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Topic: Mamoru Oshii

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	Mamoru Oshii \| Anime.com Anime Shrines
		Oshii's deft style can be seen in the reality-altering Beautiful Dreamer, the most popular of the Usrusei Yatsura films and he also created one of the very first OVAs ever, the often overlooked masterpiece Dallos.
		Oshii's ability to weave a complex plot along with mind-numbingly gorgeous visuals and non-standard camera angles (he's the first director we can think of to use a "fisheye lens" style in anime), marks Oshii as one of the most progressive artists in all of anime.
		Mamoru Oshii's quirky series is a collection of weirdness, but, as the movies did as well, quickly mutates into an intelligent social-political drama worthy of Tom Clancy as the police clash with the military, undercover operations are questioned, and the robot fights become secondary to the complex dialogue, intrigue, and interactions between the characters.
	www.anime.com /Mamoru_Oshii (1219 words)

	Hacking Your Own Ghost: Mythology in the Science Fiction Films of Oshii Mamoru as Sites of Resistance
		Oshii’s films are a call to a seemingly sleeping populace to begin thinking critically, especially about the power structures of religion and technology.
		Oshii is participating in mythopoeism, or “myth-making,” “that process by which new myths are created or old myths are extended to include new dimensions,” rather than mythopoeticism, which is “another term sometimes used to describe the metaphoric or symbolic use of mythic images in artistic literary compositions” (Batto 1992:12).
		Oshii is not merely referencing pre-existing myths as a stylistic device, but is also creating entirely new myths which enable us to better understand our societal interactions and our relationship to technology.
	www.animeresearch.com /Articles/Oshii/hackingghost.html (1819 words)

	JIN-ROH creators
		The 49 year-old Mamoru Oshii is best known to Western audiences through his most recent film to date as an anime director, GHOST IN THE SHELL.
		Oshii's unusual visual versatility–which deserves the term "total filmmaking"–is comparable to American animation-trained directors such as Tim Burton and Terry Gilliam, and it should be no surprise that their films are also rarely uninteresting.
		Oshii's many works are conscious and informed; yet he makes the claim that his central theme is the confusion of dreams with reality.
	jin-roh.viz.com /creators.html (348 words)

	Mamoru Oshii
		Mamoru Oshii (ÊäºïÂÆà Oshii Mamoru; born August 8, 1951 in Tokyo) is a Japanese animation and live-action film writer and director.
		As a student, Mamoru Oshii was fascinated by the film La Jet©e by Chris Marker as well as the films of Andrzej Wajda, Jerzy Kawalerowicz, Andrzej Munk and Ingmar Bergman.
		Oshii also wrote and directed numerous animated movies and live-action films based on his personal worldview influenced by the ANPO Hantai (opposition to the U.S.-Japan Security Treaty) student movements of the 1960s and 1970s.
	www.sfcrowsnest.com /scifinder/a/Mamoru_Oshii.php (1825 words)

	Mamoru Oshii
		Oshii's plots are often byzantine, but his focus remains on the quiet, internal quest of the tacitly introspective protagonists for a sense of meaning that seems just out of reach.
		As she smiles at the water, Oshii cuts in to an extreme close-up on the bottom of the bottle, in which the shadowy outline of the forest is reflected with mild distortion.
		Oshii was a member of several leftist organisations as a student and participated in the 1970 protests against the renewal of the US–Japan Security Treaty (known as 1970 AMPO).
	www.sensesofcinema.com /contents/directors/04/oshii.html (4345 words)

	Mamoru Oshii (Site not responding. Last check: 2007-10-01)
		Mamori Oshii, born in 1951, is a famous animation director who is always seen in contrast to Miyazaki.
		He is a writer and director who has also directed regular films and so, for him, animation is merely one means at his disposal to be used to satisfy his desire to produce a medium of entertainment and communication to the audience.
		Oshii has criticized substance of Miyazaki's work, claiming that his discourse is absurd and not convincing enough.
	www.nihongoweb.com /Anime/oshii.html (126 words)

