![]() Divided in three parts, the article analyzes the plot of Ghost in the Shell 2: Innocence through a narrative scheme proposed by Harrison Chute, deconstructing the movie according to four patterns: 1) problem 2) character 3) plot / theme and 4) solution. Innocence is moored in philosophical and metaphorical references reiterating the notions referring not only to what the simulacra (dolls, androids, automata) or the ningyō (“human-shaped figures” (Brown 13)) say about us, but more importantly, to what the simulacra would say if they could talk (Chute paraphrasing Major Motoko Kusanagi). ![]() ![]() If the first followed the actions of the elusive sentient artificial program, the Puppet Master, the sequel is centered on the investigation surrounding a series of murders committed by defective gynoids (female androids designed for sex) that kill their owners and afterwards commit suicide. With its metaphysical explorations of what it means to be a human once most of the biological output has been digitalized and cyborg-fied, the movie investigated the dichotomies at the core of the human being and of its uncanny relationship with technology, of how both human and machine become intertwined through a mechanic process of quasi-transmogrification.The 2004 sequel Ghost in the Shell 2: Innocence, which was also directed by Oshii, continues and further expands on the themes introduced in the first movie. More than a quarter of a century after its premiere, Mamoru Oshii’s movie Ghost in the Shell (1995) based on Masamune Shirow’s eponymous manga, remains a classic of the science-fiction and (post)cyberpunk genres.
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