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Mamoru Oshii Filmography

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MAMORU OSHII FILMOGRAPHY INFORMATION ABOUT THE PROJECTS in which Mamoru Oshii has been involved is given in the following order: English title; Japanese title (if dif- ferent); release date (format); Oshii’s role in the project. One-Hit Kanta Ippatsu Kanta-kun series aired September 1977 to September 1978 (53 TV episodes) storyboards (4 episodes); direction (2 episodes) Time Bokan Series: Yattaman Taimu Bokan Shirı¯zu: Yatta¯man series aired January 1977 to January 1979 (108 TV episodes) storyboards (2 episodes); general assistant director (second half of the series) Science Ninja Team Gatchaman II Kagaku Ninja-tai Gatchaman II series aired October 1978 to September 1979 (52 TV episodes) storyboards (3 episodes); direction (3 episodes) Magical Girl Tickle Majokko Chikkuru series aired March 1978 to January 1979 (45 TV episodes) storyboards (1 episode) Time Bokan Series: Zendaman Taimu Bokan Shirı¯zu: Zendaman series aired February 1979 to January 1980 (52 TV episodes) storyboards (10 episodes); direction (9 episodes); storyboard retouch (1 episode) 198 * STRAY DOG OF ANIME Nils’s Mysterious Journey Nirusu no Fushigi-na Tabi series aired January 1980 to March 1981 (52 TV eps.) storyboards (11 episodes); direction (18 episodes) Time Bokan Series: Time Patrol Team Otasukeman Taimu Bokan Shirı¯zu:Taimu Patoro¯ru-tai Otasukeman series aired February 1980 to January 1981 (53 TV episodes) storyboards (6 episodes) Time Bokan Series: Yattodetaman Taimu Bokan Shirı¯zu: Yattodetaman series aired February 1981 to February 1982 (52 TV episodes) storyboards (6 episodes) World Masterpiece Stories Sekai Meisaku Monogatari series aired April 1981 to September 1981 (24 TV episodes) opening storyboards; direction Tear of the Dragon’s Eye Ryu¯ no Me no Namida June 1981 (film) storyboards; direction Sherlock Holmes Sha¯rokku Ho¯muzu 1981 (pilot film) storyboards The Fullmoon Tradition: Indra 1981 (pilot film) original story; planning; storyboards; direction Nils’s Mysterious Journey (film version) Nirusu no Fushigi-na Tabi 1983 (film) storyboards; direction Belle and Sebastian Meiken Jorı¯ April 1981 to June 1982 (52 TV episodes) storyboards (2 episodes); direction (2 episodes); production assistant (2 episodes) MAMORU OSHII FILMOGRAPHY * 199 G (Gold) Raitan G (Go¯rudo) Raidan March 1981 to February 1982 (52 TV episodes) storyboards (2 episodes) Miss Machiko Maicchangu Machiko-sensei October 1981 to July 1983 (95 TV episodes) storyboards (1 episode) Urusei Yatsura October 1981 to March 1986 (218 TV episodes) chief director (episodes 1 to 106); storyboards (21 episodes); direction (24 episodes); screenplay (7 episodes); storyboard reorganization (1 episode) Urusei Yatsura Spring Special “Haruda Tobidase” Urusei Yatsura Special April 1982 (two-part TV special shown between episodes 21 and 22 of the TV series) storyboards and direction (first half) Urusei Yatsura Kansai Electric TV Commercials 1982 (pair of public service announcements for Kansai Denryoku [Kansai Electric Company]) storyboards Urusei Yatsura: Only You Urusei Yatsura: Onrı¯Yu¯ February 1983 (film) film adaptation; storyboards; director Urusei Yatsura 2: Beautiful Dreamer Urusei Yatsura: Byu¯tifuru Dorı¯ma¯ February 1984 (film) screenplay; director Dashing Kappei Dasshu Kappei October 1981 to December 1982 (65 TV episodes) storyboards (1 episode) Time Bokan Series: Ippatsuman Returns Time Bokan Series: Gyakuten Ippatsuman 200 * STRAY DOG OF ANIME February 1982 to March 1983 (58 TV episodes) storyboards (7 episodes) Little Mrs. Pepperpot Supu¯n Obasan April 1983 to March 1984 (130 TV episodes) screenplay (1 episode); storyboards (1 episode) The Yearling Koshika Monogatari November 1983 to January 1985 (52 TV episodes) storyboards (2 episodes) Dallos December 1983 to June 1984 (4 OVA episodes) director; screenplay (3 episodes); storyboards (3 episodes); direction (3 episodes) Angel’s Egg Tenshi no Tamago December 1985 (OVA) original story (with Yoshitaka Amano); screenplay; director The Red Spectacles Akai Megane February 1987 (film) screenplay; director Zillion Akai Ko¯dan Jirion April 1987 to December 1987 (31 TV episodes) storyboards (2 episodes) Twilight Q 2: Labyrinth Objects File 538 Towairaito Q 2: Meikyu¯Bukken File 538 August 1987 (OVA) original story; screenplay; director Mobile Police Patlabor Kido¯ Keisatsu Patoreiba¯ April 1988 to December 1988 (6 OVA episodes) director, storyboards Mobile Police Patlabor Kido¯ Keisatsu Patoreiba¯ MAMORU OSHII FILMOGRAPHY * 201 July 1989 (film) director Glory to the Ancestors Gosenzo-sama Banbanzai! August 1989 to January 1990 (6 OVA episodes) original story; screenplay; director; storyboards Maroko March 1990 (film) original story; screenplay; director Mobile Police Patlabor (Patlabor on Television) Kido¯ Keisatsu Patoreiba¯(Patlabor on Television) October 1989 to September 1990 (47 TV episodes) script (5 episodes) Mobile Police Patlabor (New Video Series) Kido¯ Keisatsu Patoreiba¯(Shin Bideo Shirı¯zu) November 1990 to April 1992 (16 OVA episodes) script (4 episodes) Stray Dog: Kerberos Panzer Cops Stray Dog Keruberosu Jigoku no Banken March 1991 (film) original story; screenplay; director Talking Head October 1992 (film) director; screenplay Mobile Police Patlabor 2 the Movie Kido¯ Keisatsu Patoreiba¯2 the Movie August 1993 director Ghost in the Shell Ko¯kaku Kido¯tai September 1995 director Remnant 6 Uchu¯ Kamotsusen Remunanto 6 August 1996 coordinating supervisor 202 * STRAY DOG OF ANIME Jin-Roh February 2000 original story; screenplay Blood the Last Vampire November 2000 supervising producer Avalon November 2000 director Mini Pato Fall 2001 (3 episodes) screenplay Killers (“.50 Woman” segment only) 2002 screenplay; director Innocence planned for Spring 2004 screenplay; director NOTES 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, No- vember 6, 1999, http://whatisthematrix.warnerbros.com/cmp/lar- ryandychat.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. Scott Frazier, interview with the author, Dallas, TX, August 31, 2002. 7. James Cameron, “Ghost in the Shell,” Manga Entertainment—Offi- cial Australian Website, October 30, 2000, http://www.manga.com.au/ gits4.html. 8. Scott Frazier, “Anime Production Panel,” speech presented at Ani- meFest 2002, Dallas, TX, August 31, 2002. 9. This and other elements of Oshii’s early biography presented here are from “Gaburieru no Yu¯ utsu: Oshii Mamoru Ko¯shiki Saito,” (“Gabriel’s Melancholy: Oshii Mamoru Official Site”), http://www.os- hiimamoru.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 Francisco: 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. 204 * STRAY DOG OF ANIME 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 appear in the original Japanese dialogue. 15. Carl Gustav Horn, “At the Carpenter Center: The PULP Mamoru Oshii Interview,” 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 Re- turn to Japan: 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 Taka- hashi,” 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,” Anime- Fantastique 1 (Spring 1999): 8. 6. Horibuchi, “Rumiko Takahashi,” 19. 7. Mark Siegel, “Foreigner as Alien in Japanese Science Fantasy,” Sci- ence 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 Animation),” Artists Liason Ltd. Homepage, December 14, 2000, http://www.artistsliaisonltd.com/flash/english/special/4th/watan- abe2–1.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
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    Media Department BTEC HND in Creative Media Production April, 2013 Religious symbolism in Rebuild of Evangelion Aaron Meehan 1 This dissertation explores how religious symbols can be interpreted differently depending on the cultural context. I will look at the religious symbolism in the Japanese anime series, Rebuild of Evangelion using a semiotic analysis. I have also looked at how the symbols created in this show compare to the commonly accepted meaning of the symbols. In the dissertation I will be discussing the work of two semiotic theorists, Roland Barthes and Ferdinand de Saussure. I will be discussing Barthes’ theory on how signs are polysemic (multiple meanings) and Saussure’s theory on how we see certain symbols in television, and how they are created. Since I am looking at the religious symbols in Rebuild of Evangelion, I will look at Christianity in Japan. This is due to the fact that religious symbolism in the show is primarily Christian. I will also briefly look at the reason why the creators of Rebuild of Evangelion decided to put religious symbolism in their series. I would like to thank and acknowledge the general assistance from librarians and the advice from my lecturer, Laura Roche, on how to layout the dissertation. 2 Contents Introduction ................................................................................................................................ 3 Literature review ........................................................................................................................ 5 Methodology
  • 1 the Cool Japan Project and the Globalization of Anime