	Who's Who // Nausicaa.net
		Mamoru Oshii is the director of Urusei Yatsura 2: Beautiful Dreamer, Angel's Egg, both Patlabor movies, and both Ghost in the Shell movies.
		Born in 1951, Oshii is considered one of the leading directors of the younger generation.
		Oshii has been offered a director's job at Ghibli several times, but the projects were never realized.
	www.nausicaa.net /miyazaki/whoswho (857 words)

	Animefringe: February 2004 - Features - Mamoru Oshii
		Mamoru Oshii is primarily known throughout the world as one of the great masters of animation.
		Oshii refuses to rely on standard, commercial forms of telling his story, preferring to place the viewer outside of the standard experiences of cinema in order to make the images that much more jarring.
		Oshii and Lynch just share that sort of cinematic reasoning, of not only bizarre symbolism, but also the candor to create disturbing imagery out of what would otherwise be considered inane, everyday objects.
	www.animefringe.com /magazine/2004/02/feature/06.php (1283 words)

	Stray Dog of Anime: The Films of Mamoru Oshii
		This film which Oshii directed, has been critically acclaimed to be one of the greatest animated films of all time.
		Oshii is a dog lover, so the name stray dog is fitting.
		For those who are fans of Oshii's work or anime in general, this is a detailed and excellent read.
	www.mangalocity.com /mamoruoshiiarticle.html (402 words)

	Mamoru Oshii Glossary
		Oshii is in charge of picture direction of Mountain of Dreams in 2005 World Exposition,Aichi,Japan.
		When Director Oshii is also losing his job once, it is said that many were assembled.
		Oshii was born in the downtown area in Tokyo.
	www.geocities.jp /jk_birthday/oshii-e.htm (3076 words)

	Mamoru Oshii \| Interviews \| SCI FI Weekly
		Oshii, who re-imagined Shirow's source material for the big screen, went on to international acclaim, and oversaw the completion of a long-delayed but highly anticipated sequel called Ghost in the Shell 2: Innocence.
		Oshii recently spoke to Science Fiction Weekly about the development of this forthcoming sequel, the nine-year road to getting it made and transcending cultural borders to impress the film's messages upon a world audience rather than that of a single society.
		Oshii: I actually think it's good that it has been a while since the first film was made, and I don't think it could have been done if it was right after the first movie.
	www.scifi.com /sfw/interviews/sfw11438.html (1586 words)

	Midnight Eye book review: Stray Dog of Anime: The Films of Mamoru Oshii (author: Brian Ruh, publisher: Palgrave ...
		Let me begin by going out on a limb and stating quite boldly that I think Mamoru Oshii is one of the most significant individual figures working in Japanese cinema today.
		Oshii is no typical anime director and it would be a big mistake to assume his works in this labour-intensive and high-risk commercial industry typify the genre.
		Certainly, the most interesting thing about Oshii's work, specifically the Ghost in the Shell films, is not only that they borrow elements from foreign models (just as Western sci-fi borrows from anime in return), but the showily self-conscious way in which they do this.
	www.midnighteye.com /books/stray-dog-of-anime.shtml (1150 words)

	Special Circumstances: "Jin-Roh: The Wolf Brigade" by Mamoru Oshii
		Written by Mamoru Oshii (a well-known director of famous anime, "Patlabor", "Avalon", among others), directed by Hiroyuki Okiura and produced by Production I.G.; as Oshii says, "the only way to do this was in animation".
		Oshii describes Jin-Roh's alternate history as being set somewhere within the "thirties" of the long reign of the late Showa Emperor, Hirohito -- that is, between 1955 and 1965.
		That very year Oshii was a boy, perhaps cheering for the Nankai Hawks, a young neo-Nazi assassinated the head of the opposition Japanese Socialist Party, Inejiro Asanuma, on live television.
	www.cs.sfu.ca /~anoop/weblog/archives/000019.html (777 words)

