Mamoru Oshii Filmography

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Information about the projects in which Mamoru Oshii has been involved is given in the following order: English title; Japanese title (if different); release date (format); Oshii’s role in the project. In compiling this list, I am indebted to Makoto Noda’s book My Dear, Ma- moru Oshii (Zenryaku Oshii Mamoru-sama) and his website at http://www.ops.dti. ne.jp/~makoto99/hakobune/nenpyou/

Time Bokan Series: Yattaman Taimu bokan shiriizu: Yattaaman January 1977–January 1979 (108 TV episodes) Chief assistant director (second half), storyboards (2 episodes)

One-Hit Kanta Ippatsu Kanta-kun September 1977–September 1978 (53 TV episodes) Storyboards (4 episodes), technical director (2 episodes)

Magical Girl Tickle Majokko Chikkuru March 1978–January 1979 (45 TV episodes) Storyboards (1 episode)

Science Ninja Team Gatchaman II Kagaku ninjatai Gatchaman II October 1978–September 1979 (52 TV episodes) Storyboards (3 episodes), technical director (3 episodes)

Time Bokan Series: Zendaman Taimu bokan shiriizu: Zendaman February 1979–January 1980 (52 TV episodes) Storyboards (10 episodes), technical director (9 episodes), storyboard revisions (1 episode)

Nils’s Mysterious Journey Nirusu no fushigina tabi 264 * MAMORU OSHII FILMOGRAPHY January 1980–March 1981 (52 TV episodes) Storyboards (11 episodes), technical director (18 episodes)

Time Bokan Series: Time Patrol Team Otasukeman Taimu bokan shiriizu: taimu patorourutai Otasukeman February 1980–January 1981 (53 TV episodes) Storyboards (6 episodes)

Time Bokan Series: Yattodetaman Taimu bokan shiriizu: Yattodetaman February 1981–February 1982 (52 TV episodes) Storyboards (6 episodes)

G (Gold) Raitan G (gourudo) radian March 1981–February 1982 (52 TV episodes) Storyboards (2 episodes)

Belle and Sebastian Meiken Jorii April 1981–June 1982 (52 TV episodes) Storyboards (2 episodes), technical director (2 episodes), assistant technical director (2 episodes)

World Masterpiece Stories Sekai meisaku monogatari April 1981–September 1981 (24 TV episodes) Opening storyboards, opening technical director

The Dragon’s Tears Ryuu no me no namida June 1981 (short ﬁlm) Storyboards, technical director (only credited as technical director)

Dashing Kappei Dasshu Kappei October 1981–December 1982 (65 TV episodes) Storyboards (1 episode)

Miss Machiko Maicchangu Machiko-sensei October 1981—July 1983 (95 TV episodes) Storyboards (1 episode)

Sherlock Holmes Shaarokku Houmuzu 1981 (pilot ﬁlm) Storyboards MAMORU OSHII FILMOGRAPHY * 265 The Fullmoon Tradition: Indra 1981 (pilot ﬁlm) Original concept, planning (with Hisayuki Toriumi), storyboards, technical director

Urusei Yatsura October 1981–March 1986 (218 TV episodes) Chief director (episodes 1–106), storyboards (21 episodes), technical director (24 episodes) screenplay (7 episodes), storyboard reorganization (1 episode)

Time Bokan Series: Ippatsuman Returns Taimu bokan shiriizu: gyakuten Ippatsuman February 1982–March 1983 (58 TV episodes) storyboards (7 episodes)

Urusei Yatsura spring special April 1982 Storyboards, technical director Urusei Yatsura Kansai Electric TV commercials 1982 Storyboards

Urusei Yatsura: Only You Urusei yatsura: onrii yuu February 1983 (ﬁlm) Dramatization, storyboards, director

Little Mrs. Pepperpot Supuun Obasan April 1983–March 1984 (130 TV episodes) Screenplay (1 episode), storyboards (1 episode)

The Yearling Koshika monogatari THE YEARLING November 1983–January 1985 (52 TV episodes) Storyboards (2 episodes)

Dallos December 1983–June 1984 (4 OVA episodes) Director, screenplay (3 episodes), storyboards (3 episodes), technical director (3 episodes)

Nils’s Mysterious Journey Nirusu no fushigina tabi 1983 (ﬁlm) Storyboards, technical director

Urusei Yatsura: Beautiful Dreamer Urusei yatsura: byuutifuru doriimaa 266 * MAMORU OSHII FILMOGRAPHY February 1984 (ﬁlm) Screenplay, director

The Eight-Headed Giant Serpent Strikes Back Yamata no orochi no gyakushu¯ December 1985 (ﬁlm) Equipment cooperation This was a live-action monster ﬁlm from Daicon Film, which would later become the studio Gainax; it was directed by Takami Akai and featured special effects by Shinji Higuchi

Angel’s Egg Tenshi no tamago December 1985 (OVA) Original concept (with Yoshitaka Amano), screenplay, director

The Red Spectacles Akai megane February 1987 (ﬁlm) Screenplay, director

Zillion Akai koudan Jirion April 1987–December 1987 (31 TV episodes) Storyboards (2 episodes)

Twilight Q 2: Labyrinth Objects File 538 Twilight Q 2: meikyuu bukken ﬁle 538 August 1987 (OVA) Original concept, screenplay, director

Mobile Police Patlabor Kidou keisatsu Patoreibaa April 1988–June 1989 (7 OVA episodes) Director (6 episodes), storyboards (6 episodes)

Mobile Police Patlabor Kidou keisatsu Patoreibaa July 1989 (ﬁlm) Director

Glory to the Ancestors! Gosenzosama banbanzai! August 1989–January 1990 (6 OVA episodes) Original work, screenplay, director, storyboards MAMORU OSHII FILMOGRAPHY * 267 Mobile Police Patlabor (Patlabor on Television) Kidou keisatsu Patoreibaa (Patlabor on Television) October 1989–September 1990 (47 TV episodes) Screenplay (5 episodes)

Maroko March 1990 (ﬁlm) Original work, screenplay, director

Mobile Police Patlabor (New Video Series) Kidou keisatsu Patoreibaa (Shin Bideo Shiriizu) November 1990–April 1992 (16 OVA episodes) Screenplay (4 episodes)

Stray Dog: Kerberos Panzer Cops Stray Dog: Keruberosu jigoku no banken March 1991 (ﬁlm) Original work, screenplay, director

Talking Head T¥kingu heddo October 1992 (ﬁlm) Director, screenplay

Mobile Police Patlabor 2 the Movie Kidou keisatsu Patoreibaa 2 the movie August 1993 (ﬁlm) Director

Ghost in the Shell Koukaku kidoutai September 1995 (ﬁlm) (re-released with new footage and audio as Ghost in the Shell 2.0, July 2008) Director

Remnant 6 Uchuu kamotsusen Remunanto 6 August 1996 (ﬁlm) Coordinating supervisor

Battle Tryst Batoru toraisuto 1998 (video game) Storyboards This was an arcade video game with an animated ending, for which Oshii created the storyboards. 268 * MAMORU OSHII FILMOGRAPHY Jin-Roh Jinrou February 2000 (ﬁlm) Original concept, screenplay

Blood the Last Vampire November 2000 (ﬁlm) Supervising producer

Avalon Avaron November 2000 (ﬁlm) Director

MiniPato MiniPato Fall 2001 (3 OVA episodes) Screenplay, sound production

Tokyo Scanner Tokyo Sukyanç 2003 (short ﬁlm) Supervising director Documentary ﬁlm on Tokyo as seen from the air

Tokyo Vein Tokyo j¥myaku 2003 (short ﬁlm) Supervising director Documentary ﬁlm on Tokyo as seen from its canals

“.50 Woman” June 2003 (short ﬁlm) Screenplay, director Part of an omnibus ﬁlm called Killers

Ghost in the Shell: Stand Alone Conplex 2nd Gig Koukaku kidoutai Sutando Ar¥n Konpurekksu 2nd Gig January 2004–January 2005 (26 TV episodes) Story concept

Ghost in the Shell 2: Innocence Inosensu March 2004 (ﬁlm) Director, screenplay MAMORU OSHII FILMOGRAPHY * 269 Windy Tales Fu¯jin monogatari September 2004–February 2005 (13 TV episodes) Supervisor

Lorelei: Witch of the Paciﬁc Ocean Rourerai March 2005 (ﬁlm) B29 mark design

Open Your Mind Mezame no hakobune April 2005 (OVA) Director This is a DVD version of a multimedia exhibition of the same name created by Oshii for the Aichi World Expo, which opened in March 2005.

Blood+ October 2005–September 2006 (50 TV episodes) Planning Assistant

Ghost in the Shell: Stand Alone Conplex 2nd Gig: Individual Eleven Koukaku kidoutai Sutando Ar¥n Konpurekksu 2nd Gig: Individual Eleven January 2006 (OVA) Story concept This is a compilation of the 2nd Gig episodes into a single feature-length OVA.