    1 the Cool Japan Project and the Globalization of Anime

    THE COOL JAPAN PROJECT AND THE GLOBALIZATION OF ANIME AND MANGA IN THE UNITED STATES by Joshua Michael Draper Honors Thesis Appalachian State University Submitted to the Department of Cultural, Gender, and Global Studies and The Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts May, 2015 Approved by: Wei Xie, Ph.D., Thesis Director Alexandra Sterling-Hellenbrand, Ph.D., Second Reader Jeanne Dubino, Ph.D., Department Honors Director Leslie Sargent Jones, Ph.D., Director, The Honors College 1 The Cool Japan Project and the Globalization of Anime and Manga in the United States Abstract: This research paper will primarily discuss the impact that Japanese animation and manga have had on American popular culture and the subsequent cult following they developed. It will discuss what distinguishes Japanese animation from Western animation, how Japanese animation initially gained popularity among American audiences, and how it has subsequently impacted American popular culture. This paper will also focus on the subculture of otaku, a group of people known for their devoted following to Japanese animation and comic books. The purpose of this paper is to discuss the relative popularity of Japanese animation and manga amongst American audiences as an example of globalization impacting the United States from another country. Keywords: anime, manga, soft power, Cool Japan, globalization 2 Introduction During the 1980s and 1990s, Japanese animation and comic books began coming overseas to the United States, where it soon gained popularity amongst a sizeable number of young Americans. Recognizing the economic potential of Japanese popular culture, in 2002, Douglas McGray, writing for Foreign Policy, wrote an article titled “Japan’s Gross National Cool”, highlighting Japan’s potential to be a global “soft power”, or a country that promotes itself through its cultural influence rather than by economic and military force.