	Anime - Mamoru Oshii
		Much of Oshii's Ghost in the Shell displays the kind of maximisation and sensory overload that defines adult anime, at least of the techno oriented genre - something of a visual corollary to the 21st Century Tokyo depicted in SF writer William Gibson's novels.
		Oshii states his interest in directors "who can express worldviews rather than human drama on screen.", In a sense these are really dramas of techno-determinism.
		Oshii says, "The style of Japanese animation varies depending on when it was made, which animation studio produced it, producers' beliefs and attitudes and so on.
	www.toysatellite.org /babel/eye/iftech/articles/anime.html (1521 words)

	PopMatters Film Interview \| "There is No Aphrodisiac Like Innocence": Mamoru Oshii's Ghost in the Shell 2
		Earlier this year, Mamoru Oshii's latest feature film, Ghost in the Shell 2: Innocence (2004), became the first Japanese anime to be shown in competition at the Cannes Film Festival.
		Although Oshii is most renowned for his animated works, many of his formative influences have been European directors of live-action films.
		Oshii is also creating an installation for a pavilion at the upcoming Japan Expo 2005, to be held in Aichi Prefecture from March through September of next year.
	www.popmatters.com /film/interviews/oshii-mamoru-040923.shtml (1537 words)

	mamoru oshii - ghost in the shell/innocence
		What Oshii and Miyazaki do share is a predilection for tales in which there is no specifically "bad" character - even the perceived villains often struggle for something they think is right.
		And the fact is that Mamoru Oshii is by no means a young upstart with a hidden agenda to ride on the coattails of Miyazaki's own success.
		If there's one central impetus in Oshii's life and work, however, it's something unexpected; something I accidentally unearthed in the process of asking about any intentional mischief on his part for the recurrent bloodhound dog that appears in 'Avalon', 'Ghost In The Shell', and the promotional poster and theatrical trailer for 'Innocence'.
	andrezbergen.tripod.com /id13.html (1585 words)

	Mamoru Oshii \| The Onion - America's Finest News Source (Site not responding. Last check: 2007-10-01)
		Oshii's subsequent movies—the surreal, near-silent anime feature Angel's Egg, two cinematic spin-offs of the fan-favorite anime TV series Patlabor, and the live-action films The Red Spectacles, Stray Dog, and Talking Head—all featured introspective, melancholy interludes in and among slapstick comedy or action.
		In connection with that sequel, Oshii spoke with The Onion A.V. Club through a translator, discussing his themes, his symbols, the differences between animation and live action, and his legacy for young animators.
		Mamoru Oshii: I don't think that just because a movie is satisfactory means that the person who makes it is satisfactory.
	www.theonion.com /content/node/23158 (1447 words)

	Mamoru Oshii - Moviefone
		Mamoru Oshii's work as director and storyboard artist of the animated Urusei...
		Mamoru Oshii's films typically follow a rhythm of slow-paced exposition in...
		Seen in this light, the moody, sophisticated films of Mamoru Oshii are of singular importance,...
	movies.aol.com /celebrity/mamoru-oshii/205626/main (142 words)

	Spotlighting News - Preview: Mamoru Oshii's Tachigui: The Amazing Lives Of The Fast Food Grifters
		Mamoru Oshii's upcoming movie, "Tachigui (translated plainly as "eating while standing") The Amazing Lives of the Fast Food Grifters", will bring a whole new concept of animation.
		Oshii is known as the relentless visual pioneer who has been pushing the boundaries of animation and live action, as he declares with confidence and faith: "This film is going to be something that no one has seen before," and that's exactly what everyone is expecting.
		Director Mamoru Oshii does not hesitate to declare that his vision of the world of tachigui is his lifework.
	www.spotlightingnews.com /article.php?news=1198 (855 words)