Tachiguishi Retsuden April 2006 (ﬁlm) Original concept, screenplay, director

“Onna Tachiguishi Retsuden–Ketsune korokke no Paresuchina shit¥hen” December 2006 (short ﬁlm) Original concept, screenplay, director Originally released on DVD in the December 2006 issue of the manga magazine Monthly Comic Ryu¯

“Project Mermaid” September 2007 (short ﬁlm) Director Aired on NHK as part of their Ani-kuri 15 series of 60-second animated shorts

Shin Onna Tachiguishi Retsuden November 2007 (omnibus film) Original concept, general supervising director This was an omnibus of six short live-action films plus one “commercial.” 270 * MAMORU OSHII FILMOGRAPHY “Kingyohime–Bekkoame no y:ri” November 2007 (short film) Director, screenplay One of the six Shin Onna Tachiguishi Retsuden short films

“Ch: CM” November 2007 (short ﬁlm) Director, screenplay The “commercial” in the Shin Onna Tachiguishi Retsuden omnibus

“ASSAULT GIRL–Kentakkœ no Hinako” November 2007 (short ﬁlm) Director, screenplay One of the six Shin Onna Tachiguishi Retsuden short ﬁlms

Boiling Cities Futtou Toshi May 2008–February 2009 (8 TV episodes) Title supervising director Animated sequences for the opening and ending credits of the NHK special

Phone Braver 7 Keitai sosakan 7 April 2008–March 2009 (45 TV episodes) Director (2 episodes), screenwriter (3 episodes) Director and screenplay for the two-part episode “Out of Range Woman” (Kengai no onna) and wrote the screenplay for “Keita’s New Year Dream” (Keita no hatsuyume). Volumes 6 and 10 of the Blu-Ray release of the series included a “director’s cut” of the “Out of Range Woman” and “Keita’s New Year Dream” episodes, respectively. The plot of “Keita’s New Year Dream” is very similar to episode 29 of the Patlabor TV series, which was also scripted by Oshii.

The Sky Crawlers Sukai kurora August 2008 (ﬁlm) Director

Kill Zan~KILL~ October 2008 (omnibus film) General supervising director This was an omnibus of four short live-action films. Oshii also directed the short opening segment of the film.

“Assault Girl 2” October 2008 (short ﬁlm) MAMORU OSHII FILMOGRAPHY * 271 Director, screenplay One of the four Zan~KILL~ short ﬁlms

Musashi: The Dream of the Last Samurai Miyamoto Musashi—Soken ni Haseru Yume June 2009 (ﬁlm) Original concept, screenplay

“The Duel” November 2009 (short ﬁlm) Creative supervisor This short was part of the Halo Legends omnibus ﬁlm

Assault Girls Asaruto Gaaruzu December 2009 (ﬁlm) Director, screenplay

28 1/2 Mousou no kyoujin July 2010 (ﬁlm) Director, screenplay

Tetsujin 28-go September 2010 (ﬁlm) Director, screenplay Filmed version of a live stage play directed by Oshii; it ran in Tokyo in January 2009 and in Osaka in February 2009.

“009: The Reopening” October 2010 (short ﬁlm) Director Produced for the CEATEC 2010 trade show to display the capabilities of Panasonic’s 3D televisions.

“Je t’aime” June 2010 (short ﬁlm) Director Premiered at the 34th Annecy Animation Film Festival

“Shanghai Skygate: The Door of the Sky” SHANGHAI SKYGATE (Tenkuu no tobira) February 2011 (short film) Supervising director Site-specific promotional film for the Shanghai World Financial Center

“Steel Battalion: Heavy Armor” June 2012 (short ﬁlm) 272 * MAMORU OSHII FILMOGRAPHY Director This short ﬁlm was a trailer for a video game of the same name.

“Kick-Heart” May 2013 (short ﬁlm) Project consultant

The Last Druid: Garm Wars 2014 (ﬁlm) Director

The Next Generation -Patlabor- April 2014 onward (theatrical episodes) General director, episode director, screenplay A new, live-action Patlabor was announced in September 2013. It will consist of one 10-minute episode and 12 48-minute episodes to be theatrically screened. Oshii has been announced as the general director of the series as well as the writer and director of some of the episodes.

The Next Generation -Patlabor- (title pending) 2015 (ﬁlm) Director, screenplay A feature-length live-action Patlabor ﬁlm was announced to follow the theatrical series. NOTES

PREFACE TO THE SECOND EDITION 1. Tasha Robinson, “Mamoru Oshii.” A.V. Club. http://www.avclub.com/articles /mamoru-oshii,13890/ (accessed September 15, 2004).

CHAPTER 1 1. Janet Pocorobba, “Freedom within Bounds: A Conversation with Donald Richie,” Kyoto Journal 41 (Summer 1999): 19. 2. Alex Kerr, Dogs and Demons: Tales from the Dark Side of Japan (New York: Hill and Wang, 2001), 327. 3. Harry Knowles, “Mamoru Oshii’s Avalon Review,” Ain’t It Cool News, May 7, 2001, http://www.aintitcool.com/display.cgi?id=8928. 4. “Chat with the Wachowski Brothers,” Official Matrix Website, November 6, 1999, http://whatisthematrix.warnerbros.com/cmp/larryandychat.html. 5. “Multimedia Grand Prix ’96,” Digital Content Association of Japan Homepage, July 31, 2001, http://www.dcaj.or.jp/d-con/con/mmgp/96awards/souhyo_e/ji _so.htm. 6. Jan Scott-Frazier, interview with the author, Dallas, TX, August 31, 2002. 7. James Cameron, “Ghost in the Shell,” Manga Entertainment—Official Austra- lian Website, October 30, 2000, http://www.manga.com.au/gits4.html. 8. Jan Scott-Frazier, “Anime Production Panel,” speech presented at AnimeFest 2002, Dallas, TX, August 31, 2002. 9. This and other elements of Oshii’s early biography presented here are from “Gaburieru no Y:utsu: Oshii Mamoru K¥shiki Saito,” (“Gabriel’s Melancholy: Oshii Mamoru Official Site”), http://www.oshiimamoru.com. 10. Mamoru Oshii, “A Stray Dog Goes to Cannes,” Artists Liaison Ltd. Homepage, February 11, 2002, http://www.artistsliaisonltd.com/flash/english/special/6th /oshii1–1.html. 11. Tony Rayns, “Game Master,” Sight & Sound 12 (November 2002): 30. 12. Carl Gustav Horn, “Mamoru Oshii,” in Anime Interviews: The First Five Years of Animerica Anime & Manga Monthly (1992–1997), ed. Trish Ledoux (San Fran- cisco: Cadence Books, 1997): 134–135. 13. Lucien James and Oliver DeDoncker, “Just a Chat Before I Go: Kenji Kawai on the Run,” Akadot.com, December 19, 2001, http://www.akadot.com/article /article-kawai1.html. 274 * NOTES 14. FLCL, vol. 1, DVD, directed by Kazuya Tsurumaki (Los Angeles: Synch-Point, 2002). Interestingly, this comment is only in the English dub and does not ap- pear in the original Japanese dialogue. 15. Carl Gustav Horn, “At the Carpenter Center: The PULP Mamoru Oshii Inter- view,” PULP 5 (September 2001): 15.

CHAPTER 2 1. Kenzaburo Oe, Japan, the Ambiguous, and Myself: The Nobel Prize Speech and Other Lectures (New York: Kodansha International, 1995). 2. Susan J. Napier, “Hybrid Identities—Oe, Japan, and the West,” in Return to Ja- pan: From “Pilgrimage” to the West, ed. Yoichi Nagashima (Oakville, CT: Aarhus University Press, 2001): 321. 3. “The World’s Most Popular Female Comic Artist . . . Rumiko Takahashi,” Viz. com, http://viz.com/products/series/takahashi/interview_02.html. 4. Seiji Horibuchi, “Rumiko Takahashi,” in Anime Interviews: The First Five Years of Animerica Anime & Manga Monthly (1992–1997), ed. Trish Ledoux (San Francisco: Cadence Books, 1997): 20. 5. Harold David, “The Elegant Enigmas of Mamoru Oshii,” AnimeFantastique 1 (Spring 1999): 8. 6. Horibuchi, “Rumiko Takahashi,” 19. 7. Mark Siegel, “Foreigner as Alien in Japanese Science Fantasy,” Science Fiction Studies 12, no. 37 (November 1985): 257. 8. Jonathan Clements, “Sex with the Girl Next Door: The Roots of the Anime Erotic,” in Helen McCarthy and Jonathan Clements, The Erotic Anime Movie Guide (Woodstock, NY: Overlook Press, 1999): 95. 9. Ibid., 105. 10. Another equally acceptable term is OAV, an acronym that transposes the last two words of the phrase. 11. Shigeru Watanabe, “Part 2: Dallos, the World’s First OVA (Original Video Ani- mation),” Artists Liason Ltd. Homepage, December 14, 2000, http://www.artists liaisonltd.com/flash/english/special/4th/watanabe2–1.html. 12. Jonathan Clements and Helen McCarthy, The Anime Encyclopedia: A Guide to Japanese Animation Since 1917 (Berkeley, CA: Stone Bridge Press, 2001): 79. 13. Ibid. 14. “Speculate about Jin-Roh,” Jin-Roh: The Wolf Brigade, special ed. DVD, directed by Hiroyuki Kitakubo (Cypress, CA: Bandai Entertainment, 2001). 15. Y:ji Moriyama, commentary audio track, Project A-ko, DVD, directed by Kat- suhiko Nishijima (New York: U.S. Manga Corps, 2002). 16. Takayuki Karahashi, “Leiji Matsumoto,” in Anime Interviews, ed. Ledoux, 151. 17. Daisetz T. Suzuki, Zen and Japanese Culture (Princeton, NJ: Princeton Univer- sity Press, 1959): 220. 18. Ibid., 435 19. Horn, “Mamoru Oshii,” 139. 20. Mamoru Oshii, e-mail to the author, translated by Yoshiki Sakurai, March 15, 2003. NOTES * 275 21. Toshifumi Yoshida, “Mamoru Oshii,” translated by Andy Nakatani, Animerica 9 (June 2001): 40. 22. Harai-gushi literally means “purification skewer.” It is a stick with strips of paper folded in a zigzag pattern attached to one end, used in Shint¥ for purification rituals. 23. Yoshida, “Mamoru Oshii,” 40. 24. Susan J. Napier, Anime from Akira to Princess Mononoke: Experiencing Contem- porary Japanese Animation (New York: Palgrave, 2000): 20. 25. Stephen Mansfield, “Tokyo, the Organic Labyrinth,” Japan Quarterly (July-Sep- tember 1998): 31–41. 26. Mary Douglas, Purity and Danger: An Analysis of Concepts of Pollution and Ta- boo (New York: Routledge, 2002). 27. Napier, Anime from Akira to Princess Mononoke, 12. 28. David, “The Elegant Enigmas of Mamoru Oshii,” 8.

