Parsing of the film chartin 1995. “Ghost in armor”

Before moving directly to the topic of the article, namely to an attempt to analyze the anime of 1995 “Ghost in armor”, I propose to go from afar as much as it is generally possible in the context of the environment where there is an object. No, this is not anime, no, this is not an animation in principle, and no, this is not even cyberpunk. “Ghost in armor” is the initially movie. Accordingly, before analyzing the picture to parts, you need to understand what cinema is, and what qualities it should have in order to be good.

In short, cinema is a naturally connected audio-visual series. From this definition (which is not taken from the Internet, by the way, but with which, I think, it is difficult to disagree) you can identify three key features. The first feature – the movie has a sound and a picture, which, in fact, makes its own unique language. With the help of the audio visual, the movie turns to the viewer, it talks to him. The second feature is a pattern. A person, in principle, is such that it perceives information by laws, so it would be foolish to expect that the creative direction, the ultimate goal of which is to appeal to the viewer, to a person, should not be logical. The last feature is the connectedness of everything that is in the cinema. This whole design for the greatestness can be considered by the example of the machine. In this case, the cinema language will act as various gears and springs, the pattern will be mechanisms that separately perform various functions from each other, and the connectedness of all this will ultimately force the machine to work and be a machine.

If you broadcast all these letters to the current cinema, it turns out such a picture. There should be a certain Central idea – The main function that it performs. It can be instructive morality or author’s thought. Simply put, “what is this movie about?”The presence of the central idea determines what the” machine “has been created for and ensures the connectedness of the film. Accordingly, the individual “mechanisms” inside it should be designed with an eye on the tasks that this machine performs. In other words, everything that is available in the film should work for the central idea, otherwise the film simply will not function. Everything should have a meaning, each scene, a replica of dialogue or building a composition. And the tool with which you can convey this meaning is a movie language. He can be both rich and scarce. It’s not so difficult to distinguish one from the other from the other, you just need to understand what the director is doing to convey the very meaning that somehow works for the central idea of ​​the film. How the director uses color, light, how he “moves” the camera and t.D. Here, even the size of cinematic stripes matters.

Learning to understand and designate the “central idea” of any artistic work will help either children’s cartoons or cartoons for the whole family, for example, Disney studio. All because they are very understandable and transparently set out their ideas.
We conclude from all of the above: the richer the cinema language, the more original and relevant the central idea, and the wider it is revealed, the better. Of course, each person is unique, and the same information missed through him can be perceived differently, but, as I think, this business is still somehow correlated. And, about my ghost, the introduction and so was delayed, so I propose to go directly to the film.

The anime of 1995 “Ghost in the armor” was based on the 1989 manga of the same name. True, the current name “Ghost in the Shell” is in no way connected with its original, which slightly leveles the thesis above, but this is a separate story and, in general, absolutely not playing the role. It is important that as an idea of ​​the author, Masamune Siro, History was to be named after the book Arthur Castler “The Ghost in the Machine” 1967, but the publisher did not allow. Therefore, the initial name of the work gave the classic “Afire about special forces”. Back to the essence of the conversation. The director of the anime performed Mamoru Osia. He was at his disposal, which was a rarity for 1995, in fact, before the “ghost in armor” in Japanese multiplier could only boast “Akira”. Gright financing made it possible to make an animation of smooth and more close to Western analogues, but at the same time, I don’t know if this is due to Japanese vision or lack of means that are not devoid of the characteristics of anime – static plans and long pauses. In other words, the animation was both rich and poor. For the sound was responsible Kenji Kawai. And by the way, in the recent premiere “Decorate the farewell morning with the flowers of promise”(what I advise you to meet) You could also hear his sound. In my opinion, the composer is ingenious. Of interesting details, we still note that the original story written by Mangaku was radically different from her movie adaptation. There were completely different characters of the characters, as well as a comedic tone. In the history of Mamoru Axia and Casunori (screenwriter anime) jokes are only three or four, and they do not pursue the goals to make the viewer laugh before the heat in the stomach, when the narrative was deliberately comedy in the manga. And the “ghost in armor” was the first anime where computer graphics were used, which is quite symbolic, because it touched on the topic of technology.

So what is this film about? Let’s figure it out. Most often, in order to identify the central idea of ​​a particular film, you need to follow the dramatic line of the protagonist. What does he appear at the beginning of the picture, what an obstacle fell to his share, and how he changed after overcoming difficulties? WITH Motoko Kusanagi, which is the main character “Ghost in armor”, this works quite, but this character is not the only bearer of the whole meaning of the picture. Absolutely any part of it can carry the meaning here, and only at first glance it may seem that this or that gear is not attached to the central idea. This will most likely be a misconception.

