 2021. Retrieved9 June 2021.
  11. ^"Why is Ghost in the Shell (1995) sometimes labeled the greatest and most philosophical anime ever made?".South China Morning Post. 6 December 2019.Archived from the original on 9 June 2021. Retrieved9 June 2021.
  12. ^"10 Best Anime Movies (That You Can Stream For Free Online)".ScreenRant. 7 June 2021.Archived from the original on 9 June 2021. Retrieved9 June 2021.
  13. ^"10 Important Anime Films That Had Worldwide Success".ScreenRant. 3 May 2021.Archived from the original on 9 June 2021. Retrieved9 June 2021.
  14. ^Ghost in the Shell (1996 English Version) (VHS). Manga Entertainment. 18 June 1996.
  15. ^"Mamoru Oshii was pitched to direct GHOST IN THE SHELL over a secret sushi dinner - YouTube".YouTube. 20 April 2016.Archived from the original on 28 October 2021. Retrieved28 October 2021.
  16. ^abcdefghijk"Production Report".Ghost in the Shell (DVD). DVD Extra: Production I.G. 1996.
  17. ^"Interview Mamoru Oshii".AV Club.Archived from the original on 10 January 2013. Retrieved26 July 2013.
  18. ^"Retrofitting the Future: Ghost in the Shell 2.0". Electric Sheep Magazine. 2 October 2009. Archived fromthe original on 27 July 2013. Retrieved26 July 2013.
  19. ^Ruh, Brian (22 March 2017)."Who Is The Real Motoko Kusanagi?".Anime News Network.Archived from the original on 30 March 2024. Retrieved4 May 2023.
  20. ^abRedmond, Sean (2004).Liquid Metal: The Science Fiction Film Reader. New York: Wallflower Press. pp. 101–112.ISBN 9780231501842.OCLC 876042630.
  21. ^ab"Sound Current: 'Kenji Kawai - Game and Anime Intersections'". Game Set Watch. 24 February 2010.Archived from the original on 9 November 2013. Retrieved8 November 2013.
  22. ^"Sound Current: 'Bulgarian folklor- Kafal sviri'".YouTube. 29 July 2012.Archived from the original on 8 April 2017. Retrieved28 March 2017.
  23. ^Sarah Penicka-Smith, "Cyborg Songs for an Existential Crisis", inAnime and Philosophy: Wide Eyed Wonder, eds. Josef Steiff & Tristan D. Tamplin (Chicago: Open Court, 2010), 261–74.
  24. ^ab"Ghost in the Shell-攻殻機動隊-" (in Japanese). Archived fromthe original on 11 November 2013. Retrieved22 October 2012.
  25. ^abc"Ghost in the Shell".RogerEbert.com. 12 April 1996.Archived from the original on 1 April 2017. Retrieved13 February 2017.
  26. ^"Passengers: Original Soundtracks 1".U2.Archived from the original on 14 February 2017. Retrieved13 February 2017.
  27. ^"Ghost in the Shell Rated PG-13 by MPAA".Horror News Network. 23 March 2017.Archived from the original on 21 April 2017. Retrieved3 June 2021.
  28. ^"Ghost in the Shell to Return to Japanese Theaters".Anime News Network.Archived from the original on 23 October 2012. Retrieved9 November 2011.
  29. ^"GHOST IN THE SHELL/攻殻機動隊 (VHS)" (in Japanese). Tsutaya Online. Archived fromthe original on 21 February 2013. Retrieved6 December 2012.
  30. ^"GHOST IN THE SHELL/攻殻機動隊 (DVD)" (in Japanese). Jbook. Archived fromthe original on 2 November 2013. Retrieved7 December 2012.
  31. ^"GHOST IN THE SHELL/攻殻機動隊 (BD)" (in Japanese). Bandai Visuals. Archived fromthe original on 1 November 2013. Retrieved6 December 2012.
  32. ^Beveridge, Chris (21 March 1998)."Ghost in the Shell".Mania.com. Archived fromthe original on 31 October 2013. Retrieved31 July 2013.
  33. ^"Ghost in the Shell DVD". DVD Empire.Archived from the original on 22 January 2013. Retrieved6 December 2012.
  34. ^"Ghost in the DVD".Electronic Gaming Monthly. No. 97.Ziff Davis. August 1997. p. 19.
  35. ^"Special Edition "Ghost in the Shell"". 21 May 2023.Archived from the original on 9 February 2024. Retrieved20 January 2023.
  36. ^"Special Edition "Ghost in the Shell"".Anime News Network.Archived from the original on 6 November 2012. Retrieved7 December 2012.
  37. ^"Ghost in the Shell 2.0 Blu-ray".Archived from the original on 25 May 2013. Retrieved31 July 2013.
  38. ^"Blu-ray Review - Ghost in the Shell 2.0". High-def digest.Archived from the original on 31 October 2013. Retrieved31 July 2013.
  39. ^"Fantasia Announces A First Wave of 2014 Programming".Anime News Network (Press Release). 19 June 2014.Archived from the original on 18 December 2019. Retrieved21 June 2014.
  40. ^"Ghost in the Shell Blu-ray Review".AVForums. 26 September 2014.Archived from the original on 10 June 2015. Retrieved10 June 2015.
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Further reading

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  • Bolton, Christopher (2018).Interpreting Anime.University of Minnesota Press.ISBN 978-1-4529-5683-1.
  • (in French) Sébastien Denis. "L'esprit et l'enveloppe : De quelques personnages utopiques",CinémAction 115 (2005): [whole issue].
  • William O. Gardner. "TheCyber Sublime and the Virtual Mirror: Information and Media in the Works of Oshii Mamoru and Kon Satoshi",Canadian Journal of Film Studies 18, no. 1 (Spring 2009): 44–70.
  • Susan J. Napier. "Doll parts: technology and the body inGhost in the Shell", inAnime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. NY: Palgrave, 2000, pp. 103–20.
  • Dan Persons. "Ghost in the Shell",Cinefantastique 28, no. 1 (August 1996): 46–51.
  • Brian Ruh. "Ghost in the Shell (1995)", inStray Dog of Anime: The Films of Mamoru Oshii. NY: Palgrave Macmillan, 2004, pp. 119–140.
  • Joseph Christopher Schaub. "Kusanagi's Body: Gender and Technology in Mecha-anime",Asian Journal of Communication 11, no. 2 (2001): 79–100.
  • Ueno Toshiya. "Japanimation and Techno-Orientalism",Documentary Box 9, no. 31 (Dec 1996): 1–5.

External links

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