CHAPTER 3 1. Y:ji Moriyama, commentary audio track, Project A-ko. 2. Ibid. 3. Clements and McCarthy, The Anime Encyclopedia, 427. 4. From Genkosha’s Animation Video Collectors Guide, quoted in Horn, “Mamoru Oshii,” 134. 5. “Yoshitaka Amano,” AnimeJump.com (March 1999), http://www.animejump .com/cgi-bin/go.cgi?go=features/yoshitaka-amano/amano. 6. Charles McCarter, “Flights of Fantasy,” EX: The Online World of Anime & Manga 4, no. 7 (1999), http://www.ex.org/4.7/04-feature_amano1.html. 7. Doug Ranney, “The Masters of Animation: An Unprecedented Opportunity,” Animation World Magazine, September 1, 1997, http://mag.awn.com/index .php3?ltype=all&sort=date&article_no=702&page=3. 8. For more examples of religion in anime, see Antonia Levi, Samurai from Outer Space: Understanding Japanese Animation (Chicago: Open Court, 1996). 9. Owen Thomas, “Amusing Himself to Death: Kazuya Tsurumaki Speaks About the Logic and Illogic That Went into Creating FLCL,” Akadot.com, October 17, 2001. http://www.akadot.com/article/article-tsurumaki1.html. 10. Jan Scott-Frazier, interview with the author, Dallas, TX, August 31, 2002. 11. Carl Gustav Horn, interview with the author, San Francisco, CA, March 1, 2003. 12. This translation is from Ellis S. Krauss, Japanese Radicals Revisited (Berkeley: University of California Press, 1974): 89. 13. Venetia Newall, An Egg at Easter: A Folklore Study (Bloomington: Indiana Uni- versity Press, 1971): 30. 14. W. G. Aston (translator), Nihongi (London: George Allen & Unwin, 1956): 1–2. 15. Newall, An Egg at Easter, 175. 16. Ibid., 158. 17. Carl Gustav Horn, “Anime,” in Japan Edge: The Insider’s Guide to Japanese Pop Subculture, ed. Annette Roman (San Francisco: Cadence Books, 1999): 39. 276 * NOTES 18. Mamoru Oshii, e-mail to the author, March 15, 2003. 19. Susan J. Napier, “Liminal Worlds and Liminal Girls: Femininity and Fantasy in Japanese Animation,” paper presented at Schoolgirls and Mobilesuits, Min- neapolis College of Art and Design, September 28, 2002. 20. Charles McCarter, “Peering Into the Mists of Avalon: An Interview with Oshii Mamoru,” EX: The Online World of Anime & Manga, June 16, 2001, http://www .ex.org/articles/2001/2001.6.16-exclusive-peering_into_the_mists_of_avalon -pg1.html 21. Oshii, e-mail to the author.

CHAPTER 4 1. “Gaburieru no Y:utsu: Oshii Mamoru Ko¯shiki Saito,” http://www.oshiima moru.com. 2. Lorraine Savage, “Anime Symposium Part 3: Anime Creation and Production: The Making of Ghost in the Shell (with Mamoru Oshii),” The Rose, no. 60 (Oc- tober 1999), http://home.comcast.net/~hasshin/symp3.html. 3. “Kid¥ Keisatsu Patoreibç 2 wo Megutte: Jidai ni Keri wo Tsukeru Tameni,” Oshii Mamoru Zenshigoto: Urusei Yatsura Kara Avaron Made (Tokyo: Kinema Junpo, 2001): 89. English translation from: “Around the Movie Patlabor 2: To Put an End to the Era,” trans. Ryoko Toyama, Nausicaa.net, http://www.nausicaa.net /miyazaki/interviews/m_oshii_patlabor2.html. 4. Ibid. 5. Horn, “At the Carpenter Center,” 15.Chapter 5

CHAPTER 5 1. “All About Patlabor WXIII,” Supplemental disc, Patlabor WXIII, special ed. DVD, directed by Fumihiko Takayama (Des Moines, IA: Pioneer Entertain- ment, 2003). 2. Kerr, Dogs and Demons, 11. 3. Kenneth Lee, Edward Kwon, Charles McCarter, and the EX Staff, “Anime Expo 2000: Takada Akemi Guest of Honor Panel,” EX: The Online World of Anime & Manga 5, no. 5 (2000), http://www.ex.org/5.5/16-feature_axp_takada.html. 4. Avery M. Tom, “Never Forget Your Protective Headgear!” Animerica 2, no. 6 (June 1994): 6. 5. Charles McCarter, “Record of an Illustrator: Interview with Izubuchi Yutaka,” EX: The Online World of Anime & Manga 4, no. 6 (1999), http://www.ex.org /4.6/04-feature_izubuchi.html. 6. “Tatsunoko Wins ‘Author’s Right’ to Macross,” AnimeNewsNetwork.com, Janu- ary 20, 2003, http://www.animenewsnetwork.com/article.php?id=3072. 7. Takayuki Karahashi, “Masami Yuki,” Animerica 5, no. 12 (December 1997): 9. 8. Amos Wong, “Inside Production I.G.,” Newtype USA 2, no. 4 (April 2003): 30. 9. A seventh episode of this OVA series was produced, but it was produced after the original six and was not written or directed by Oshii. 10. Bruce Sterling, “Preface,” in Mirrorshades: The Cyberpunk Anthology, ed. Bruce Sterling (New York: Ace Books, 1986): xiii. NOTES * 277 11. Karl Marx, Early Writings, trans. Rodney Livingstone and Gregor Benton (New York: Penguin Books, 1992): 324. 12. Heather Hicks, “Striking Cyborgs: Reworking the ‘Human’ in Marge Piercy’s He She and It,” in reload: rethinking women + cyberculture, eds. Mary Flanagan and Austin Booth (Cambridge, MA: The MIT Press. 2002): 95. 13. Krauss, Japanese Radicals Revisited, 5. 14. Patricia G. Steinhoff, “Student Conflict,” in Conflict in Japan, eds. Ellis S. Krauss, Thomas P. Rohlen, and Patricia G. Steinhoff (Honolulu: University of Hawaii Press, 1984): 174. 15. “Meet the Director,” Patlabor The Mobile Police: The TV Series, volume 1, DVD, directed by Naoyuki Yoshinaga (New York: U.S. Manga Corps, 2001). 16. Patrick Macias, TokyoScope: The Japanese Cult Film Companion (San Francisco: Cadence Books, 2001): 25. 17. Takashi Oshiguchi, “Yutaka Izubuchi, Toiler in the Vineyards of Anime,” An- imerica 2, no. 6 (June 1994): 5. 18. Yoshida, “Mamoru Oshii,” 38. 19. For a fascinating look at the significance and meaning of numbers in Japa- nese popular culture, see Thomas Crump, The Japanese Numbers Game: The Use and Understanding of Numbers in Modern Japan (New York: Routledge, 1992). 20. Oshii, e-mail to the author, March 15, 2003. 21. Thanks to Assaf K. Dekel for e-mailing me about the significance of the num- ber 26 (June 10, 2002). 22. Jean Baudrillard, The System of Objects, trans. James Benedict (New York: Verso, 1996): 121. 23. Yoshida, “Mamoru Oshii,” 39. 24. Steinhoff, “Student Conflict,” 182. 25. Rayns, “Game Master,” 28–29. 26. Scott-Frazier, interview with the author. 27. Oshii, e-mail to the author. 28. Horn, “Mamoru Oshii,” 139. 29. For an in-depth examination of mediated perception in Patlabor 2, see Chris- topher Bolton, “The Mecha’s Blind Spot: Patlabor 2 and the Phenomenology of Anime,” Science Fiction Studies 29, no. 88 (November 2002): 453–474. 30. Michael Fisch, “Nation, War, and Japan’s Future in the Science Fiction Anime Film Patlabor II,” Science Fiction Studies 27, no. 79 (March 2000): 61. 31. “All About Patlabor WXIII,” Patlabor WXIII, DVD. 32. “The Consolidated Design of the Creating Process for MiniPato,” MiniPato disc, Patlabor WXIII, special ed. DVD, directed by Fumihiko Takayama, Des Moines, IA: Pioneer Entertainment, 2003.