The “ghost in armor” begins with the fact that the major of the ninth department, Motoko Kusanagi, through a listening device, sitting on the roof of a skyscraper, monitors some meeting. What is noteworthy is the first thing the viewer hears in this case is a joke killed by a bad dubbing in terms of translation (not dubbing itself, namely translation. Top dubbing). Therefore, I highly recommend ADVOKAT’s subtitles to everyone. The introductory scene, in addition to sending the viewer to the first release of the original manga, makes several more things, the most important of which are two. Firstly, it represents some characters in the film. The ninth department in the role of a shock group, which, in principle, does not care, whether the murder of a foreign diplomat is legitimate or not;and Motoko Kusanagi in the role of the key person of the ninth department, which, in addition, is absolutely not shy about its nudity (what is actually important). Secondly, the scene makes the seed for the development of the central plot, but at the first viewing it will not be so noticeable.

The same lost joke.

The next scene is the introductory credits where the viewer can see borrowed “Matrix” The running green lines of the code on a black background and, much more important – there is not much “origin” of the main character. The director shows the process of assembly of the cyborg: how the organic brain is scanned, how it is placed, already being cybercoma, inside the cyber, how the heroine “dumps snake scales” and is in the embryo pose. This is all like the “birth” of the cyborg. And then, as if from sleep, Motoko wakes up. Wakes up in a dark, empty room, which absolutely does not reflect its individuality, and Mamora Osia puts the frame so that the image of the character is imprisoned. Only the city and Motoko. These couple of minutes of timing, how many entrance credits themselves were going on, do a lot. They represent the main character with anonymous creature, whose background consists only of the process of assembly of cyber. Motoko is absolutely lost, driven into the framework, and the only one with whom it is on the same wavelength is the city. There is so much visual information in this introduction, the film language language of the picture is so brightly demonstrated here that at this stage we can conclude that the director’s rate on the visual narrative.

It would seem that the usual scan of the brain is illustrated here. However, in the future, Motoko will doubt its existence, and therefore this frame, in fact, is more important than the initially.

The first half of the film launches the main plot and introduces a number of secondary characters: a garbage man, whose cyber -zg was hacked, from which he lost his “I”, a diligent police officer Togusa, recently replenished ranks of the ninth department, and the main antagonist, Puppeteer, which achieves its goals by manipulating the “ghosts” of its victims. I will also note the combat comrade Motoko, Bato, But his role in the film is an auxiliary, and he does not have some intelligible dramatic line. Now this part of the film is not so important, although there is enough interesting information and there are enough, and the problems of the major are becoming more obvious.

The anime is divided into two parts, and after the end of the first, where the conclusion is drawn about the significance of the memories for a person, a three -minute interlude is launched, according to the plot of which the main character simply observes the city. However, as in the case of entrance titles, in fact, not everything is so simple. It is not for nothing that it is written above that the heroine and the city are on the same wave. The city in the “Ghost in the armor” is a full -fledged acting person who, of course, has no dialogue lines, but which can say a lot without it even without it. I propose to understand this. The first thing the scene conveys is the mood. The scene oppresses, it is uncomfortable and lonely in it. In against the background, Kenji Kavay’s music plays, which, in fact, causes similar feelings and fixes the impression. But why? The city in the “Ghost in the armor”, like the main character, suffers from the fact that he does not know who he is. The fruits of civilization here are adjacent to echoes of the past, and people in it simply do not have time for technological progress. The main directorial instruments in this scene are reflection and comparison. We look carefully. The unfinished building finds its reflection in the window of the completed and functioning;The plane in the sky, which is a metaphor for a living bird, but “more developed”, is reflected in the same place;polluted reservoirs contrast against the background of the general condition of the city, and digital advertising with old -fashioned signs and posters;And even Motoko herself finds a woman’s gaze (and maybe a man) with absolutely the same cybertel. Her attention is also attracted to some kind of boutique, where there are many mannequins, so similar to people, but they are not. Moreover, mannequins in the frame appear twice-only dressed, combed, surrounded by people and playing some role in their existence, while others are broken, naked and lonely. Here, the remnants of the past are compared with the current, real, and the general atmosphere of loneliness is striving to make the viewer make (IMHO) Incorrect conclusions about the harmful effects of technologies on a person who simply does not have time for progress, which means that it is lost. However, in addition to all that I listed and did not list, there is another important detail – the city lives. He has his own rhythm, he has his own “blood circulation” and his “breathing”. The rain, running people, a transport highway, a swaying boat – everything indicates that this city is alive. And, therefore, despite the fact that Motoko has problems with self -identification, she is also alive, and this is a key factor in the understanding of her character.

