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Batou
Motoko Kusanagi: the Japanese Superwoman a Comparative Film Analysis of Rupert Sanders’ and Mamoru Oshii’S Ghost in the Shell
Gendered Cyborgs and Human Boundaries in Mamoru Oshii's
“It Is Time to Become a Part of All Things”: Understanding Identity Outside of Humanist Ontology
Japanese Cinema As Mass Art: an Export of Mass Cinema
Feminist Critique of Posthuman Embodiment In
Adapting Anime: Transnational Media Between Japan and the United States
Using the Series Ghost in the Shell: Stand Alone Complex As a Critical Text
Theorizing the Gynoid Double-Bind in Mamoru Oshii's Ghost in the Shell II
The Popular Culture of Computer Scientists : No Beginnings and No Endings
Lifeafter X GHOST in the SHELL: SAC 2045 Crossover Launches Today Crossover PV Debuts and Limited Items Now Available!
STRAY DOG of ANIME: the Films of Mamoru Oshii
Ghost in the Shell
Anatomy of Permutational Desire, Part III: the Artificial Woman and the Perverse Structure of Modernity
Ghost in the Shell: Stand Alone Complex 5 Free
How Cyborgs Define Themselves: on Ghost in the Shell Hui-Tong ZHOU1 and Jing AN2,* 1No
Questioning Identity, Humanity and Culture Through Japanese Anime
Ghost Whispers
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