CHAPTER 6 1. Horn, “Mamoru Oshii,” 138. 2. Ibid., 137. 3. Masamune Shirow, Ghost in the Shell (Milwaukie, OR: Dark Horse Comics, 1995): 307. 278 * NOTES 4. “Animation, Anime, and Spawn: Cartoons Just Grew Up,” television program, HBO, May 19, 1998. 5. Hiroyuki Yamaga, commentary audio track, Royal Space Force: The Wings of Honneamise, DVD, directed by Hiroyuki Yamaga (Chicago: Manga Entertain- ment, 2000). 6. Mark Schilling. Contemporary Japanese Film (New York: Weatherhill, 1999): 237. 7. Sterling, “Preface,” xiii 8. Takayuki Tatsumi, “The Japanese Reflection of Mirrorshades,” in Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Fiction, ed. Larry Mc- Caffery (Durham, NC: Duke University Press, 1991): 366–373. 9. Trish Ledoux, “Masamune Shirow,” in Anime Interviews: The First Five Years of Animerica Anime & Manga Monthly (1992–1997), ed. Trish Ledoux (San Fran- cisco: Cadence Books, 1997): 39. 10. Emru Townsend, “Marvin Gleicher,” The Critical Eye (Summer 1996), http:// purpleplanetmedia.com/eye/inte/mgleicher-2.shtml. 11. David Nerlich, “‘Irresponsible Pictures’: The Art of Anime,” IF Magazine 27 (September 2000): 60. 12. William Gibson, “My Own Private Tokyo,” Wired (September 2001): 117–119. 13. “Ichiban: Ten Reasons Why the Sun Still Rises in the East,” Wired (September 2001): 120–125. 14. David Morley and Kevin Robins, “Techno-Orientalism: Futures, Foreigners and Phobias,” New Formations 16 (Spring 1992): 154. 15. Toshiya Ueno, “Japanimation and Techno-Orientalism: Japan as the Sub-Em- pire of Signs,” Documentary Box 9 (December 31, 1996): 3. 16. Toshiya Ueno, “Techno-Orientalism and Media-Tribalism: On Japanese Ani- mation and Rave Culture,” Third Text 47 (Summer 1999): 98. 17. “Japanese Government Policies in Education, Science, Sports and Culture,” Year 2000 White Paper, Ministry of Education Website, http://wwwwp.mext .go.jp/eky2000/. 18. Ueno, “Japanimation and Techno-Orientalism,” 3–4. 19. Frederik L. Schodt, Inside the Robot Kingdom: Japan, Mechatronics, and the Coming Robotopia (Tokyo: Kodansha International, 1988): 14. 20. “Ghost in the Shell Production Report,” Ghost in the Shell, DVD, distributed by Manga Entertainment, 1998. 21. Carl Silvio, “Reconfiguring the Radical Cyborg in Mamoru Oshii’s Ghost in the Shell,” Science Fiction Studies 26, no. 77 (March 1999): 56. 22. Ibid., 65. 23. Ibid., 66. 24. Anne Balsamo, Technologies of the Gendered Body: Reading Cyborg Women (Durham, NC: Duke University Press, 1996): 9. 25. Yuko Nakano, “Women and Buddhism—Blood Impurity and Motherhood,” trans. Alison Watts, in Women and Religion in Japan, eds. Akiko Okuda and Haruko Okano (Weisbaden: Harrassowitz Verlag, 1998): 78. 26. Ichiro¯ Hori, “Shamanism in Japan,” Japanese Journal of Religious Studies 2, no. 4 (December 1975): 233. 27. Napier, Anime: From Akira to Princess Mononoke, 113. NOTES * 279 28. Ibid., 108–111. 29. Bernard F. Batto, Slaying the Dragon: Mythmaking in the Biblical Tradition (Louisville, KY: Westminster/John Knox Press, 1992): 45–6. 30. Teigo Yoshida, “The Feminine in Japanese Folk Religion: Polluted or Divine?” in Unwrapping Japan: Society and Culture in Anthropological Perspective, ed. Eyal Ben-Ari, Brian Moeran, and James Valentine (Honolulu: University of Ha- waii Press, 1990): 58–77. 31. Nakano, “Women and Buddhism—Blood Impurity and Motherhood,” 65–85. 32. Margaret M. Lock, East Asian Medicine in Urban Japan: Varieties of Medical Experience (Berkeley: University of California Press, 1980): 182. 33. Nakano, “Women and Buddhism—Blood Impurity and Motherhood,” 70. 34. Hicks, “Striking Cyborgs,” 100. 35. Ibid., 101. 36. Donna Haraway, “A Cyborg Manifesto: Science, Technology and Socialist-Fem- inism in the Late Twentieth Century,” in Simians, Cyborgs and Women: The Reinvention of Nature (London: Free Association Books, 1991): 181. 37. Livia Monnet, “Towards the Feminine Sublime, or the Story of ‘A Twinkling Monad, Shape-Shifting Across Dimension’: Intermediality, Fantasy and Special Effects in Cyberpunk Film and Animation,” Japan Forum 14, no. 2 (September 2002): 231. 38. Napier, Anime: From Akira to Princess Mononoke, 272. 39. “Scrolls to Screen: The History and Culture of Anime,” The Animatrix, DVD (Burbank, CA: Warner Brothers, 2003). 40. For an in-depth look at the various shots referenced in The Matrix, see Kukhee Choo, “The Influence of Japanese Animation on U.S. Visual Communication Media,” Master’s thesis, University of Texas at Austin, 2001. 41. Taro Kanamoto, “Special Anniversary Interview: Oshii Mamoru,” Raijin Game & Anime 1 (December 18, 2002): 7.

CHAPTER 7 1. “Interviewing Mamoru Oshii,” Official Production I.G. website, http://www2 .production-ig.co.jp/eng2/oshii1.htm. 2. Mamoru Oshii, Hellhounds: Panzer Cops, vol. 1 (Milwaukie, OR: Dark Horse Comics, 1994): 26. 3. “Interviewing Tetsuya Nishio,” Official Production I.G. website, http://www2 .production-ig.co.jp/eng2/nishio.htm. 4. Luis Reyes, “Chatting with Ishikawa: The ‘I’ of Production I.G. Spends a Few Minutes with Akadot,” Akadot.com, August 15, 2001, http://www.akadot.com /article/article-ishikawa1.html. 5. “Speculate about Jin-Roh,” Jin-Roh DVD, 2001. 6. Oshii, e-mail to the author, March 15, 2003. 7. Jack Zipes, The Trials and Tribulations of Little Red Riding Hood: Versions of the Tale in Sociocultural Context (South Hadley, MA: Bergin & Garvey Publishers, 1983): 17. 8. Ibid., 17–18. 9. Yoshida, “Mamoru Oshii,” 37. 280 * NOTES 10. Ibid. 11. Takashi Oshiguchi, “From the Forest: On Jin-Roh and the Popularity of Anime Movies,” Animerica 9, no. 5 (June 2001): 66. 12. A more accurate translation of “Oshii Juku” would be “Oshii Cram School,” al- though “Team Oshii” has become the accepted translation. (Students in Japan often attend cram schools in the evenings after their regular school in order to score higher on high school and college entrance exams.) Much of the information of the inner workings of Team Oshii is from Frasier, interview with the author, August 31, 2002. 13. Oshii, e-mail to the author. 14. Scott-Frazier, interview with the author. 15. Clements and McCarthy, The Anime Encyclopedia, 71. 16. “SciFi.com Chat Transcript: Anime Director Hiroyuki Kitakubo,” SciFi.com, August 1, 2000, http://www.scifi.com/transcripts/2000/kitakubo.html. 17. “Mamoru Oshii and Production I.G.,” AnimeJump.com (March 1999), http:// www.animejump.com/cgi-bin/go.cgi?go=features/mamoru-oshii/oshii. 18. Christopher MacDonald, “Interview: Production I.G.,” AnimeNewsNetwork. com, August 1, 2000, http://www.animenewsnetwork.com/feature.php?id=24. 19. Scott-Frazier, interview with the author. 20. Reyes, “Chatting with Ishikawa.” 21. Sharon Kinsella, “What’s Behind the Fetishism of Japanese School Uniforms?” Fashion Theory 6, no. 2 (June 2002): 219. 22. Sara Ellis and Luis Reyes, “Kenji Kamiyama on Anime: Blood Script Writer Talks About His Career,” Akadot.com, August 13, 2001, http://www.akadot .com/article/article-kamiyama1.html. 23. Scott-Frazier, interview with the author. 24. Reyes, “Chatting with Ishikawa.” 25. Carl Gustav Horn, “Streaks of Red and White: The Short Long Time of the Blood Anime,” forthcoming. 26. Wong, “Inside Production I.G.,” 30. 27. Ellis and Reyes, “Kenji Kamiyama on Anime.”