Silhouette Motoko, enclosed in the framework of the city.

Then, after the interludie in the middle, the second half of the film begins, where the detective part of the story goes on, light is spilled onto the puppeteer and all points are placed over “i”. And we continue to observe the main character to identify the central idea of ​​the whole picture. Motoko Kusanagi learns that the Division of the Cybertelo independently assembled at the factory, in which, among other things, there is a semblance of a “ghost”. On the topic that there is a “ghost”, you can write a separate article, so I propose not to go into details and believe that a piece of iron simply found self -consciousness. The circumstances are formed so that the major is interested in the find, which, in fact, is also softly said. Her zeal to plunge into the consciousness of the machine can be called even fanatical, and all because the lonely spitting “spirit” somewhere among transistors reflects its own “I”. And since its “I” is connected with the main problem of the character, then, as it turns out, the puppeteer becomes very important for Motoko.

We flow to the final scene, which puts the finally Noaccount-casinos.co.uk formed context to the entire work, which is necessary for its whole understanding. There is a fight with a spider tank for a stolen cybel puppeteer. Motoko, focusing on intuition, finds the enemy and enters into battle with him, without waiting for reinforcement, because she still cannot be immersed in the consciousness of the car. The battle takes place in an abandoned and flooded part of the city, inside the museum. In the process, many pillars are destroyed, on which the once great, but now no need for anyone, the frescoes of extinct animals, the tree of life are shot, the glass ceiling is crumbling. I think that two and two readers will be able to disassemble the individual symbolism or metaphor is no longer needed. However, despite all the efforts of the major, it is not possible to defeat the enemy obviously stronger. But then reinforcement in the person of Bato manages just in time. After the battle, there is a dialogue between the puppeteer and Motoko, where the first, realizing himself as an incomplete creature, offers a second merger, because he cannot live in view of gender features, he is not able to develop. The puppeteer appears in the anime as a certain non -viable system, which seems to exist, but which can be defeated only by one small virus, since this system does not imply a variety. It is unique in itself, but its internal mechanisms are the same.

Here is an excerpt from a climax.

“ – But what will happen to me? Why is this a merger if I can’t have children. Suddenly I will die? – You will give life to our offspring on the Web, as well as people pass their genes to children. And all the living dies. I will also become mortal “.

“ – but I need a guarantee that I will remain myself. – Why do you need this? Everything around is constantly changing. The desire to remain limits your capabilities, very limits. – You never answered me. Why did you choose me? – We are more similar to you than you think. We are similar inherently. We are a mirror reflection of each other “.

The characters are not only mental, but also externally. In the version of the picture 2.0 The puppeteer replaced the voice with the female to emphasize the similarity again, but the reprint of the original work itself brought a number of significant errors to it.

Motoko replica after the merger:

” – Bato, listen carefully. Once my words, feelings and thoughts were like a child. Having matured, I began to think and feel differently … I am no longer the woman who was called Motoko Kusanagi, but not a program called “Puppeteer” “.

I still need to write about something? In my opinion, this dialogue fails a common feature after what he saw. The dramatic line is completed, the character of Motoko went the way of change in which the cornerstone was the change itself. And the central idea of ​​the picture can be formulated something like this: “Change is part of our life, and do not be afraid of it”. But, again, any wording will not convey the full meaning, because the thought is complex. It can be changed many times. For example, it does not exclude, but even complements the central idea of ​​another classic cyberpunk from cinema “Running blade” – “Life is determined by the very desire to live”. And does this with countless other standardized and popular cinema ideas. For example, the theme of the family is the center of countless films, and the “Ghost in armor”, without even trying to reveal it, reveals, because the family, as nothing else, demonstrates life through the dynamic system, where its unique parts ensure its viability.

I really like the cover of the recently released comic book (not manga) “The Ghost in the Shell: Global Neural Network”. She illustrates what you usually expect from any work under the tag “ghost in armor”.

