Edward Chaney, Jordan Hoagbin, & Ashley Lister. Group presentation for Lea Millay's Pop Culture course (web).

2. Technology and protest in

3. Technology and protest in
Best viewed in fullscreen

4. What is
?
A.K.A: 'GitS'

5. is a Japanese animated film based on the manga series of the same name written by Masumane Shirow.
Acquiring a huge fanbase, GitS has extended into a vast media franchise, Ghost in the Shell also
includes video games, a television series (subnamed "Stand Alone Complex"), a film sequel (2.0
Innocence, 2004), as well as a new tv series subnamed "Arise" being released in the summer of 2013.

6. directed by Mamoru Oshii, 1995
Categorized as a cyberpunk ("a As people have become connected
genre of science fiction set in into this electronic network,
a lawless subculture of an "ghost-hacking" makes way as
oppressive society dominated by sort of cyber terrorist crime.
computer technology" dictionary. Ghost-hackers can erase memories
com) GitS is set a digitally and implant new ones in order to
dominated society. Due to create an entire new guise to
technological advancements, commit crime (murder, espionage,
humans have begun relying on etc).
cybernetic parts, that is human
and technology have come
together in the most integral
fashion. Because of this, the
cyborgs/dolls/humans that
inhabit this future define the
"soul" or the remains of their
humanity as "ghosts" and their
repairable and replaceable
bodies, their "shells."

8. What is GitS trying to say?
Ghost in the Shell brings up
numerous points about
mankind's interaction and
dependence on technology.
What defines one's being and
Questions about how integrated
technology is within day to
existence?
day life, as well as the in the realm of artificial intelligence
possibility of technology
surpassing man as a superior
being. Thematically, the film
begs the questions:
How much should man depend on
his technology?

9. Cultural Aspects
Ghost in the Shell (1995) is a
Japanese anime science fiction film
based on the manga of the same name by
Masamune Shirow. The film is set in
the future in the year 2029. The time
of the film is very important to the
storyline, mainly because the kind of
technology the characters were using
and were surrounded by do not exist
today. Even the two main characters,
Motoko Kusanagi and Batou are cyborgs,
they are part robot. The entire plot
is centered on the fact that most of
the world is now ran by computers and
even people are part computer as well.
This is why the story works, because
we are taken completely out of our
present time and taken into the future
where this film is set.

10. Storyline
The year is 2029 in Japan and the world has become intensively information oriented and humans are
well-connected to networks. Crime has evolved and developed into a sophisticated stages by hacking
into the interactive networks. To prevent this from happening, Section 9 a government group is
formed to help prevent this hacks from happening. Lead by Major Motoko Kusanagi a female cyborg who
is assigned the task of finding and apprehending the villain hacker known as the Puppet Master, who
is a computer virus capable of taking over the minds of computer-enhanced humans brains and
altering their memories. But during her investigation on the Puppet Master, Major Motoko Kusanagi
finds out the Puppet Masters existence is more than meets the eyes and leaves her questioning her
very own purpose and existence in life.
As the film progresses, we
discover the Puppet Master is
not a person, but rather an
entity that had accumulated so
much data that it gained its
own free will and self-
awareness, therefore giving
itself humanity. The Puppet
Master tries to track down the
protagonist, Kusanagi, in order
to "procreate" or merge his
data with her ghost, to finally
die and thus completing his
humanity.

11. & here's a short video clip,

12. http://youtu.be/YZX58fDhebc

13. Characters

14. Major Motoko Kusanagi
The main character in Ghost in the Shell. Major Motoko
Kusanagi is a cyborg which means she is half human and
half robot. Major Motoko Kusanagi is the squad leader of
Public Security Section 9. Both beautiful and deadly,
the major is both battle tested and proven. She has an
androgynous looking face and barely shows any human
emotions at all. Her body is completely robotic which
gives her increase strength, speed and stamina. Her
cybernetic enhancements also giver her optical camo
abilities. Kusanagi is frequently played in the film as
contemplative and brooding, a direct contrast to her down
to earth partner Batou.
Batou
The main male character in Ghost in the Shell and second
in command to Major Motoko Kusanagi. He is notably the
most light-hearted out of all the characters in the film.
He frequently jokes with Motoko and the rest of Public
Security Section 9 being an outgoing joker. Batou is
also more emotional and not as calm as Motoko. Batou
shows anger at injustice and cruelty, to the point of
seeming downright hot headed at times. Batou is Motoko
most trusted ally in Public Security Section 9.