CHAPTER 8 1. Oshii, e-mail to the author, March 15, 2003. 2. Shinishi Ishikawa, “Avalon,” trans. Mayumi Kaneko, Shift Japan 51 (February 2001), http://www.shift.jp.org/051/avalon/. 3. Betting on online games: Scott Steinberg and Brian Lam, “Soldiers of Fortune,” Wired 11, no. 7 (July 2003): 60. Selling game information: Justin Hall, “Galax- ies Auctions—It Has Already Begun,” Game Girl Advance, July 14, 2003, http:// www.gamegirladvance.com/archives/2003/07/14/galaxies_auctions_it_has _already_begun.html. 4. Rayns, “Game Master,” 30. 5. Taro Kanamoto, “The Creators’ Chat Room: Oshii Mamoru,” Raijin Game & Anime 3 (January 1, 2003): 9. 6. Rayns, “Game Master,” 30. 7. Oshii, e-mail to the author. NOTES * 281 8. For more examples of portrayals of Morgan in modern ﬁlm, see Jacqueline de Weever, “Morgan and the Problem of Incest,” in Cinema Arthuriana: Essays on Arthurian Film, ed. Kevin J. Harty (New York: Garland Publishing, 1991): 145–156, and Maureen Fries, “How to Handle a Woman, or Morgan at the Movies,” in King Arthur on Film: New Essays on Arthurian Cinema, ed. Kevin J. Harty (Jefferson, NC: McFarland and Company, 1999): 67–80. 9. Raymond H. Thompson, The Return from Avalon: A Study of the Arthurian Legend in Modern Fiction (Westport, CT: Greenwood Press, 1985): 77–78. 10. Ibid., 85. 11. Eri Izawa, “The Romantic, Passionate Japanese in Anime: A Look at the Hidden Japanese Soul,” in Japan Pop!: Inside the World of Japanese Popular Culture, ed. Timothy J. Craig (Armonk, NY: M. E. Sharpe, 2000): 140–141. 12. Daniel Mackay, The Fantasy Role-Playing Game: A New Performing Art (Jeffer- son, NC: McFarland & Company, 2001): 23. 13. Laurel Anderson Tryforos, “Questing by Computer: Arthurian Themes in Computer Games,” Avalon to Camelot 2, no. 2 (1986): 15–16. 14. Yuji Oniki, “Tokyo Diary No. 5,” in Japan Edge: The Insider’s Guide to Japanese Pop Subculture, ed. Annette Roman (San Francisco: Cadence Books, 1999): 159. 15. Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser (Ann Ar- bor: University of Michigan Press, 1994): 1. 16. Robert Woodhead, e-mail to the author, April 1, 2003. 17. John Rhys, Studies in the Arthurian Legend (Oxford: Clarendon Press, 1891): 358. 18. Kanamoto, “The Creators’ Chat Room,” 8. 19. Laurence Reymond, “Entretien Avec Mamoru Oshii,” Fluctuat.net, March 15, 2002, http://www.ﬂuctuat.net/cinema/interview/oshii2.htm. 20. Oshii, e-mail to the author. 21. Rayns, “Game Master,” 31. 22. Oshii, e-mail to the author.

CHAPTER 9 1. Egan Loo and Patrick Macias, “Ghost in the Shell 2: Innocence: Interview with Director Mamoru Oshii,” Animerica 12, no. 9 (September 2004): 32. 2. Ibid., 32. 3. Amos Wong, “Inside Production I.G.,” Newtype USA 2, no. 4 (April 2003): 28–29. 4. Scott Green, “Production I.G Aims to Make ‘Ghost in the Shell’ Their ‘Gun- dam,’” Crunchyroll, June 26, 2013, http://www.crunchyroll.com/anime-news /2013/06/26/production-ig-aims-to-make-ghost-in-the-shell-their-gundam. 5. Andrez Bergen, “The Age of Innocence,” Anime Insider 15 (August/September 2004): 36. 6. For more details, see Brian Ruh, “Producing Transnational Cult Media: Neon Genesis Evangelion and Ghost in the Shell in Circulation,” Intensities: The Journal of Cult Media 5 (2013), http://intensitiescultmedia.files.wordpress .com/2013/07/producing-transnational-cult-media-neon-genesis-evangelion -and-ghost-in-the-shell-in-circulation-brian-ruh.pdf 282 * NOTES 7. Bergen, “The Age of Innocence,” 36. 8. Masamune Shirow, Ghost in the Shell (Milwaukie, OR: Dark Horse Comics, 1995): 126. 9. Mamoru Oshii, “Commentary: The Passion of Loss,” in Ten Billion Days and One Hundred Billion Nights, ed. Ryu Mitsuse (Haikasoru: San Francisco, CA, 2011): 282. 10. Raymond Roussel, Locus Solus, trans. Rupert Copeland Cunningham (Berkeley and Los Angeles: University of California Press, 1970): 254. 11. Ibid., 118. 12. Ibid., 119. 13. Ibid., 120. 14. Mark Ford, Raymond Roussel and the Republic of Dreams (London: Faber and Faber, 2000): 126. 15. Villiers de l’Isle-Adam, Tomorrow’s Eve, trans. Robert Martin Adams (Urbana, IL: University of Illinois Press, 1982): 54. 16. Ibid., 63. 17. Ibid., 64 (italics in the original). 18. Anne Greenfield, “The Shield of Perseus and the Absent Woman,” in Jeering Dreamers: Villiers de l’Isle Adam’s L’Eve Future at Our Fin de Siècle: A Collection of Essays, ed. John Anzalone (Amsterdam: Editions Rodopi, 1996): 71. 19. Villiers de l’Isle-Adam, Tomorrow’s Eve, 164. 20. Ibid., 211 (italicis in the original). 21. Ibid., 216. 22. Isabel Stevens and Francesco Prandoni, “Cityscapes and Robots,” Sight & Sound 20, no. 10 (October 2010): 19. 23. Steven T. Brown, Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture (New York: Palgrave Macmillan, 2010): 15–16. 24. Therese Lichtenstein, Behind Closed Doors: The Art of Hans Bellmer (Berkeley: University of California Press, 2001): 1. 25. Sue Taylor, Hans Bellmer: The Anatomy of Anxiety (Cambridge, MA: MIT Press, 2000), 21. 26. Ibid., 56. 27. See Livia Monnet, “Anatomy of Permutational Desire: Perversion in Hans Bellmer and Oshii Mamoru,” Mechademia 5 (2010): 285–309; Livia Monnet, “Anatomy of Permutational Desire, Part II: Bellmer’s Dolls and Oshii’s Gy- noids,” Mechademia 6 (2011): 153–169; and Monnet Livia, “Anatomy of Per- mutational Desire, Part III: The Artificial Woman and the Perverse Structure of Modernity,” Mechademia 7 (2012): 282–297. 28. Brown, Tokyo Cyberpunk, 36–48. 29. Ibid., 26–27, 49. 30. Ibid., 28. 31. Christian Nutt, “Ghost in the Shell 2: Innocence: Specter Vision,” Newtype USA 3, no. 9 (September 2004): 85. 32. George Lakoff and Mark Johnson, Metaphors We Live By (Chicago: University of Chicago Press, 1980): 3. 33. Ibid., 222. NOTES * 283 34. “Commentary by Director Mamoru Oshii and Animation Director Toshihiko Nishikubo,” Ghost in the Shell 2: Innocence, DVD (Glendale, CA: Dreamworks Home Entertainment, 2004). 35. Eiji Otsuka and Housui Yamazaki, The Kurosagi Corpse Delivery Service, Vol. 9 (Milwaukie, OR: Dark Horse Manga, 2009): 70. 36. J. Hoberman, Film after Film: Or, What Became of 21st-Century Cinema? (New York: Verso, 2012), 199. 37. “The Making of Ghost in the Shell 2: Innocence,” Ghost in the Shell 2: Inno- cence, DVD (Glendale, CA: Dreamworks Home Entertainment, 2004). 38. Hiroki Azuma, Otaku: Japan’s Database Animals. Translated by Jonathan E. Abel and Shion Kono (Minneapolis: University of Minnesota Press, 2009). 39. “The Making of Ghost in the Shell 2: Innocence,” 2004. 40. Nutt, “Ghost in the Shell 2: Innocence,” 84. 41. Loo and Macias, “Ghost in the Shell 2: Innocence,” 32. 42. Green, “Production I.G Aims,” 2013.

CHAPTER 10 1. “Mountain of Dreams,” 2005 World Expo website, http://www.expo2005.or.jp /en/venue/pavilion_private_h.html (accessed July 13, 2013). 2. Mark Schilling, “A Decade When Japan’s Cinema Stood Up to Hollywood Men- ace,” Japan Times, December 11, 2009, www.japantimes.co.jp/culture/2009/12/11 /films/a-decade-when-japans-cinema-stood-up-to-hollywood-menace/ 3. Keiko Kimura, “Syrupy ‘Eternal Love’ Dramas Finding Favor, Fans Ready to Fork Out Billions,” Japan Times, November 23, 2004, www.japantimes .co.jp/news/2004/11/23/national/syrupy-eternal-love-dramas-finding-favor -fans-ready-to-fork-out-billions/ 4. Rika Ishii, “Momoru [sic] Oshii Interview,” Kinema Junpo Special Issue no. 1166 (1995), English translation by Ryoko Toyama, Nausicaa.net, http://www .nausicaa.net/miyazaki/interviews/oshii_on_mt.html (accessed July 13, 2013). 5. Amos Wong, “Inside Production I.G.,” Newtype USA 2, no. 4 (April 2003): 30. 6. Stefan Riekeles, ed. Proto Anime Cut: Archive (Heidelberg: Kehrer Verlag, 2011): 133. 7. Akira Ishii, “Animation Research for The Sky Crawlers,” The Sky Crawlers, DVD extra (Culver City, CA: Sony Pictures Home Entertainment, 2009). 8. Ibid. 9. Riekeles, Proto Anime Cut, 195–197. 10. Akira Ishii, “The Sound Design and Animation of The Sky Crawlers,” The Sky Crawlers, DVD extra (Culver City, CA: Sony Pictures Home Entertainment, 2009). 11. “Tetsuya Nishio Receives Best Character Design Award at the 8th Tokyo Anime Awards,” Production I.G website, March 27, 2009, http://www.productionig .com/contents/works_sp/64_/s09_/000931.html (accessed July 13, 2013). 12. Thomas Hobbes, Leviathan, Vol. 2, ed. G. A. J. Rogers and Karl Schuhmann (New York: Continuum, 2005): 101. 13. Ibid. 284 * NOTES 14. Colin McInnes, Spectator Sport War: The West and Contemporary Conflict (Boulder, CO: Lynne Rienner, 2002): 2. 15. Ibid., 3. 16. Ibid. 17. Ibid., 49. 18. Ibid., 80. 19. Ibid., 90. 20. Ibid., 145–146. 21. Ibid., 148. 22. Brian Ruh, “Volition in the Face of Absurdity,” Mechademia 6 (2011): 306–309. 23. “Mamoru Oshii: The Venezia Tapes,” Production I.G website, http://www .productionig.com/contents/works_sp/64_/s08_/001019.html (accessed July 9, 2013) 24. Oshii Mamoru, “Message from Mamoru Oshii,” Production I.G website, http:// www.productionig.com/contents/works_sp/64_/s08_/000843.html (accessed October 31, 2009). 25. Baryon Tensor Posadas, “The Sky Crawlers and the Transmediation of Science Fictional Worlds,” Poetica 78: 121. 26. Justin Sevakis, “Sky Crawlers—Review,” Anime News Network. December 22, 2008, http://www.animenewsnetwork.com/review/sky-crawlers/theatrical -release. 27. Hiroki Azuma, Otaku: Japan’s Database Animals, trans. Jonathan E. Abel and Shion Kono (Minneapolis: University of Minnesota Press, 2009): 38. 28. “The Sky Crawlers in Competition at the 65th Venice Film Festival,” Produc- tion I.G website, July 29, 2008, http://www.productionig.com/contents/works _sp/64_/s09_/000847.html