With Major Kusanaga and a puppeteer figured out. But we have another key character in history, whose role is no less important – togus. This character is a symbol of the uniqueness that any system for survival needs. In this context, the system is the ninth department, which, as we have already found out, is used to solving problems with shock methods. A diligent policeman, unlike his colleagues, does not have cybernetic implants, except for cyber -soils;It is very conservative in his views, prefers a classic revolver, not automatic weapons, and, as a result, solves problems with a different method than the ninth department is used to doing. It is simply not possible to be a cool action movie in a world where every soldier has a cybernetic body, so an inquisitive mind and ingenuity are used. And while Motoko Kusanagi suffers a defeat in a direct skirmish with the tank, Togus finds evidence of espionage of the sixth department, puts a bug on the car of the elusive enemy, while agreeing with some left trucker, and provides the winning party with his team.

And that’s not all, in fact. In the analysis, I did not mention many interesting things yet simply because their number floats somewhere in hundredths, or maybe even in thousandths. Starting from the love line of Bato, Motoko and Puppeteer, which is not obvious at all, ending with individual images, metaphors and symbols. But, I think, this can already be left for the personal acquaintance of each. The picture is very rich in semantic filling, and therefore, each subsequent viewing, the viewer can discover something new for himself. Someone will see in her final something similar to the final “Cosmic Odyssey »Kubrick, Someone will note a realistic ballistics and a scrupulous attitude to details, some may discover exquisite directorial moves for themselves, with which the “ghost in armor” is replete with and t.D. The fact is that all the criteria described at the beginning of this article, the picture of the Mamor of Osia corresponds. There is such an original and universal central idea that it can be truly useful in real life and will never lose relevance. There are many patterns in the film that exactly work for this idea, which makes it absolutely finished and integral work. And even if the viewer did not understand the meaning or understood, but not so, you can be sure that some kind of emotions “ghost in armor” will cause, because many images are hidden in it, which, by definition, should cause some associations. However, each person is unique (what we have already found out), And therefore, if you saw life in a three -minute interludie, this does not mean that another person will not notice her absence there. And where is the truth then? In wine, of course, therefore ..

I hope the analysis was, if not very exciting, then at least interesting and informative. Next “Innocence”.

The best comments

An interesting look. For me, the love line between Bato and Motoko, more than obvious, is enough to look at what care he covers her with his jacket. And the version of the name “Ghost in armor” in my opinion is not the most successful, although beautiful, read that in the Japanese meaning closer to “Spirit in the steel shell”. And by the way, Motoko has organic brain, it is kibog like a loa. The main idea in my opinion is that Motoko is not sure that she is not completely artificial, but her memories are real. The original film is very good, but the series is not very bad. Thanks for the article.

Perhaps this is the influence of their religion (Orthodoxy) or some irrational fears before intelligent machines.

There is a purely rational attitude. Purely technically, a person is not much different from the systems he created, except that he himself is much more complex. But humanity does not need cars as complex as it is. Nobody needs a coffee machine who will philosophize and at the same time not to cook coffee. Now, if the car strictly performs its main functions, let it sings, jokes, dances and philosophizes, if only it does not interfere with the main tasks. And so not only with iron. With animals the same possessive situation with animals. Man is more important than the animal. And even when it seems that the interests of some dogs put above the interests of a person, as a rule, they put their own interests, where the dog, let it not consciously, but is perceived as personal property, and not a rational creature (the next manifestations of animal capitalism). Not to mention cows, chickens and other living creatures, which without a twinge of conscience is allowed to sausage.
That is, a person is more important. You cannot integrate into human society on equal terms, if you are not a person. This can be interpreted as “the presence of a soul”. Here a person has, but others do not, because he is the main. Regardless of the level of intelligence and the presence of self -awareness.
This is well correlated with GITS, when the very fact of the presence of cybercod is important for Motoko. This does not guarantee the lack of artificial changes in personality, but at least it means that the major was born as a person (unless, of course, she really has it). Well, then the reasoning of the typical alcoholic: “Who am I?”,” Where am I?”,” Who are all these people?”.

It turns out that we are eliminating competitors? Yes, there are reasons not to love that it is beyond our understanding or that leads us out of the comfort zone, you can find a lot ((.

Not without it. Actually, the very concept of interspecific competition from the course of biology makes it clear that at least one of the parties, it will not end in anything good. Maybe at once, but so far there is something to compete for, someone will oppress someone.

Fighting is good. But this cannot be called an original look or something like that. But, in fact, the film was shot for a not -so -sophisticated viewer. All questions and techniques so on the surface, but at the same time they do not poke them in the face, such as in the new “film adaptation”. For nufags, only with a series of acquaintances – excellent. Well, for people informed, the value of this text, of course, is noticeably lower than.

