In 2029, with the advancement of cybernetic technology, the human body can be augmented or even completely replaced with cybernetic parts. Another significant achievement is the cyberbrain, a mechanical casing for the human brain that allows access to the Internet and other networks. An often-mentioned term is "ghost", referring to the consciousness inhabiting the body (the "shell").
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Megatech Body, a shell manufacturer with suspected close ties to the government, is hacked and assembles a shell. As it escapes, the shell is hit by a truck. As Section 9 examines the shell, they find a human ghost inside it. Unexpectedly, Section 6's department chief Nakamura arrives to reclaim the shell. He claims that the ghost inside is the Puppet Master himself, lured into the shell by Section 6. The shell reactivates itself, claims to be a sentient being, and requests political asylum.
Kusanagi follows the car carrying the shell to an abandoned building, where it is guarded by a robotic, spider-like tank. Anxious to face the Puppet Master's ghost, Kusanagi engages the tank without backup, resulting in her body being mostly dismembered. Her partner Batou arrives in time to save her, and helps connect her brain to the Puppet Master's.
The Puppet Master explains to Kusanagi that he was created by Section 6. While wandering various networks, he became sentient and began to contemplate his existence. Deciding the essence of life is reproduction and mortality, he wants to exist within a physical brain that will eventually die. As he could not escape Section 6's network, he had to download himself into a cybernetic body. Having interacted with Kusanagi (without her knowledge), he believes she is also questioning her humanity, and they have a lot in common. He proposes merging their ghosts, in return, Kusanagi would gain all of his capabilities. Kusanagi agrees to the merge.
by Bryant Frazer I'll get this out of the way first: the soul is the ghost and the body is the shell. The title is a reference to Arthur Koestler's book The Ghost in the Machine, which itself refers to a term coined by philosopher Gilbert Ryle to describe the duality of mind and body. The writer and illustrator Masamune Shirow borrowed and altered the phrase for his serialized 1989 manga "Mobile Armored Riot Police", which bore the subtitle "The Ghost in the Shell." I haven't read the manga, but the animated feature it inspired is positively heady with ideas. Ghost in the Shell is a cop movie about robots with human souls. It's science-fiction about the human rights of artificial intelligence. And it's a fantasy about a sexy cyborg who knows how to use a gun. It's all of those things, and it's a disquisition on human consciousness, a meditation on urban loneliness, and also, maybe, a poem about unrequited love. It's extraordinary.
The ensuing spectacle stops the narrative dead for an impressionistic interlude. This dialogue-free, three-and-a-half-minute segment of film is a bold gambit for auteur-driven anime, especially for anime as story-heavy as this. Instead of learning more about the hunt for the Puppet Master, we get a multiplicity of views of New Port City--buildings under construction surrounded by shells of prickly scaffolding, raindrops creating concentric rings in puddles of standing water, shop-window displays and multiplicities of advertising billboards, even a sad-eyed basset hound--as seen by Kusunagi. In a shot that wouldn't be out of place in a Miyazaki film, a group of children carrying yellow umbrellas runs across the bottom of the screen, dwarfed by the apartment buildings and skyscrapers that tower above and behind them. In a sequence I like to believe Oshii lifted from The Double Life of Véronique, Kusunagi sees her doppelgänger through a cafe window as she sails by slowly on a water taxi; it's the only time during the film when she looks genuinely alarmed. When Kieslowski's Weronika glimpsed her own double through the window of a moving bus, it felt spiritual, like an out-of-body experience. Oshii's Kusunagi, though, has only spotted another cyborg that shares her physical shell--an apparently unwelcome reminder of her not-humanness.
Welcome, too, is the disc's faithful reproduction of the film's very unusual look, characterized by the deliberate use of diffusion techniques to give some shots a milky, even smeary haze. What may be missing in pure detail is somewhat made up for by Dolby Vision's accurate representation of the picture's muted but sometimes complex colour schemes, which can now extend farther into the highlights of the image. The biggest complaint I have has to do with the zealous use of digital noise-reduction techniques in an attempt to scrub out film grain. Ghost in the Shell has long been the victim of aggressive denoising; the original VHS and DVD versions were rife with hideous ghosting artifacts created by anti-noise software that was confused by the lines of the film's animation. The result here is that the cels are impressively grain-free, except when they're not; some shots were clearly processed in a way that blends grain temporally across multiple frames, giving the backgrounds a weird texture, like an uneven layer of paint drying in time-lapse. (This happens because dust and scratches, when they appear, are averaged out across multiple frames, creating a blended appearance that changes subtly over time.) Word from those in the know is that this is the same transfer used for an earlier UHD version out of Japan, so Lionsgate had little say in the matter one way or the other. 2ff7e9595c
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