The Ghost Rises Again

   Posted by: Nightheaven   in Animes / 动画, Apr 08, 2008

The Ghost Rises Again
Anime expert Fred Patten takes a look at the highly anticipated anime feature Ghost in the Shell 2: Innocence, talking over the film with Production I.G producer Mitsuhisa Ishikawa.

September 17, 2004
By Fred Patten


Cyber-top cop Batou (top) investigates beautiful killer sex robot models (bottom) known as gynoids in Ghost in the Shell 2: Innocence. All photos from Ghost in the Shell 2: Innocence courtesy of Go Fish Pictures.

The 1995 Ghost in the Shell is one of the most prestigious Japanese animated features ever made. It received almost unanimous critical praise for its intellectual cyberpunk sci-fi plot. (Some critics dismissed it as an imitation Blade Runner, which it is only superficially.) It was acknowledged as one of the creative influences on the Wachowski Brothers that led to The Matrix. It won the 1997 World Animation Celebration’s Awards for both Best Theatrical Feature Film and, for director Mamoru Oshii, Best Director of Animation for a Theatrical Feature Film. When it was released on video in America, it became the first anime video to reach the #1 position on Billboard magazine’s sales chart (August 1996).

With all this acclaim, it is hard to realize that its American theatrical release (March 29, 1996) was an art-house limited tour in only one theater per city. Its theatrical gross was just $515,905 (according to Box Office Mojo).

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Ghost in the Shell 2 sets a new standard at Midnight Madness

   Posted by: Nightheaven   in Animes / 动画, Apr 08, 2008

BY JASON ANDERSON
 

Midnight Madness is a great place to meet unusual characters — martial-arts freaks, gore hounds, punk pinheads and Milton-quoting cyborg detectives. Though this last category can only be encountered on the screen, surely it won’t be long before we catch up to the future presented in Ghost in the Shell 2: Innocence, one of the most anticipated entries in the Toronto International Film Festival’s two-fisted survey of genre cinema.

On Sept. 9, the series launches with the Canadian premiere of Japanese maverick Mamoru Oshii’s sequel to his anime milestone. (The new film goes into wide release on Sept. 17.) Four years in production,Ghost in the Shell 2: Innocence is a new benchmark for Japanese animation both for its technical achievement and its provocative content. It was created by Production I.G., the company responsible for the original Ghost in the Shell,Jin-Roh: The Wolf Brigade and the visceral anime sequence in Kill Bill Vol. 1. Using techniques Oshii mastered in his 2001 live-action feature Avalon, the style combines expressive 2D characters with 3D computer-generated environments and photorealistic backgrounds. The film’s dragon-filled festival sequence alone took a year to create.

During an interview at the Cannes film festival in May — where Ghost in the Shell 2: Innocence played in competition — Oshii explains through a translator why he returned to making anime after a six-year break. “I thought I should do one pretty soon or else I’d never be able to do it again,” he says. “Directing animation is a very sensitive thing. You can’t really be away from the animation studio for a long time because you completely lose your sense of what’s happening in anime. It was about time to go back.”

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Interpretation Of “innocence“

   Posted by: Nightheaven   in Animes / 动画, Apr 08, 2008

http://forums.productionig.com/ : jerryku

I think “Innocence” is about what you see in the poster for the film: dogs and dolls. Also, in the trailer, it says “Innocence. That’s what life is.” Dogs and Dolls are innocent because they are not cognizant, they are not conciously self-aware, they have no ego. I’m not sure how to put it. But I heard someone saying that Motoko’s quote at the end of the movie, where she talks about how people see evil in the mirror of oneself, is about how people lose their innocence by becoming obsessed with themselves, their own importance, own purpose. And do you remember Kim’s spinning globe that Togusa spins in the mansion? I think that globe represents “life”, and thus, “innocence.” As it spins, the globe shows images of all sorts of animals. Lions, monkeys, and at the end, a dog. Innocent creatures that don’t think about their own importance very much.

In an IGN interview of Oshii, Oshii says that in the first GITS movie, he thought that what makes a human a human is their mind, and their memories of life. The body is not important. But then he says he has a different conclusion for GITS2, and he says our body as a whole is what makes us human, and our relationship with others is even more important. And I think when he says “our body as a whole entity”, he’s talking about how it fits in with life in general. Our human bodies are a part of mother nature, that kinda thing.

In GITS2, Kim, who is nothing more than a cyberbrain… with no body.. is insane. He has no relationships with others. He is not innocent. This is what happens to people when they disconnect themselves from their bodies and relationships with people. They go mad.

