Linked by Thom Holwerda on Tue 10th May 2016 09:29 UTC
In the News

Ghost in the Shell is the product of and response to decades of physical erasure and technological alienation. It's pop cultural fallout, a delicately layered croissant of appropriation upon appropriation. It's as timely as ever, but it feels wildly inappropriate for an American studio and the British director of Snow White and the Huntsman to pick it up and sell it back to us. At the same time, Japan and the US have been stealing and selling images to each other for decades, and the result hasn't always been awful. I would still argue, though, that the knotty history that leads to Motoko Kusanagi will be lost in translation. This isn't The Matrix or Pacific Rim, this isn't just a look and a vibe being lifted. This is the entire history of Japan's relationship with itself, the US and technology, and without that, you're left with nothing but an empty prosthesis.

Beautifully written analysis of the Ghost in the Shell casting issue, by Emily Yoshida.

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RE[2]: Comment by Thom_Holwerda
by Athlander on Thu 12th May 2016 11:00 UTC in reply to "RE: Comment by Thom_Holwerda"
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I generally agree with what you say but on the following, I'd say there are exceptions with an important caveat.

Getting studios to start casting people because of their race isn't progress, it is the opposite.

For live action manga and fantasy films like Gods and Kings, I don't see any problems changing ethnicity, gender and such.

However, for historical films and television with some degree of authenticity (whether fundamental or incidental), there can be cases to be made for not changing ethnicity (or nationality, gender etc.) The caveat is that the root of the problem is in education and shifting the onus onto film-makers to "educate" is an abrogation of responsibility by society as a whole.

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