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Some special effects , like Motoko 's " thermo @-@ optical camouflage " , were rendered through the use of TIMA software . The process uses a single illustration and manipulates the image as necessary to produce distortions for effect in combination with a background without altering the original illustration . The effect is re @-@ added back into the shot to complete the scene . While the visual displays used in the film were technically simple to create , the appearance of the displays underwent numerous revisions by the production team to best represent visual displays of the future . Another aspect of the CG use was to create images and effects that looked as if they were " perceived by the brain " and were generated in video and added to the film in its final stages . |
The opening credits of the film were produced by the CG director , Seichi Tanaka . Tanaka converted code in a computer language displayed in romanized Japanese letters to numbers before inserting them into the computer to generate the credits . The origin of this code is the names of the film 's staff as written in a computer language . |
Animation director Toshihiko Nishikubo was responsible for the realism and strove for accurate depictions of movement and effects . The pursuit of realism included the staff conducting firearms research at a facility in Guam . Nishikubo has highlighted the tank scene as an example of the movie 's realism , noting that bullets create sparks when hitting metal , but do not spark when a bullet strikes stone . |
= = = Sound and music = = = |
Ghost in the Shell 's recording was done with a high @-@ end studio to achieve superior sound throughout the film . A spatializer was used to alter the sound , specifically in the electronic brain conversations , to modify the voices . |
Composer Kenji Kawai scored the film . For the main theme , Kawai tried to imagine the setting and convey the essence of that world in the music . He used the ancient Japanese language of Yamato in the opening theme " Making of a Cyborg " . The composition is a mixture of Bulgarian harmony and traditional Japanese notes ; the haunting chorals are a wedding song sung to dispel all evil influences . Symphony conductor Sarah Penicka @-@ Smith notes that the song 's lyrics are fitting for the union between Kusanagi and Project 2501 at the climax of the movie . Kawai originally wanted to use Bulgarian folk music singers , but used Japanese folk singers instead . " See You Everyday " is different from the rest of the soundtrack , being a pop song sung in Cantonese by Fang Ka Wing . |
= = = Ghost in the Shell 2 @.@ 0 = = = |
An updated version of the original film , titled Ghost in the Shell 2 @.@ 0 ( GHOST IN THE SHELL ／ 攻殻機動隊 2 @.@ 0 , Gōsuto in za sheru / Kōkaku kidōtai 2 @.@ 0 ) , was made in celebration for the release of The Sky Crawlers in 2008 . The Ghost in the Shell 2 @.@ 0 release features replacements of the original animations with the latest digital film and animation technologies , such as 3D @-@ CGI . It includes a new opening , digital screens and holographic displays , and omits several brief scenes . |
The original soundtrack was also re @-@ arranged and re @-@ recorded . Kenji Kawai remixed the Version 2 @.@ 0 soundtrack in 6 @.@ 1 Channel Surround . Randy Thom of Skywalker Sound reprised his role as sound designer , having worked previously on Ghost in the Shell 2 : Innocence . In the new soundtrack , the Japanese voice dialogue was also re @-@ recorded , with some variation from the original script to modernize the speech . Yoshiko Sakakibara replaced Iemasa Kayumi as the voice of the Puppet Master . |
= = Related media = = |
Kenji Kawai 's original soundtrack for the film was released on November 22 , 1995 . The last track included Yoshimasa Mizuno 's pop song " See You Everyday " . After the release of Ghost in the Shell 2 @.@ 0 , an updated version of the soundtrack was released on December 17 , 2008 . |
A Photo @-@ CD of the film was released in Japan on November 20 , 1995 . A spin @-@ off novel written by Endo Akira , titled Ghost in the Shell : Burning City ( 攻殻機動隊灼熱の都市 , Kōkaku kidōtai shakunetsu no toshi ) , was published by Kodansha and released on November 1995 . It was followed by a sequel , titled Ghost in the Shell 2 : Star Seed ( 攻殻機動隊2 : Star Seed ) , released on January 1998 . A book titled Analysis of Ghost in the Shell was released on September 25 , 1997 by Kodansha . |
= = Releases = = |
The film had its world premiere at the Tokyo International Film Festival in October 1995 , before its general release in November . In Japan , the film was released on VHS on April 26 , 1996 . The DVD version was released on 25 February 2004 , and the Blu @-@ ray on 24 August 2007 . A special edition was released in December 2004 . The special edition contains an additional disc containing character dossiers , a creator biography , the director 's biography , Ghost in the Shell trailers and previews . |