	Production I.G [WORK LIST[Details]]
		Oshii realized that traditional animation could not be convincing enough to describe historical past, and at the same time, the reconstruction of 50 years of Japanese history could not be possible by a live action movie.
		Oshii is convinced that history and evolution of tachigui through the decades in Japan is somehow deeply interlinked with the nation's mainstream history, starting from the aftermath of World War II, until the end of the Showa Era (1989), just before the burst of the bubble economy.
		Oshii himself describes this method as either "a live-action movie with extremely limited information" or "a simple animation with extremely intense information." Photographer Keiichi Sakazaki and Oshii himself took more than 30,000 snapshots, and the process from the raw picture to the final compositing required 20 steps.
	www.productionig.com /contents/works_sp/35_ (826 words)

	IGN: Interview: Mamoru Oshii
		With so many complex twists and turns in his futuristic story, Oshii (who independently wrote the scripts for both films) says that it is a blessing in disguise that the film wasn't attempted sooner.
		Oshii says that the animated landscapes, whether they were finally rendered in a computer or merely with an artist's brush, were all initially designed by hand.
		The filmmaker's travels across the globe over the past decade provided him with an eclectic and unique collection of influences for Ghost in the Shell 2; Oshii says that it was a trip to American a few years ago that finally planted the seed which would grow to become the plot for the sequel.
	filmforce.ign.com /articles/548/548854p1.html (899 words)

	George : Review of Mamoru Oshii's Avalon (2001) (Site not responding. Last check: 2007-10-01)
		Oshii, who is primarily known for his work in anime, is the director of the acclaimed 90's science fiction classic, Ghost in the Shell (1995) and the sequel, Ghost in the Shell II: Innocence (2004).
		Oshii is making a number of interesting analogies here, including a comparison of the past with the future.
		In Oshii's Avalon, the comparison of a totalitarian system with that of a modern democratic one can be understood as a transition of simulations in the postmodernist sense.
	www.betterhumans.com /blogs/george/archive/2006/05/01/6699.aspx (1255 words)

	Amazon.ca: Avalon: DVD: Mamoru Oshii,Jerzy Gudejko,Wladyslaw Kowalski,Katarzyna Bargielowska,Dariusz ... (Site not responding. Last check: 2007-10-01)
		Still, the amber-hued ruins of Oshii's virtual landscape are oddly alluring as a means of escape--a warning from Oshii, perhaps, that even the most exciting virtual reality is a trap that can prove deadly to those who fall into it willingly.
		From Mamoru Oshii, the acclaimed director of GHOST IN THE SHELL, AVALON is a mesmerizing sci-fi thriller with explosive action and state-of-the-art visual effects in the stunning style of THE MATRIX!
		Following up on his cult anime masterpieces Patlabor 2 and Ghost in the Shell, Mamoru Oshii makes his live-action debut with this virtual reality thriller set in a near-future cyberpunk wasteland, in which the youth of an unnamed central European nation are enthralled with violent and illegal virtual reality computer games.
	www.amazon.ca /Avalon-Mamoru-Oshii/dp/product-description/B0000D9PNY (550 words)

	Products - Mamoru Oshii 's Cinema Trilogy w/CD (Site not responding. Last check: 2007-10-01)
		Mamoru Oshii has created and directed some of Japan’s most celebrated motion pictures including highly acclaimed movies like ‘Ghost in the shell’, ‘Patlabor’, and ‘Jin-Roh: The Wolf Brigade’.
		Mamoru Oshii's The Red Spectacles –; As the world decayed into chaos, the Metropolitan Police had no choice but to fight back and create an elite police unit known as Kerberos…the Watchdogs of Hell.
		Mamoru Oshii's Stray Dog – The Metropolitan Police’s ultimate crime-fighting unit was an elite squad of men and women known as the Kerberos.
	www.bandai-ent.com /products/product_details.cfm?id=287 (511 words)

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