CHAPTER 11 1. Mitsuyo Wada-Marciano, Japanese Cinema in the Digital Age (Honolulu: Uni- versity of Hawai’i Press, 2012): 83. 2. Jasper Sharp, “Between Dimensions—3D Computer Generated Animation in Anime,” in Ga-Netch_: The Manga Anime Syndrome (Frankfurt: Deutches Filmmuseum, 2008): 131. 3. Ibid. 4. Ibid., 133. 5. David Wheeler, “A Night with Mitsuhisa Ishikawa,” Anime Pulse, April 5, 2006, http://www.anime-pulse.com/2006/04/05/a-night-with-mitsuhisa-ishikawa/ (accessed July 13, 2013). 6. “Mamoru Oshii: Face to Face,” Innocence, UK DVD extra. 7. Mark Schilling, “Back to Basic Instincts,” Japan Times, December 18, 2009, http://www.japantimes.co.jp/culture/2009/12/18/films/back-to-basic -instincts/ (accessed July 17, 2013). 8. Richard Nieva, “Video Gaming on the Pro Tour, for Glory but Little Gold,” New York Times, November 28, 2012, http://www.nytimes.com/2012/11/29 /technology/personaltech/video-gaming-on-the-pro-tour-for-glory-but-little -gold.html (accessed July 15, 2013). NOTES * 285 9. Schilling, “Back to Basic Instincts.” 10. Hye Jean Chung, “Media Heterotopia and Transnational Filmmaking: Map- ping Real and Virtual Worlds,” Cinema Journal 51, no. 4 (Summer 2012): 105. 11. Eiji Takemura, The Perception of Work in Tokugawa Japan: A Study of Ishida Baigan and Ninomiya Sontoku (Lanham, MD: University Press of America, 1997): 5. 12. Ibid., 7. 13. Ibid. 14. Peter Frost, “‘Examination Hell,’” Windows on Japanese Education, ed. Edward R. Beauchamp (New York: Greenwood Press, 1991): 296. 15. Mamoru Oshii, “Asarutogçruzu, shutsuy:suru,” in Shirakawa Shizuka dokuhon (Tokyo, Heibonsha: 2010): 140–141. 16. Ibid., 141–142. Translation by Brent Millis.

CHAPTER 12 1. Patrick Macias, Cruising the Anime City: An Otaku Guide to Neo Tokyo (Berke- ley: Stone Bridge Press, 2004): 11. 2. Yingjin Zhang, Cinema, Space, and Polylocality in a Globalizing China (Hono- lulu: University of Hawai’i Press, 2010): 2. 3. Mark Shiel, “Cinema and the City in History and Theory,” in Cinema and the City: Film and Urban Societies in a Global Context, ed. Mark Shiel and Tony Fitzmaurice, 1–18 (Oxford: Blackwell, 2001): 5–6. 4. Tom Conley, Cartographic Cinema (Minneapolis: University of Minnesota Press, 2007), 2. 5. Inuhiko Yomota, “Stranger Than Tokyo: Space and Race in Postnational Japa- nese Cinema,” trans. Aaron Gerow, in Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia, ed. Jenny Kwok Wah Lau, 76–89 (Philadelphia: Temple University Press, 2002): 76. 6. Ibid., 89. 7. Thomas Looser, “From Edogawa to Miyazaki: Cinematic and Anime-ic Archi- tectures of Early and Late Twentieth-Century Japan,” Japan Forum 14, no. 2 (2002): 310. 8. One Show Interactive: Advertising’s Best Interactive and New Media, Vol. 7 (New York: One Club, 2004): 84. 9. Salvator-John A. Liotta, “A Critical Study on Tokyo: Relations between Cinema, Architecture, and Memory: A Cinematic Cartography,” Journal of Asian Archi- tecture and Building Engineering 6, no. 2 (2007): 209. 10. Yoko Hani, “Tokyo’s Real Floating World: Waterway Secrets Unlocked,” Ja- pan Times, December 16, 2007, http://search.japantimes.co.jp/cgi-bin/ﬂ2007 1216x2.html 11. Yomota, “Stranger Than Tokyo,” 80. 12. Edward Seidensticker, Low City, High City: Tokyo from Edo to the Earthquake: How the Shogun’s Ancient Capital Became a Great Modern City, 1867–1923 (New York: Alfred A. Knopf, 1984). 13. Ibid., 8. 286 * NOTES 14. Ibid., 249. 15. Ibid., 141. 16. NHK, “NHK Kagai jugyou youkoso sempai | Koremade no housou Os- hii Mamoru,” March 28, 2009, http://www.nhk.or.jp/kagaijugyou/archives /archives266.html (accessed February 26, 2010). 17. “UIA 2011 Tokyo En Kaleidoscope Showcase,” Production I.G website, http:// www.productionig.com/contents/works_sp/49_/ (accessed February 26, 2010). 18. Macias, Cruising the Anime City, 12. 19. Mark Driscoll, “From Kino-eye to Anime-eye/ai: The Filmed and the Animated in Imamura Taihei’s Media Theory,” Japan Forum 14, no. 2 (2002): 279–280. 20. “Ghost in the Shell Director Mamoru Oshii Trades Cyberpunk for Steampunk in The Last Druid: Garm Wars,” Anime News Network, October 29, 2012, http://www.animenewsnetwork.com/press-release/2012-10-29/ghost-in-the -shell-director-mamoru-oshii-trades-cyberpunk-for-steampunk-in-the-last -druid/garm-wars (accessed July 23, 2013). 21. Dave Hughes, “Labor of Love,” Manga Mania, November (1997): 18. BIBLIOGRAPHY

Note: The preponderance of Internet sources in the bibliography is indicative of the highly wired nature of the anime fan community. Many articles and interviews that appeared online only.