The " 2 @.@ 0 " version was released in theatres in Tokyo , Osaka , Nagoya , Fukuoka , and Sapporo on July 12 , 2008 . The film was released in DVD and Blu @-@ ray on December 19 , 2008 , in Japan . |
In North America , the film was released on VHS on June 18 , 1996 through Manga Entertainment , and on DVD on March 31 , 1998 by Anchor Bay Entertainment . Manga Entertainment released the film on Blu @-@ ray on 24 November 2009 ; this version contains the original film and the remastering , but omits the audio commentary and face @-@ to @-@ face interview with Oshii , which are listed on its box . Manga Entertainment and Anchor Bay Entertainment re @-@ released the film on Blu @-@ ray with a brand new HD film print on September 23 , 2014 . The release was met with some criticism for its poor translation of English subtitles and the lack of extra features . |
= = Reception = = |
The film was a box office hit when released in Japan and received positive reviews from film critics . It holds a 95 % approval rating on the review aggregator website Rotten Tomatoes , based on 31 reviews . The website 's critical consensus reads , " A stunning feat of modern animation , Ghost in the Shell offers a thoughtful , complex treat for anime fans , as well as a perfect introduction for viewers new to the genre . " |
Niels Matthijs of Twitch Film praised the film , stating , " Not only is Kokaku Kidotai an essential film in the canon of Japanese animation , together with Kubrick 's 2001 and Tarkovsky 's Solyaris it completes a trio of book adaptations that transcend the popularity of their originals and [ give ] a new meaning to an already popular brand . " He ranked it # 48 of his personal favorites . Clark Collis of Empire opined that the film was predictable , but praised its production values . Johnathan Mays of Anime News Network praised the animation combined with the computer effects , calling it " perhaps the best synthesis ever witnessed in anime " . Helen McCarthy in 500 Essential Anime Movies describes the film as " one of the best anime ever made " , praising screenplay , an " atmospheric score " , and adding that " action scenes as good as anything in the current Hollywood blockbuster are supported by CGI effects that can still astonish " . |
Ghost in the Shell was the first anime video to reach Billboard 's # 1 video slot at the time of its release . The film ranked as the ninth top selling anime DVD movie in 2006 . It ranked 35 on Total Film 's 2010 top list of 50 Animated Films . The film ranked # 4 on Wizards Anime Magazine on their " Top 50 Anime released in North America " . |
= = = Critical analysis = = = |
Much critical attention has been paid to the film 's focus on sexuality and gender identity . Sharalyn Orbaugh has noted that the opening scene of Ghost in the Shell begins with the " perfect paradoxical introduction to a narrative that is all about the nature of sex / gender identity and self @-@ identity in general in a future world where sexual reproduction has given way to mechanical replication . " Motoko 's female identity and appearance are countered by an autonomous subjectivity , resulting in a " male " cyborg body which cannot menstruate . Orbaugh describes the juxtaposition of the opening scene depicting the creation of Motoko 's body and to her lack of menstruation as setting the theme of " reproductive sexuality in a posthuman subject . " The film depicts Motoko 's identity and ontological concerns , ending with the evolution of a being with full subjectivity , through a new form of reproduction with the Puppet Master . Austin Corbett commented on the lack of sexualization from her team as freedom from femininity , noting that Motoko is " overtly feminine , and clearly non @-@ female . " Carl Slivio has called Ghost in the Shell a " resistant film " , due to its inversion of traditional gender roles , its " valorization of the post @-@ gendered subject " , and its de @-@ emphasis of the sexual specificity of the material body . |
= = Cultural impact = = |
Ghost in the Shell influenced a number of prominent filmmakers . The Wachowskis , creators of The Matrix and its sequels , showed it to producer Joel Silver , saying , " We wanna do that for real . " The Matrix series took several concepts from the film , including the Matrix digital rain , which was inspired by the opening credits of Ghost in the Shell , and the way people accessed the Matrix through holes in the back of their necks . Other parallels have been drawn to James Cameron 's Avatar , Steven Spielberg 's AI : Artificial Intelligence , and Jonathan Mostow 's Surrogates . |