15. Togusa
The newest transferred member to Public Security
Section 9. Having a good history as an uncorrupted
detective is one of the main reasons he was selected
to become a member of Public Security Section 9 (as
well him being a family man), to add a newer element
of variety and unpredictability to the team. Togusa
is also the only member of Public Security Section 9
not to come from a military background which makes
him feel insecure at sometimes. He is very fond of
his old school Mateba Autorevolver opting to use it
over standard issue Public Security Section 9
weapons. His fashion is rather noticeable, having a
thick mullet and turtleneck sweaters with sports
jackets.
Chief Daisuke Aramaki
Chief Aramaki is a strict chief of Public Security
Section 9. He is referred to by others in Section
9 as the "old ape". He is fiercely loyal to the
members of Section 9, and often put his own career
on the line to ensure the survival of the rest of
his team.

16. The Puppet Master
Also know as Project 2501 is the main
antagonist of the film. The Puppet Master is
an artificial intelligence program secretly
forged and developed by rival Public Security
Section 6. During an unknown time it
developed a sentience and began a mission of
independence from Public Security Section 6.
The Puppet Master was created for the
Japanese Ministry of Foreign Affairs as a
tool that could stealthily manipulate
politics and intelligence, altering databases
and the memories of key persons for the
benefit of select individuals organizations
affiliated with Ministry, and is equipped
with unparalleled computer and cyberbrain
hacking abilities. Once discovered, the
Puppet Master is assumed to be a human, most
likely with mnemonic enhancements, who has
incredible hacking skills. The Puppet Master
imposes thought provoking questions that make
Major Motoko Kusanagi question her being in
the world.

17. Technical Film & Animation Info
Ghost in the Shell was directed by Mamoru Oshii, animated by Production I.G, and scripted
by Kazunori Itō and stars Atsuko Tanaka, Akio Ōtsuka and Iemasa Kayumi. and is based off
the manga created by Masamune Shirow. Production I.G have famously animated many anime
films and series, and Ghost in the Shell was one of their first and most famous films.
Mainly because of the use of groundbreaking digital production techniques. Ghost in the
Shell was made with the use of digitally-generated animation mixed in with hand-drawn
environments. Something that is very easily done now, but in 1995, it was a stunning sight
to see for moviegoers. Apart of Production I.G’s mission statement is to make anime that
can stand on its own without being derived from a manga. Which is something that is very
hard in Japan, as much of it’s anime come from it’s original manga. That is why the Ghost
in the Shell film stands out, yes it is based off of the manga created by Masamune Shirow
but the film is very different.

18. Major Theme

19. What defines one's
being and existence?
In GitS, one's 'ghost' is the remnant of Puppet Master was originally just a
the human soul that defines a living being. program: is that 'existence' and 'being'?
Major Kusanagi is largely cybernetic, thus Does being entail a physical entity? Thinking
her ghost is a smaller fraction of her being. of existing as a memory system, human memory
However the Puppet Master gives himself self- isn't the only sort of existing. Data-sets
awareness through an accumulation of data. As themselves "exist" and are sometimes
a sort of artificial intelligence, the Puppet programmed to be active in processing that
Master has surpassed the human race, even data, much like Puppet Master (see IBM
this new cyborg race of GitS, in essentially Watson). Data is a kind of memory. Kusanagi
becoming an immortal being. His entity or has very little memory of her original
"ghost" cannot be deteriorated moving from self/ghost, but the data that is there
shell to shell as a human's could in this defines her personality. Memory has value to
world. This disturbs the balance of life in whatever processes it: be it programs like
our world, even in the case of Kusanagi's Puppet Master or human sensibility like
replaceable shell: who deserves this Kusanagi. The fact that we define Puppet
immortality? Is it reserved for the elite? Master as a character and not an inanimate
IBM's 'Watson' perhaps is a comparison to object suggests that he is a being. Ghost in
Puppet Master: having access to a large pool the Shell reminds its audience that things
of data being able to answer questions can exist without humans giving them meaning
independently. Should 'beings' like this and acknowledging that they exist: there was
exist or continue to be advanced and how a time before us and there will be a time
useful is it to man? How autonomous does after us. While humans created Puppet Master,
something have to be to have human qualities? he can exist now without them. Data will
However, something doesn't have to be human remain after us, so perhaps that is the
to be alive, do animals or plants have future of our being and existence: the human
'souls'? The Puppet Master as well as race might only continue as a memory. Those
Kusanagi contemplate their existence: perhaps memories are ghosts.
the awareness of existence grants one
humanity or the possibility of a soul.