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28 1/2: M¥s¥ no kyojin, 249 of, 175–176; characters of, 176–177; “.50 Woman,” 219 mythology in, 184, 188–190; role- 8 1/2, 249 playing games in, 178–179, 184–186, 187; synopsis of, 177–182 Adamson, Andrew, 214, 215 Azuma, Hiroki, 215, 232 Akira, 107, 127, 128, 157, 164 Amano, Yoshitaka, 6, 17, 48–49 Ballard, J.G., 4 Amazing Lives of the Fast Food Grifters, Balsamo, Anne, 140 see Tachiguishi Retsuden Bandai, 16–17, 122, 125–126, 151, 232 Anchor, 62 basset hound, 8, 117, 138–139, 176, 181, Angel’s Egg (Tenshi no Tamago), 6, 8–9, 191, 199, 201, 202, 227, 228 10, 17, 45, 47–63, 73, 75–76, 101, Batto, Bernard F., 142 108, 121, 136; analysis of, 53–63; Baudrillard, Jean, 99, 134 background of, 47–49; characters of, Bellmer, Hans, 201, 210–212 50; religious symbolism in, 57–59; Bewitched, 12 sh¥jo in, 60; synopsis of, 50–53 Be with You (Ima, ai ni yukimasu), 219 AnimEigo, 187 biblical quotations in Oshii’s films: Archie, 12 49, 59, 212; Corinthians, 129–130, Ark of Awakening, The (Mezame no 142, 143; Genesis, 56, 95, 99–101; hakobune), 218 Luke, 118; Mark, 58; Matthew, Arneson, Dave, 184 118; Psalms, 95; Revelation, 97–98; Asbury, Kelly, 214 Samuel, 95, 99. See also religion and “Assault Girl,” 238–239, 245 myth in Oshii’s films “Assault Girl 2,” 239, 245 Billboard, 2, 127 Assault Girls, 217, 233, 235–249, 261; Black Magic, 127, 150 analysis of, 245–249; background of, Blade Runner, 108, 146 235–240; characters of, 240; synopsis Blood the Last Vampire, 7, 71, 94, of, 240–244 122, 149, 150, 163–174, 197, 217; Assemble: Insert, 78 analysis of, 168–174; background Astro Boy (Tetsuwan Atom), 77 of, 163–164; characters of, 164–165; Aum Shinrikyo, 116 spinoffs of, 173–174; synopsis of, Avalon, 2, 6–7, 8, 9, 10, 57, 74, 75, 81, 165–168; Vietnam in, 171–173 104, 118, 125, 151, 161, 175–195, Brown, Steven T., 210, 212 218, 233, 237, 240, 246, 247, 248; Buddhism, see religion and myth in analysis of, 182–195; background Oshii’s films 298 * INDEX Cameron, James, 2, 3 Final Fantasy, 48, 185 Camus, Albert, 230 Fisch, Michael, 119 Cannes Film Festival, 2, 214–215, 233 FLCL, 8 Capek, Karel, 99 Fleischer brothers, 147 Cartographic Cinema, 253 Foremniak, Malgorzata, 183 Cassavetes, Nick, 219 Frost, Peter, 248 Castle of Cagliostro (Lupin III: Cagliostro Fujiki, Yoshikatsu, 152 no Shiro), 62 Fujisaku, Jun’ichi, 197 Char’s Counterattack, 78 Fujita, Y¥ko, 239 Chiba, Shigeru, 78, 151 Fukasaku, Kenta, 239 Chimamire Mai Love, 261 Fukasaku, Kinji, 239 Christianity. See religion and myth in Furukawa, Toshio, 78 Oshii’s films and biblical quotations Fushigi Yu¯gi, 60 in Oshii’s films Futumata, Issei, 78 Clements, Jonathan, 15, 17, 49 Colpaert, Carl, 61 Gaiman, Neil, 48 Confucius, 212 Gamera, 79, 92 Conley, Tom, 253 Gans, Christophe, 261–262 constitution, Japanese, Article 9 of the, Gasaraki, 78 84, 162 Gatchaman (Kagaku Ninjatai Cream Lemon, 164 Gatchaman), 48 Creamy Mami, 79 Geronimi, Clyde, 214 Cruising the Anime City: An Otaku Ghost in the Shell, 2, 3, 6, 7, 8, 9, 10, 56, Guide to Neo Tokyo, 251, 260 71, 75, 81, 83, 85, 97, 102, 118, 121, Crying Freeman, 261 124, 125–147, 149, 150, 151, 162, Crying Out Love, In the Center of the 164, 175–176, 177, 183, 186, 193, World (Sekai no chu¯shin de, ai o 194, 197–198, 200, 205, 214, 216, sakebu), 218–219 225, 226, 237, 253, 261; analysis of, 132–147; background of, 125–128; Dallos, 5, 16–18, 78, 191 characters of, 128; cyborg in, Dawkins, Richard, 212 144–146; nudity and representation Disney, 146 in, 139–143; synopsis of, 128–132 Doi, Nobuhiro, 219 Ghost in the Shell 2: Innocence, 147, Douglas, Mary, 43 197–216, 217, 218, 219, 225, 227, Driscoll, Mark, 260 230, 231–232, 233, 237, 245, 256; Dumbo, 214 analysis of, 205–216; background Dungeons & Dragons, 184–185 of, 197–198; characters of, 198–199; dolls in, 210–212; literary allusions Eight-Headed Giant Serpent Strikes Back in, 206–210; synopsis of, 199–204 (Yamata no orochi no gyakushu¯), 217 Ghost in the Shell: Stand Alone Complex, Escaflowne (Tenku¯ no Escaflowne), 60 197 Evangelion, see Neon Genesis Evangelion Gibson, William, 132–133, 134, 144 Gigantor (Tetsujin 28-go), 77, 249 Fantastic Planet, 214 Gleicher, Marvin, 133 February 26 Incident, 219 Godzilla, 35, 44–45, 92 Fellini, Federico, 249 Gogol, Nikolai, 212 Film Comment Selects, 237 Golden Boy, 150 INDEX * 299 Gosenzosama Banbanzai!, 218, 261 background of, 150–152; characters Got¥, Takayuki, 80 of, 152–153; synopsis of, 153–156 Greenberg, Andy, 187 Johnson, Mark, 212 G.R.M.: The Record of Garm War, 261 Gundam, see Mobile Suit Gundam Kagai jugy¥ y¥koso sempai, 259 Gyakuten Ippatsuman, 237 kamishibai, 236 Gygax, Gary, 184 Kamiya, Makoto, 238 Kamiyama, Kenji, 122–123, 172, 173, .hack, 183–184 197–198, 216, 238 Haraway, Donna, 145 Katayama, Ky¥ichi, 218–219 Harlock, see Space Pirate Captain Kawai, Kenji, 7, 118, 123, 226, 239, 257 Harlock Kenroh Densetsu (Hellhounds:Panzer Headgear, 6, 7, 16, 76, 78–80, 83, 91, 92, Cops), 126, 150, 152, 156–157 96, 103, 122, 183 Kerberos Panzer Jäger (Keruberosu Heinlein, Robert, 4, 17, 238 k¥tetsu ry¥ken), 235 Hicks, Heather, 144 Kerberos x Tachiguishi harahara dokei no Higami, Haruhiko, 225 sh¥jo, 238 Higuchi, Shinji, 217–218 Kerr, Alex, 1, 78 Hobbes, Thomas, 227 “Kick-Heart,” 7 Hoberman, J., 215 Kikuchi, Hideyuki, 49 Horn, Carl Gustav, 55, 59, 172 Kikuchi, Rinko, 239 Howl’s Moving Castle (Hauru no ugoku Kill, 239 shiro), 219 Killers, 219, 238, 239 Kimagure Orange Road (Kimagure Ikemizu, Michihiro, 78 Orenji R¥do), 65, 79 Imamura, Taihei, 260 Kimura, Keiko, 219 Innocence, see Ghost in the Shell 2: Kinsella, Sharon, 170 Innocence Kise, Kazuchika, 216 Inoue, Y¥, 78 Kitakubo, Hiroyuki, 150, 164, 168–169, Inside the Robot Kingdom, 135 172 In the Aftermath, 61 Koike, Kazuo, 261 Inu Yasha, 12 Kurosagi Corpse Delivery Service, The Isaacs, Jason, hello to (Kurosagi shitai takuhaibin), 214 Ishikawa, Mitsuhisa, 80, 157, 163, 164, Kurosawa, Akira, 163 169, 170, 172, 198, 216, 237 Kwak, Jae-yong, 219 It¥, Chihiro, 218 It¥, Kazunori, 7, 16, 17, 79, 92, 103, 151, labyrinth, 34, 41–42, 67, 72, 74, 106, 109 183, 218 Lakoff, George, 212 Izubuchi, Yutaka, 78–79, 97, 103 Laloux, René, 214 La Mettrie, Julien Offray de, 212 Jackson, Wilfred, 214 Lang, Fritz, 210 Japan Self Defense Forces, 84, 90–91, Last Druid: Garm Wars, The, 7, 261 111, 162 Lefebvre, Henri, 252 Jenson, Vicky, 215 Levi, Antonia, 134 Jin-Roh, 5, 7, 17, 28, 63, 85, 105, 122, Leviathan, 227 149, 150–163, 168–169, 191, 227, Lichtenstein, Therese, 211 233, 235; analysis of, 156–163; Liotta, Salvator-John A., 254 300 * INDEX “Little Red Riding Hood,” 152, 154, 156, yume), 260 158–160 Mystery of Rampo, The, 61–62 Locus Solus, 206–208 Looser, Thomas, 253 Nakano, Yuko, 141 Lorelei: With of the Pacific Ocean Nakura, Yasuhiro, 61–62 (R¥rerai), 217 Napier, Susan J., 11, 44, 60, 141–142, Love Hina (Rabu Hina), 14 146 Lupin III (Rupan sansei), 62 Neon Genesis Evangelion (Shin Seiki Luske, Hamilton, 214 Evangerion), 54, 62, 77, 102 Neuromancer, 133, 144 Macias, Patrick, 251–252, 260 Nihongi, 57 Macross, see Superdimensional Fortress Nils’s Mysterious Journey (Nirusu no Macross Fushigi-na Tabi), 5, 11 Magic Knights Rayearth (Mah¥ Kishi Ninomiya, Sontoku, 247–248 Rayearth), 60 Nishikubo, Mizuho, 260 (see also Mainichi Film Awards, 233 Nishikubo, Toshihiko) Maison Ikkoku, 12, 14, 79, 103 Nishikubo, Toshihiko, 127, 213 (see also Manga Entertainment, 6, 133 Nishikubo, Mizuho) Matrix, The, 2, 146, 175, 194 Nishio, Tetsuya, 122, 123, 157, 226–227 Matsumoto, Leiji, 