= Yo @-@ Yo ( Nicola Roberts song ) = |
" Yo @-@ Yo " is a song by British recording artist Nicola Roberts , released as the third and final single from Roberts ' debut solo album Cinderella 's Eyes on 6 January 2012 . Originally , " Yo @-@ Yo " was set to be Roberts ' debut single , but " Beat of My Drum " was selected in its place . " Beat of My Drum " and " Lucky Day " , Roberts ' previous singles , garnered positive comments from critics , but failed to impact commercially . " Yo @-@ Yo " was written by Roberts , Maya Von Doll and Dimitri Tikovoi while it was produced by latter , and was the first song to be composed by the group . Roberts also claimed the track had defined her musical style . |
" Yo @-@ Yo " is a 1950s @-@ themed electropop and synthpop song in which Roberts sings about an undecided lover . The song received positive reviews from critics , who compared Roberts ' vocals to those of singer Kate Bush . Commercially , it was a failure , charting at number 111 on the UK Singles Chart . A music video was released on 30 November 2011 ; the video sees Roberts repeatedly changing outfit for a party in which she finds her love interest cheating on her , ending with an aggressive confrontation . It garnered positive critical responses although the low @-@ budget drew criticism . Roberts performed " Yo @-@ Yo " at London 's G @-@ A @-@ Y nightclub and on the Alan Titchmarsh Show , among other occasions . |
= = Background and writing = = |
Nicola Roberts , who began her musical career as one fifth of the band Girls Aloud , struggled with loneliness and increasing isolation during her time with the group . A busy schedule and constant media criticism found her describing the time as a " blur " . Her exhaustion and troubles with negative media comments led to a state in which she had to harden herself , claiming that inside she was " dying " . These events inspired her debut album Cinderella 's Eyes . " Yo @-@ Yo " was the first song she had written with Maya von Doll and Dimitri Tikovoi for the album . The recording was also one of the first songs Roberts wrote , and it helped define her musical style . Roberts blogged about the production of the track , writing that : |
The production ’ s incredible . The beat is just so constant and powerful . That was the first song that I wrote with Dimitri and Maya . I felt like I ’ d found my sound . And I was kind of looking at it like an outfit . So it was , ‘ if this was an outfit , what would this song need now ? ’ So we had the pretty dress , which was the chorus . We had the lovely shoes , which was the verse . ‘ But what do we need to really set this song off ? A big , fancy , bow in the hair would really set this song off . ’ So when I got to the middle eight I wanted to go really erratic , almost like taTu on All The Things She Said . I wanted it to be proper fucked up and crazy – hands in the air . |
= = Release = = |
Roberts ' debut single , " Beat of My Drum " , garnered acclaim from critics , but failed to impact commercially , charting at 27 in the United Kingdom . She released a follow @-@ up single , " Lucky Day " , which likewise garnered positive responses , but was even less successful commercially , charting at number 40 on both the Scottish and UK Singles charts . Writing as a guest blogger on the website Holy Moly in September 2011 , Roberts announced that " Yo @-@ Yo " would be released as the third single from Cinderella 's Eyes , initially citing a November release date ; the release was later delayed until January 2012 . Roberts had originally intended for " Yo @-@ Yo " to be the first single from the album , but " Beat of My Drum " was instead chosen at the " last minute " . Roberts stated that " it felt right to go with " the latter song . " Yo @-@ Yo " was released digitally on 2 January 2012 , with Roberts announcing on her official website that the single would be released in CD format featuring a live performance of the song in addition to the demo version of her song " Sticks + Stones " seven days later . Additionally , two EPs were released on 6 January 2012 . |
= = Composition and critical reception = = |
" Yo @-@ Yo " features 808 drums with a " dramatic " 1950s @-@ inspired pop " pastiche " . However , the 1950s concept " goes completely out of the window " for an " unhinged " bridge , which features a club mix which speeds up the drums featured in the song . The lyrics of the track discuss an uncertain relationship , leading to vulnerability , with Roberts describing it as a " dark " song . The song references a yo @-@ yo ; this is a metaphor for Roberts herself , a spinning yo @-@ yo " on the finger of a hot ' n ' cold lover " . Described as " confessional " by Robert Copsey of Digital Spy , the song has a " conversational " performance , and Roberts ' vocals were compared to that of singer Kate Bush . |