20. How much should man
depend on his technology?
As a larger idea, technology is intended hacked, we in the present are storing more
to aid man. But, as we come closer to and more sensitive information online. While
allowing this technology to automate itself identity theft won't lead to murders and
to do so, our fear of automation becoming espionage as ghost-hacking does, our online
awareness (and rebellion) increases, as personas are becoming a large part of human
displayed in the Y2K scare. Particularly existence. We have created our ghosts: the
during the Industrial Revolution where data that makes up our identities or history
technology was big, and tangible, and in the cloud. Is storing everything online
intimidating, there was an outright vision of going to be dangerous? While we have seen
how destructive those inventions could be. Wikileaks release precious government
Additionally technology began trumping man information to the public, it hasn't caused
with human jobs being outsourced to modern direct harm. We haven't quite evolved the web
factories or even just self-checkout aisles. enough to do damage (yet).
Looking at the sci-fi anime genre, it is GitS tries to discuss technological
generally reflective of the present Japanese ethics. Man wants to maintain his dominance
culture. Astro Boy (1963) was an embodiment over technology: that is where he draws the
of the up and coming use of nuclear energy, line. If we could make humans indestructible
using a small child robot to represent the cyborgs, would we? With the varying levels of
clean friendliness yet instabilities of this ghosts in the film, who would get access to a
new energy source. The Japanese were superior cybernetic shell like Kusanagi?
rightfully ambivalent as seen in the recent Regarding the level of 'cyborg-ness' we would
Fukushima disaster. Ghost in the Shell brings essentially be creating a successor to
up this idea of the web, this intangible humans: is that ethical? Perhaps the Kusanagi
concept that has the potential to be totally / Puppet Master offspring would be our
subversive. Astro Boy is to nuclear energy as successor. Is that something we want? GitS
GitS is to the new internet age. Network and ends on a rather hopeful, headstrong note,
technological abuse is presented as an issue. "The net is vast and limitless." Perhaps
As "ghosts" are stored in a network and are technology is part of human evolution,
able to be dependence and integration may be desired and
inevitable.

22. Discuss
The film: The theme:
1) How does the Puppet Master's awareness of 1) How do you feel society's structure and
his existence justify that he may have a ideals have changed since our lives have
"ghost" or soul? Is he considered living if grown more web-centric in the past decade?
he is, basically, just a program?
2) What are your views on today’s current
2) Where do you think Major Motoko Kusanagi technological and social climate? Do you feel
went to after she acknowledged that she is no that technology has taken over on a dangerous
longer Kusanagi nor the Puppet Master, but level yet?
rather some combination of the two?
3) Is technology something to be worried
3) Why do you think that Major Motoko about in the future? Do you think that our
Kusanagi agreed to merge with the Puppet world could become something like the world
Master? Do you think it was the right of Ghost in the Shell?
decision for her as a cyborg?

23. Works Cited
Chi Hyun Park, Jane. "Stylistic Crossings." World Literature Today 79.3/4 (2005): 60. MAS Ultra -
School Edition. Web. 27 Jan. 2013.
Curti G H, 2008, "The ghost in the city and a landscape of life: a reading of difference in Shirow and
Oshii’s Ghost in the Shell" Environment and Planning D: Society and Space 26(1) 87 – 106
Miyao, Daisuke. "Before Anime: Animation And The Pure Film Movement In Pre-War Japan." Japan Forum
14.2 (2002): 191-209. Academic Search Complete. Web. 27 Jan. 2013.
Rid, Thomas. "Think Again: Cyberwar." Foreign Policy 192 (2012): 1.MasterFILE Premier. Web. 27 Jan.
2013.
Schaub, Joseph Christopher. "Kusanagi's Body: Gender and Technology in Mecha-anime." Asian Journal of
Communication 11.2 (2001): 79-100. Print.

24. Presentation brought to you by
Lea Millay's Pop Culture UNST 254I, Winter 2013
Edward Chaney,
Characters, Storyline
Jordan Hoagbin,
Overview, Film Introduction, Major Themes, Presentation Design.
& Ashley Lister
Cultural Aspects, Technical Film & Animation Info