“Innocence” a slightly different film, not about Motoko’s doubts, but probably about Bato’s doubts, whether he did the right thing to let her go alone. This is purely my opinion)).

Fighting is good. But this cannot be called an original look or something like that. But, in fact, the film was shot for a not -so -sophisticated viewer. All questions and techniques so on the surface, but at the same time they do not poke them in the face, such as in the new “film adaptation”. For nufags, only with a series of acquaintances – excellent. Well, for people informed, the value of this text, of course, is noticeably lower than.

Well, don’t tell me, I kind of like a part of all this, but if you ask me, I can’t explain. Used to watch and feel, I do not know how to describe what I saw in a specific language.
For myself, I consider such articles useful one way or another.
And in any case, they must be read after viewing.

Not bad.
I read something like this already.
The first screen if I am not mistaken just from the alteration of the film 95th. At first confused, t. To. I thought, suddenly the article is not about the original.

Here, probably the worldview of the viewer is important, for me the word spirit can be more appropriate, because I consider Motoko as an integral object “soul + body”, because of the spirit, not a ghost (a ghost in our culture is something separated from the body/vessel). Your view of the film is very unusual for me, I’m talking about the ghost in a certain container (castle) and is not tied to it. In “Innocation” this topic was well developed, the doll can also have a soul/ghost, although there, all the same, they borrowed/copied from little girls and when copying they spoiled the original and the girls died (lost consciousness), it turns out that the ghost is all the same attached to the body? (the absence of a ghost turns a person into a doll?). Questions, questions, hacker, apparently, transferred his ghost to a completely cybernetic body, and 2501 strictly speaking was born not in a biological body.
The question of the soul/consciousness is very complicated, once in an interview with colleagues, I realized that for them the soul is exclusively the prerogative of a person, and to my arguments, about the fact that rational machines are not different from us in terms of consciousness/souls are also people, they answered the dogma, that there can be no soul, even if a person’s consciousness is put there there. Perhaps this is the influence of their religion (Orthodoxy) or some irrational fears before intelligent machines.
I watched these films more than once, and each watch added some detail. Passing the film through the prism of his consciousness, each person sees it in his own way, in short, the world is subjective)). In any case, thanks for your opinion and forgive me for some confusion in my comments, the creator did not provide me with the gift of expressing his thoughts on paper)).
I hope you continue the topic, there are still many films there.

“Innocence” seems to me more complicated in understanding, I hope that there will be something to emphasize for oldfags.

How are things with cyber -soils in the series? Motoko once transferred consciousness to another body at all with the loss of the primary. As I understand it, in the series cyborgs with complete prosthetics are completely machines in the cybermodes of which there is an digitized consciousness.

Last series of season 1. A scene of a ramp on board the aircraft. She is completely demolished there from a large -caliber rifle. Moreover, this was already a new body, after an attack on their headquarters, an apartment for militants is some honey. the company during which her hand was torn off. They kept the body without a hand and just in it she transferred consciousness to staging the murder.

It’s all good, of course, thank you all who supported. But what about the article itself? I would like to hear a comment.

I’ll write, perhaps, a small explanation about the frame with the brain and the interpretation of “Ghost/Spirit”.
The meaning of focusing my attention on the brain was not in the audience doubt, but about the character in doubt. That is, I inserted it in order to show that this small part also has weight in history. In addition, who knows, if this frame was not and the plot would be different, then the existence of the organic brain in Motoko would be in doubt on the audience. For example, there is such a manga, a fighting angel Alita, according to which after a couple of months the film adaptation comes out. There was no such frame. And what it led to?

Why is it a ghost, not a spirit. Kholivar about the correctness of the translation was born by a lawyer, whose subtitles I advised in the article. He refers to sources, but, it seems to me, loses several significant arguments. Firstly, he forgets that there is no proper translation of a particular word (any). Secondly, the spirit-has in the subcortex of the brain of any person certain associations. It is directly related to something intangible, metaphysical, something that is enclosed in the human body, but something that cannot be measured is to feel. But in the anime, not only is the “spirit” is studied, and is also in a certain place. And this is not even a heart, but a brain. It looks strange and breaks associations. Secondly, a “ghost”, if you refer to a simple perception, not only that sounds much more poetic, does not break this internal structure. Ghost – he is lonely, he lives in a certain place, wanders along the empty corridors of the castle. Anime associations are more obvious. In addition, if we also take into account the second part (and copyright words from Mamoru Axia), then the inanimate objects, such as dolls, have a ghost. This is his philosophy. In this case, the concept of “spirit” becomes even more alien to the franchise.