In fact, almost everyone is sad, moody, and somber in this movie. Every human being that is. Oshii said somewhere about how GITS is not really a ‘vision of the future’. It’s about the present, because he thinks the world is so full of sadness right now, and that’s why so many characters seem sad. But Batou’s dog is not sad, and the cheeriest character in the film, Togusa, is repeatedly shown to be strongly connected to his family, especially his daughter.
Togusa is definately the most innocent human character of the film, sometimes he comes off as naive or kinda spaced out. He doesn’t mope around like Batou does, he playfully spins the globe as he walks around Kim’s mansion. He eats a bun while Batou interrogates. He curiously gazes into the model replica of the mansion.. and in the end, he says he can’t be Batou’s partner anymore. It’s not just because he has a family, it’s also because his family represents his innocence. Working with Batou seems like it will lead to his loss of innocence, it will corrupt him. Remember that Togusa only says he wants to stop working with Batou after Kim has hacked into his cyberbrain, which scared the bejeezus out of Togusa. Afterwards, Batou questioned Togusa’s confidence that he even had a family! In the end, Batou says “you got a daughter, and that’s real.”

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Innocence观感…对押井的一点怨念

   Posted by: Nightheaven   in Animes / 动画, Apr 08, 2008

漫游

来写点观后感吧。
  这次看Innocence,本来是在我的计划之外。预定中是周六中午去池袋看古代文化展,下午去护国寺。结果早上起来后居然鬼使神差地跑去洗衣服,一边搬把椅子坐在阳台旁边看《暗黑破坏神》。等到收拾停当出门的时候,已经是11点多。
  看完展览当然来不及再去护国寺,在池袋的街上晃悠来晃悠去,看店铺,看旧书店,看街上的人们。来的路上记得看到一间电影院,也记得有Innocence的海报。顺路晃过去一看,果然是有,下一场是二十分钟后。于是买票,买好饮料,进场。
  因为买票的时候已经很临近开场了,所以相对地,没有好位置的票。池袋的影院全都是指定席位,售票的小姐问我:要旁边的还是前排中间的?想都不想就是:中间的。
  剧场在六楼,很小,可是座位设置得很舒服。我的座位好是B10,几乎就在大屏幕的下方,音响交汇的地方。觉得抬两个小时的头太辛苦,于是跟着旁边的两个高中生摸样的人,干脆把身体躺下来看(确实是很舒服)。后来发现这样看片也有很奇特的效果,这个后面再说。
  总之,电影开始。

  日本电影的惯例,是开片之前一般都有几个介绍,这次也不例外。第一个广告就是《Ghost in the Shell》的游戏,3D,PS2。个人不喜欢3D的游戏,总觉得人物一3D化就和2D的感觉完全不象了,看游戏的介绍画面,也有这种感觉。好在配音是 SAC的原班人员,介绍的片段以素子倒地,巴特的一声大呼:“素子~~~”结束,感觉魄力还是有的,笑。
  接下来的两个预告片让我完全没有想到,大友克洋的新片和GHIBLI的新片,什么魔女的森林。大友克洋的风格还是老样子,十九世纪的机器繁盛被他画得一点浪漫气息都没有,看起来明明就有英雄救美的场景啊。魔女的森林倒是不象GHIBLI的风格,画面平面装饰的风格很重,以前在CD店看到海报的时候还差点以为是欧洲的动画片来着。介绍片至少是不够精彩的,因为一点印象都没留下(因为看Innocence太专心了?)。
  接下来的就是柯南的新剧场版和蜡笔小新西部生活的剧场版预告。这种画风不精致的东西果然不能拿到大屏幕上看啊……感觉是完全粗糙,线条太粗、颜色太平板了……不过介绍和本片气氛的反差实在是太大了,以至于小新的片头出现的那一瞬间,剧场里所有的人都笑了。
  话说回来,连Innocence在那么大的幕布上看起来都不是特别精致。可是有音响和大画面的魄力……我还是喜欢在电影院看 ^^

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Innocence全剧情

   Posted by: Nightheaven   in Animes / 动画, Apr 07, 2008

漫游:danver

……虽然知道会被拍……
可是写那么辛苦就是为了看人家的好奇心挣扎来着,不贴出来怎么可以……
所以……意志力不够坚强人请往下看。
写得很详细很详细哦。

**********************************

Innocence
——素子离去三年后,巴特的故事
  警用的直升飞机在城市的上空盘旋,高耸的摩天楼顶上两个巨大的汉字:
  “禄(?)狗”
  无线电里操着粤语的人在联络各处的警员,向事故地点集中。

  在第一杀人现场杀死主人之后,逃窜进小巷(第二杀人现场)又杀死两名警员的人偶,洛克斯·索斯公司的2052型GYNOID。

  本地的警员在杀人现场前忙忙碌碌,封锁道路,拉起黄色警戒线。巴特驾驶着大型车缓缓分开人流,出现在中年警官面前。下车,听取报告,子弹上膛,向破旧门后的巷子深处走去。
  年轻的警员不服气,为什么有人可以这样擅自行动?
  中年警官拦下血气旺盛的部下:“公安的人。跟着他你有几条命都不够。”

  门后,一片寂静,投射在视网膜上的是一片扫描后的绿色。一个倒下的人影,血迹,带着血迹延伸的脚印,又是一个人影。巴特眼罩下的表情兀自不动,枪已经举起。
  转过一个弯,台阶的边缘坐着一个穿艺妓装的少女型人偶,衣服散落,脸色青白,关节咔咔作响,向巴特看过来。
  短暂的交锋,身体接触,人偶被撞飞到对面的墙上,缓缓抬起头。
  巴特架好姿势,准备射击。
  在绿色扫描画面上颜色异常鲜艳明亮的少女,微微地在叫喊:
  “救救我……
  “救救我……
  “救救我……”
  双手举起,弯曲,撕裂皮肤,内部支架迸出。
  砰,砰砰——