The song received positive reviews from music critics . Emily Mackay , writing for NME , described the chorus as a " winning " one , and noted that " the impulse @-@ speed space synths are broken @-@ heartedly beguiling " . In a separate review , Lisa Wright from NME found that while the song didn 't match the success of " Beat of My Drum " . Wright said that the song is " Not a cuss @-@ ridden introduction to Nicola ’ s re @-@ emergence as an English Syd Tha Kyd , but a questionable metaphor about being like a crap ’ 90s toy . " Robert Copsey of Digital Spy found Cinderella 's Eyes to be " frustratingly under @-@ appreciated " with " Yo @-@ Yo " being a " shining example of [ Roberts ' ] pop sensibilities " calling it " unashamedly radio friendly " . |
= = Music video = = |
= = = Synopsis = = = |
The video begins with a man performing tricks with a yo @-@ yo in a white room , accompanied by shots showing Roberts in a " fashionable looking house " wearing a black silk dress . Then rapid shots show her in various other outfits , including a purple velvet dress , all the time showing the man performing tricks with the yo @-@ yo . As the chorus begins , Roberts is shown in the kitchen of the house , along with several women dancing with her . Another shot shows a man and a woman walking through a street embracing each other . This is later interspersed with shots of a fully clothed Roberts standing in a shower cubiclem getting increasingly wet . Roberts is shown leaving the house and seeing the man with whom she had danced with another woman . She returns to the house , and the man and Roberts are seen in the kitchen area with Roberts throwing a series of objects at him . |
= = = Release and reception = = = |
81st & 82nd Assault Squadrons , 6th Assault Regiment , RE ( AVREs ) |
56th Infantry Brigade , commanded by Brigadier E.C. Pepper |
2nd Battalion , Essex Regiment |
2nd Battalion , Gloucestershire Regiment |
2nd Battalion , South Wales Borderers |
8th Armoured Brigade , commanded by Brigadier H.J.B. Carcroft |
4th / 7th Royal Dragoon Guards ( DD Tanks ) |
Nottinghamshire Yeomanry ( DD Tanks ) |
76th Anti @-@ Aircraft Brigade , commanded by Brigadier E.R. Benson |
113th Heavy Anti @-@ Aircraft Regiment , RA ( HQ only ) |
320th Battery , 93rd Light Anti @-@ Aircraft Regiment , RA |
394th & 395th Batteries , 120th Light Anti @-@ Aircraft Regiment , RA |
152nd Anti @-@ Aircraft Operations Room , RA |
A Troop , 356th ( Independent ) Searchlight Battery , RA |
Additional units attached for assault phase |
GHQ Liaison Regiment , RAC ( ' Phantom ' ) |
341st , 342nd , & 462nd Batteries , 86th ( East Anglian ) ( Hertfordshire Yeomanry ) Field Regiment , RA ( Self @-@ propelled ) |
413th , 431st & 511th Batteries , 147th ( Essex Yeomanry ) Field Regiment , RA ( Self @-@ propelled ) |
198th & 234th Batteries , 73rd Anti @-@ Tank Regiment , RA |
662nd Air Observation Post Squadron , RA ( Ground crew of one flight only ) |
73rd Field Company , RE |
280th Field Company , RE |
203rd Field Ambulance , RAMC |
168th Light Field Ambulance , RAMC |
1st Royal Marine Armoured Support Regiment |
No. 47 ( Royal Marine ) Commando |
104 Beach Sub @-@ Area HQ |
9 & 10 Beach Groups and Signal Section |
69th , 89th , 90th & 183rd Field Companies , RE |
21st & 23rd Stores Sections , RE |
51st & 74th Mechanical Equipment Sections , RE |
1043rd Port Operating Company , RE |
953rd & 961st Inland Water Transport Companies , RE |
2nd Battalion , Hertfordshire Regiment |
6th Battalion , Border Regiment |
305th , 536th & 705th General Transport Companies , Royal Army Service Corps ( RASC ) |
2nd & 5th Detail Issue Depots , RASC |
244th Petrol Dept , RASC |
3rd & 10th Casualty Clearing Stations , RAMC |
3rd , 25th , 31st , 32nd & 35th Field Dressing Stations , RAMC |
Nos 41 , 42 , 47 & 48 Field Surgical Units , RAMC |
Nos 24 & 30 Field Transfusion Unit , RAMC |
22nd & 23rd Port Details , RAMC |
7th , 10th & 36th Ordnance Beach Detachments , Royal Army Ordnance Corps |
24th & 25th Beach Recovery Sections , Royal Electrical & Mechanical Engineers ( REME ) |
XXX Corps Workshop , REME ( 2 Composite Workshops & 1 Light Recovery Section ) |
240th & 243rd Provost Companies , RMP |
75th , 173rd , 209th & 280th ( Pioneer ) Companies , Pioneer Corps |
= = = German forces = = = |
From June 1942 , 716th Infantry Division covered the Grandcamps Sector , which stretched from the base of the Cotentin Peninsula to the Orne River near Caen , a distance of 77 kilometres ( 48 mi ) . When 352nd Infantry Division arrived on 15 March , the Grandcamps Sector was split into the Bayeux Sector ( from Carentan to Asnelles ) and the Caen Sector ( from Asnelles to the Orne ) . Most of the 716th Infantry Division remained where they were , and thus the defenses in Caen Sector ( site of the Gold landings ) were not substantially strengthened . |