27–28 Noda, Makoto, 257 Matsuoka, Seig¥, 248 Notebook, The, 219 Mazinger, 77, 92 McCarthy, Helen, 17, 49 Ocean Waves (Umi ga Kikoeru), 65 McInnes, Colin, 227–229 Ye, Kenzaburo, 11 Mechademia, 230 Ogura, Hiromasa, 226 Metaphors We Live By, 212 Oh My Goddess! (Aa! Megami-sama), Metropolis, 62, 98, 210 14 Milton, John, 212 Okiura, Hiroyuki, 139, 149, 150, 151– MiniPato, 7, 80, 121–123, 172, 197, 227, 152, 156, 157–158, 161–162, 169 236 Okuyama, Kazuyoshi, 61 Mishima, Yukio, 66, 219 One-Hit Kanta (Ippatsu Kanta-kun), 5 Mitsuse, Ry:, 4, 206 oni, 15, 18, 20, 23, 26, 27, 40, 167 Miyazaki, Hayao, 2, 62, 71–72, 233 onigokko, 26 Mobile Police Patlabor, see Patlabor Oniki,Yuji, 185 Mobile Suit Gundam (Kid¥ Senshi “Onna Tachiguishi Retsuden,” 238 Gandamu), 17, 77, 78, 216 “Open Your Mind,” 218 Mochizuki, Tomomi, 65 Orientalism, 134–136 Monkey Punch, 62 Oshiguchi, Takashi, 163 Monnet, Livia, 146, 212 Otaku: Japan’s Database Animals, 215 Monthly Comic Blade, 233 Ytomo, Katsuhiro, 127, 157, 164 Monthly Comic Ryu¯, 238 Ytsuka, Eiji, 214 Moon is a Harsh Mistress, The, 17 Outer Limits, The, 65 Moore, Ian, 248 Moriyama, Y:ji, 27, 47–48, 164 Patlabor (Kid¥ keisatsu Patoreibç), 6, Morley, David, 134 7, 8, 9, 10, 16, 17, 56, 62, 66, 72, 74, Musashi: The Dream of the Last Samurai 76, 77–124, 125, 126, 137, 144, 147, (Miyamoto Musashi: s¥ken ni haseru 161, 162, 183, 246, 253, 255–256, INDEX * 301 261–262; background of, 77–85; Remnant 6 (Uchu¯ kamotsusen characters of, 85–87 Remunanto 6), 217 Patlabor 1, 123, 145, 256; analysis of, Revolutionary Girl Utena (Sh¥jo 96–103; synopsis of, 94–96 Kakumei Utena), 60 Patlabor 2, 5, 17, 28, 41, 124, 126, 132, Richie, Donald, 1 162, 172, 176, 189, 225, 227, 230, Rintar¥, 62 233, 237, 255, 256; analysis of, Robins, Kevin, 134 115–121; synopsis of, 110–115 Robot Carnival, 150, 164, 169 Patlabor OVA, 41, 146, 157; first series, role-playing games (RPGs), 178–179, synopsis and analysis of Oshii- 183, 184–186, 187, 241 directed episodes, 87–94; second Rossum’s Universal Robots, 99 series, synopsis and analysis of “Rotkappchen,” 154, 156, 158–160 Oshii-written episodes, 106–109 Rotterdam, International Film Festival, Patlabor TV series, synopsis and 2 analysis of Oshii-written episodes, Roujin Z (R¥jin Zetto), 150, 164 103–106 Roussel, Raymond, 206–208 Patlabor WXIII, 122 Ryokuu, Sait¥, 212 pepusato, 236 Peter Pan, 214 Sadamoto, Yoshiyuki, 62, 183 Ponyo on the Cliff by the Sea (Gake no ue Saeki, Hinako, 238 no Ponyo), 233 Sakakibara, Yoshiko, 78, 147 Posadas, Baryon Tensor, 231 Samurai from Outer Space, 134–135 Princess Mononoke (Mononoke Hime), Sandman: The Dream Hunters, 2 48–49 Production I.G, 80, 122, 151, 157, 163, Sansara Naga, 261 164, 170, 172, 198, 216, 217, 220, satori, 28–29 233, 237 Schilling, Mark, 219, 245 Project A-ko, 47–48, 164 Schodt, Frederik L., 135 Proto Anime Cut, 225, 226 Scott-Frazier, Jan, 3, 55, 164, 169, 172 Pusan International Film Festival, 233 Seidensticker, Edward, 255, 257–258 seitaka (goldenrod), 69, 71–72, 103 Ranma 1/2 (Ranma nibun no ichi), 12 Serial Experiments Lain, 60 Rash¥mon, 163 Sevakis, Justin, 231 Rayns, Tony, 115 Se7en, 164 Red Spectacles, The (Akai megane), 6, 7, Sévéon, Julien, 262 17, 62–63, 79, 85, 104, 107, 125, 126, Sharp, Jasper, 236–237 151, 218, 225, 235, 238 Sharpsteen, Ben, 214 religion and myth in Oshii’s films: Shiel, Mark, 252 Arthurian, 6, 10, 161, 179, 184–185, Shinchiya, Shintaro, 17 188, 189, 193, 195; Buddhist, 19, 28, Shin Onna Tachiguishi Retsuden, 238, 56, 59, 141, 142–143, 212; Christian, 239 10, 54–55, 56, 57–59, 60, 97–99, Shirakawa, Shizuka, 248 119, 136, 141, 143, 184; Greek, 160; Shirow, Masamune, 6, 126–127, 133, Japanese, 15, 40–41, 57; Norse, 179, 138, 139, 142, 150, 197, 205, 207, 190; Shint¥, 19, 33, 36, 141–143. See 210, 211, 214, 216 also biblical quotations in Oshii’s sh¥jo, 60 films Sh¥nen Sunday, 12 302 * INDEX Shrek, 214–215 Takada, Akemi, 16, 66, 79, 103 Shrek 2, 214 Takahashi, Rumiko, 6, 12, 13, 14–15, 18, Siegel, Mark, 13–14 40, 45, 103 Silver, Joel, 146 Takahata, Isao, 62 Silvio, Carl, 139–140 Takemura, Eiji, 247 Sitges Film Festival, 237 Takenaka, Naoto, 215 Sky Crawlers, The 147, 217–233, Tales from Earthsea (Gedo Senki), 219 246–247, 248–249, 261; analysis of, Talking Head, 125, 151, 249 224–233; background of, 217–220; Tamaoki, Benky¥, 173 characters of, 220; synopsis of, Tarkovsky, Andrei, 3 220–224 Tarò, Davide, 262 Sky Crawlers: Innocent Aces, 232–233 Tatsunoko Productions, 5, 6, 11, 48, Sneaker, The, 236 79, 80 Snow Crash, 98 Taylor, Sue, 211 Socrates in Love, see Crying Out Love, In Team Oshii (Oshii Juku), 163, 168 the Center of the World Technologies of the Gendered Body, 140 Space Battleship Yamato (Uchu¯ senkan techno-Orientalism, 134–136 Yamato), 28 Ten Billion Days and One Hundred Space Pirate Captain Harlock (Uchu¯ Billion Nights, 206 kaizoku Kyaputen Hçrokku), 27 Tenchi Muyo!, 14 Spectator Sport War: The West and Terminator films, 144 Contemporary Conflict, 227–229 Tetsuwan Birdy, 78 Spiderman, 12 Tezuka, Osamu, 62 Spirited Away (Sen to Chihiro no This Island Earth, 4 Kamikakushi), 2, 219 Thompson, Raymond H., 184 Spring Snow (Haru no yuki), 219 Time Bokan, 48, 246 Steel Battalion: Heavy Armor, 7 Tokyo Scanner (Tokyo sukyanç), 252, Stephenson, Neal, 98 254–260 Sterling, Bruce, 81, 132 Tokyo Vein (Tokyo j¥myaku), 252, Stranger, The, 230 254–260 Stray Dog: Kerberos Panzer Cops, 17, 85, Tomorrow’s Eve, 199, 206, 208–210 125, 126, 151, 152, 157, 235 Toriumi, Hisayuki, 5, 11, 17 student protest movement, 4–5, 84–85, Toronto International Film Festival, 233 105, 107, 173 Tristan und Isolde, 155, 160–161 Studio 4°C, 61 Tsujimoto, Takanori, 238, 239 Studio Ghibli, 62, 65, 198, 219 Tsurumaki, Kazuya, 54 Studio Nue, 79 Tsutsui, Yasutaka, 12 Studio Pierrot, 5–6, 11, 12, 16–17, 45, Twilight Q 2: Labyrinth Objects File 47 538, 6, 8, 9, 45, 63, 65–76, 78, 92, Sturgeon, Theodore, 1, 4 106, 108, 218; analysis of, 70–76; Superdimensional Fortress Macross background of, 65–66; characters of, (Ch¥jiku¯ y¥sai Makurosu), 77, 79 66–67; synopsis of, 67–70 Suzuki, D.T., 28 Twilight Zone, The, 65 Suzuki, Toshio, 198, 219 Ueji, Yuho, 233 Tachiguishi Retsuden, 218, 219, 236–238, Ueno, Toshiya, 134–135 246, 249 Ultra Q, 65 INDEX * 303 Urashima Taro, 32–33, 41, 190 Windy Tales (Fu¯jin monogatari), 217 Urusei Yatsura, 5–6, 10, 11–45, 47–48, Wings of Honneamise, The (Oneamisu 78, 79, 87, 92, 103, 105, 122, 124, no Tsubasa), 127 151, 183, 187, 237, 246; archetypes Wired magazine, 133–134 in, 14–16; background of, 11–18; Wizardry, 187, 213 characters of, 18–20 Woodhead, Robert, 187 Urusei Yatsura: Only You, 6, 8, 71, 74, 75, World Expo, 218 78, 79, 102, 147; analysis of, 25–30; synopsis of, 20–25 Yamada, Masaki, 206 Urusei Yatsura 2: Beautiful Dreamer, Yamaga, Hiroyuki, 127 6, 8–9, 49, 73, 78, 101, 190, 191; Yamazaki, H¥sui, 214 analysis of, 38–45; synopsis of, Yamazaki, Mikio, 185 30–38 Yattodetaman, 237 Used Cars, 27 Yokota Air Force Base, 91, 94, 113, 165, 166, 170, 172 Vampire Hunter D, 49, 169 Yomota, Inuhiko, 253, 255 Venice International Film Festival, 233, Yoshida, Teigo, 142–143 237 Yoshinaga, Naoyuki, 87, 103 Vernon, Conrad, 214 Yu, Ronny, 174 Villiers de L’Isle-Adam, Auguste, comte Yuasa, Hiroaki, 238, 239 de, 199, 206, 208–210 Yuasa, Masaaki, 7 Y:ki, Masami, 78–80 Wachowskis (Andy and Lana), 2, 146, Yukisada, Isao, 218–219 175, 194 Wada-Marciano, Mitsuyo, 236 Zeami, 212 Watanabe, Shigeru, 16–17 Zemeckis, Robert, 27 Windstruck (Nae yeojachingureul sogae Zhang, Yingjin, 252 habnida), 219 Zipes, Jack, 159