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Работа на тему: Изучение кинопроизведений «Призрак в доспехах» (1995) и «Призрак в доспехах: невинность» (2004) через дуализм свойств
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МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
CYВORGS AND PUPPETS: А STUDY OF GHOST IN ТНЕ SHELL (1995) AND GHOST IN ТНЕ SHELL: INNOCENCE (2004) VIA PROPERTY DUALISM / КИБОРГИ И КУКЛЫ: ИЗУЧЕНИЕ КИНОПРОИЗВЕДЕНИЙ «ПРИЗРАК В ДОСПЕХАХ» (1995) И «ПРИЗРАК В ДОСПЕХАХ: НЕВИННОСТЬ» (2004) ЧЕРЕЗ ДУАЛИЗМ СВОЙСТВ

50.03.01 Искусства и гуманитарные науки Профиль «Культурные исследования»

Тюмень 2023

TABLE OF CONTENTS
INTRODUCTION 4
CHAPTER 1. THEORY: ARTHUR KOESTLER’S THE GHOST IN THE
MACHINE 7
CHAPTER 2. ADAPTATION: MOVING FROM MANGA TO ANIME 12
CHAPTER 3. THEORY: DAVID CHALMERS’ PROPERTY DUALISM 16
CHAPTER 4. GHOST IN THE SHELL (1995) AND GHOST IN THE SHELL: INNOCENCE (2004) READ THROUGH PROPERTY DUALISM 21
CHAPTER 5. ADAPTATION AND PRODUCTION: THE ANIME BOOM 29
CHAPTER 6. TWO MOVIES ON THE BORDER OF WESTERN AND JAPANESE
CULTURES: CYBORG DISCOURSE 32
CONCLUSION 39
BIBLIOGRAPHY 42
FILMOGRAPHY 44
FIGURES 45

INTRODUCTION
Ghost in the Shell is a fictional Universe created by Masamune Shirow, a Japanese manga creator, which first appeared as a manga series in 1989. [See Shirow, Ghost in the Shell, 1989] By the present moment, it has turned into a franchise with different types of media appearances, such as animated series, [See Kamiyama] animated movies, [See Oshii, Ghost in the Shell, 1995 and Oshii, Ghost in the Shell: Innocence, 2004] a video game, [See Sawaguchi] and a live-action movie [See Sanders]. The author sets a futuristic Universe in manga and this setting is repeated in all media. According to this scenario, humanity merged with technologies to the point that it became impossible to find a human without any artificial modifications made to their body, including the replacement of their brains. At the same time, humans in this society coexist with so-called puppets, human-like creatures that perform certain encoded actions, substituting for humans wherever possible. However, the puppets, in spite of having similar behavior and body structure, are not considered human in this world. This is because the puppets do not contain the thing used in this world to differentiate a human as a natural creature from the technologies, a “ghost.” A “ghost” is not clearly defined as a concept, but it could be understood as consciousness, an ability to use imagination, or simply a soul. These settings draw into the narrative of the mind/body problem, which is being addressed differently in various media representations of the franchise.
The two movies - Ghost in the Shell (1995) and Ghost in the Shell: Innocence (2004), directed by Mamoru Oshii stand out among other parts of the Ghost in the Shell franchise. The first one appeared as an adaptation of the main plot of the manga. The second one was loosely based on the manga subplot providing more of the director’s perspective on the Universe. The plot of the two movies, the same as the original manga, is built around Public Security Section 9, an information security and intelligence department existing under the Ministry of Internal Affairs. Its main focus is crimes against “ghosts.” The members of Section 9 also remain the same as the manga ones.
For the sake of further analysis, there are several characters in the movies that need to be introduced. Major Motoko Kusanagi is the main heroine of the manga and the first movie and a supporting character in the second one. Her body appears to be fully cybernetic, including even her brain. Her “ghost” is the only human thing that remained in her. She takes the position of the field commander in Section 9. Besides her, two other members of this department are important for further study - Batou and Togusa. Batou is the main character of both movies, with more focus put on him in the second one. In the first movie, he appears as Kusanagi’s investigation partner. His body is also heavily adjusted with technology but to a lesser extent than Major’s one. He is close to Motoko and strives to understand her position and decisions. Togusa is a side character in both movies. In the second one, he becomes Batou’s investigation partner. He is the most human character of all, but he still does have technical adjustments to his body. Besides Section 9 members, some other important characters need to be studied - the “antagonists” of the movies. The Puppet Master is the “enemy” in the first movie. It is an artificial intelligence program that was created for manipulating political matters under the jurisdiction of the Ministry of Foreign Affairs. However, it was able to evolve by itself and started to hack the “ghosts” of other people. Its main goal was to merge with a human to create a better form of living that could survive under different circumstances. At the end of the first movie, it fuses with Motoko into a new entity. Kim is an “antagonist” that appears in the second movie. He used to be a hacker and was acquainted with Batou. However, he disappeared well before the events of Innocence. Batou and Togusa find him in his mansion. It turned out that he had transferred his “ghost” to a puppet that cannot move in any way. He shows a great level of obsession with puppets in general, assuming that they are the greatest form of existence.
In the end, the films gained more popularity than the original manga and even drew the attention of Western viewers with the first one “rising to the number-one position on the Billboard sales charts after a moderately successful art house theatrical run.” [See Schilling, p. 237] The animated movies gained such a popularity in the US that the original manga got adapted as a live-action movie, which was filmed in Hollywood. The cast included many popular movies stars from the US, including Scarlett Johansson as the main heroine. They became some of the key films in their genre. Besides, they also provoked a certain number of academic works related to the analysis of it from the perspective of different theoretical fields.
This paper raises the questions: What do these two films have that expanded the Ghost in the Shell Universe’s potentiality to appeal to the Western audience? Why do they become such a success inside the different cultural surroundings opposite to their place of production culture?
The thesis of this paper proposes that the answer is built into the three main features of these movies. The first one is the process of the adaptation and the chosen medium. The second one is the philosophical background of the Universe and its exploration in the analyzed movies. Even though the original manga itself was highly engaged with certain authors, this paper states that the movies do bring their unique view on the raised question. This view appears to be comparable to David Chalmers’ work on mind and body dualism, and, therefore, the films will be analyzed via his theory. And the third one is the general engagement of the Universe with the cyborg [See Haraway, p. 149-181, and Orbaugh, p. 55-71] discourse, which appears to be quite related to both Japanese and Western cultures. Overall, the complexity of these three reasons together creates a unique cultural object that is preserving global and local levels of cultural significance at the same time.

BIBLIOGRAPHY
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