352nd Infantry Division under Generalleutnant Dietrich Kraiss915th Grenadier Regiment : south @-@ east of Bayeux , as reserves |
916th Grenadier Regiment : covered Omaha and the westernmost part of Gold |
352nd Artillery Regiment : covered Omaha and the westernmost part of Gold |
716th Static Infantry Division under Generalleutnant Wilhelm Richter726th Infantry Regiment : two battalions in and around Le Hamel . Members of the 441st Ost Battalion garrisoned the coastal defenses . One battalion was stationed near Crépon as reserves . |
736th Infantry Regiment : covered Juno , Sword , and the easternmost part of Gold |
1716th Artillery Regiment : mobile and casemated batteries east and west of Crépon |
= = Landings = = |
Bombing of Normandy began around midnight with over 2 @,@ 200 British and American bombers attacking targets along the coast and further inland . At Gold , naval bombardment by Bombarding Force K got underway at 05 : 30 , at which time the first waves of infantry were loading into their Landing Craft Assault ( LCAs ) for the run in to the beach . German defensive positions were attacked by medium and heavy bombers and by self @-@ propelled guns on board the landing craft . Results were good at Mont Fleury Battery and at Longues , where at 07 : 00 Ajax and Argonaut took out of commission three of the four guns . The fourth gun resumed firing sporadically in the afternoon , and the garrison surrendered the following day . Two heavily casemated gun emplacements ( an 88 mm gun at La Rivière overlooking King and a 75 mm gun at Le Hamel overlooking Jig ) were only lightly damaged , as they were heavily reinforced with concrete , especially on the seaward side . These positions had embrasures that permitted a wide range of enfilade fire on the beach . Four other German strong points in the immediate area were also only lightly damaged , and had to be individually assaulted as the day progressed . |
= = = King Sector = = = |
H @-@ Hour for the landing at Gold was set at 07 : 25 on King sector ( 50 minutes later than in the American landings , because of differences in the tide ) . The first wave on King was the 5th East Yorkshires and 6th Green Howards of 69th Brigade , assisted by amphibious DD tanks of the 4th / 7th Dragoon Guards . The 7th Green Howards landed at 08 : 20 . The original plan called for the 38 DD tanks to be launched from their landing craft tank ( LCTs ) about 5 @,@ 000 yards ( 4 @,@ 600 m ) out . Due to extremely choppy seas , they decided to run the tanks directly onto the beach . Infantry , engineers , and DD tanks arrived almost simultaneously . Units disembarking onto the beach immediately came under fire from the casemated 88 mm gun at La Rivière , and the infantry were forced to take cover behind the sea wall . The gun was taken out when a flail tank of the Westminster Dragoons fired a charge directly into its aperture . The 5th East Yorkshires , supported by several tanks , spent the rest of the morning clearing out the heavily fortified houses of La Rivière , at the loss of 90 men , including six officers . |
Specialised armour arriving in the first wave included AVREs , mine flails , and armoured bulldozers . Clearing paths off the beach proved difficult , as the tanks got stuck in the mud or were taken out by mines . A lone mine flail tank finally cleared a path from the beach up toward the Mont Fleury Battery and Ver @-@ Sur @-@ Mer . This route was used by the Green Howards and tanks of the 4th / 7th Dragoon Guards , who cleared the remaining resistance at the Mont Fleury Battery . B Company moved on to attack trench positions and machine gun emplacements at Meuvaines Ridge , while C Company moved to the west of Ver @-@ Sur @-@ Mer to help cover the assault on Crépon , where roads led to the important targets of Bayeux and Caen . The 7th Green Howards attacked the gun battery at Ver @-@ Sur @-@ Mer , where they took 50 prisoners . Colour Sergeant @-@ Major Stanley Hollis earned the only Victoria Cross to be bestowed for actions on D @-@ Day . On the way to the Mont Fleury Battery , Hollis came under machine gun fire while investigating a pillbox , so he shot into the entrance with his Sten gun and dropped a grenade through the roof , killing most of the occupants . He cleared a nearby trench of enemy soldiers , whereupon the occupants of a second pillbox surrendered . Later in the day , he saved the lives of three men during an attempt to take out a field artillery installation at a farm near Crépon . |
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