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谁能书生死,白首太玄经:《攻壳机动队:无罪》的畅想

   Posted by: Nightheaven   in Animes / 动画, Apr 05, 2008

作者:hitchcock 来源:网易周黎明留言版

“生死去来,棚头傀儡,一线断时,落落磊磊。”

《黑客帝国》的成功,让世界认识了老爸级的《攻壳机动队》,这个在1995年就已经在动画电影界取得了极大成功的电影终于走出了动漫狂和东亚文化的圈子,当人们看到脖子上的插头和魂魄分离的生命模型已经早四年就出现在动漫的天地,这部改写生命定义的电影才真正被世界大众关注。事隔九年,《无罪》出现在戛纳的官方甄选名单,但真正到了我们能看见,已经半年过去。在这部并不算续集的姊妹篇里,生命的概念再次得到了挑战。

在第一部的结尾,少佐成了一个人类和机器灵魂的混合体,从公安九课消失,投身于无限的网络中,在第二部中,她索性成了一个没有具体形态的纯灵魂,时而化身为好友体内电脑终端的警示,时而附身在机器人身上,已经达到了“吾心自洁,独步天下,如林中象”的境界,没有我相、人相、众生相、寿者相,才得以获得最大的自由。

记得看过一个小中篇,名为《爱因斯坦的梦》,设想了相对论引发的二十多种可能的时间流逝状态,以及在这些状态下人们的行为模式。《攻壳机动队》的系列电影和电视版也是这样的情况,设想一种生命的存在模式,即“魂在壳内”,这个定义在第一部里并没有得到太多的探讨,而是主要在讨论机器和人类的伦理问题,但在《无罪》中,至少设想了十二种人工生命的状态:没有历史的克隆狗,无法鸣冤的偶人,混沌中的儿童,仅用义体的物理功能的公安、纯机器壳中不死的人脑、作为群体记忆的城市、没有我执的云雀、肢体力量和信息获得能力堪与神媲美的偶人、没有记忆却保持自我的孩子、没有记忆也没有知觉的人魂,以及少佐的纯灵魂。这些都是生命的存在方式,彼此之间的区别顶多是黑和白的区别,在电影一句孔子,一句旧约,一句法句经,一句俳句,再来点柏拉图和迪卡尔的思想碰撞以后,故事那个机器妓女杀人而后自杀的引子已经并不重要,被证明“无罪”的已经说不上是机器人妓女的自我意识,而是为了实现自我,各个生命状态彼此争斗的苦境。等到真相大白,也只能以一句“鸟血使人怜,鱼伤无人问”的叹息结束了所有的形而上的争论,或许所有的生命都是注定要线断落珠的傀儡,而那个操纵着吊线的则是我们的自我意识。连能力接近神的金都这样说:“人和神都是太执着自我,所以不得自由”。

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《GITS2:INNOCENCE》押井守最新访谈

   Posted by: Nightheaven   in Animes / 动画, Apr 05, 2008

by红袖添饭

早就放了消息树了,现在才补上,太忙了,抱歉。

本文登在最近一期的《AnimePlay》上,我是在书店现场做的笔记,没有全部COPY,也没买(No MONEY screen.width/2)this.width=screen.width/2″ vspace=2 border=0>)。不过有料的内容自认为都摘下来了。因为还没时间看中文字幕的版本,所以这里基本上是摘抄,自己的话都放在括号里。

押谈到他在INNOCENCE中强调BODY的重要性时说:
A human cannot think of himself without a body, nor can he live. The problem, however, lies solely in the fact that a human does not have a body of its own. The story of the search for one’s lost body might be what this movie is about.(这里谈到INNOCENCE这部电影的主题了,是BODY。押井守似乎认为在第二集的设定里,BODY才是定义HUMAN的根源。这与第一集的思想是不同的,但是考虑到第二集的整体情节,应当是可以说得过去的。当MIND都被电子化后,你怎么能说你的MIND是区别你自己和他人的终极东西了呢?何况MIND被电子化后就有被manipulate的可能,你的ghost可以被复制到别的shell里,但你不会感觉那是你自己,所以电影中那些 sex dolls才会想自杀,以此表示对新的shell或者所谓新的自我的不认同,ghost还是需要原来的body。在电影的设定中,这种问题其实不仅发生在sex dolls身上,她们的例子只不过更极端些;对于每一个义体化的HUMAN来说,当义体已经成为一种普遍的共性的HUMAN“特征”,他们是不是也会思念原始的BODY呢?后面押静守谈到了本片的主题实际上是MIND与BODY之间的LOVE……个人感觉第二强调BODY是对第一集强调MEMORY的一个螺旋式上升的命题,二者并不矛盾,因为是在不同的设定层次上讨论问题。)

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