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A woman “free” from sex and a woman who likes-sex-very-much-thank-you-may-I-have-some-more both deserve to be depicted in film with equal respect. So…in theory, both approaches could work in a feminist film. Despite being the source of most of the 1995 film’s philosophical underpinnings, it included an undeniably pornographic two-page spread of Motoko engaged in a lesbian orgy. Then there’s the original manga (Japanese comic book, for the uninitiated).
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While the series can sometimes reach impressive depths of emotion and intelligence, its failure to reign in the visual treatment of its lead character cannot be ignored. This attempt to have it both ways - catering to a horny male audience while telling a serious story about a female lead character - makes every scene unintentionally hilarious. Motoko is treated seriously in every other way if one were to read the dialogue without seeing the animation, there would be no indication of the ridiculous outfit or the camera’s single-minded focus on her body. Interestingly, though, the sexualization is only visual. Though Motoko is never nude, she is more eroticized in her bathing suit outfit than she ever was in the original film. Unlike the original film, the camera is nothing more than a stand-in for the male eye. The subsequent anime series, Stand Alone Complex, tackles some intriguing themes but constantly depicts Motoko in an extremely sexualized bathing suit-like outfit (in a police work environment, no less) and is filled with every variety of gratuitous, sexualized nonsense the directors had at their disposal. Major Kusanagi as she appears in the 1995 film It wrapped all this up in an incredible work of sci-fi existentialism.
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By portraying a woman in this way, with so few concessions to a male audience, the original film functions as a important example of feminist film and an intriguing look at what it means to be a woman (or, more broadly, a human) free from sexuality. Her sole vulnerability is an existential crisis, in that she is constantly in the process of examining her own psyche, wondering if her transition to a cyborg body robbed her of humanity.
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She is often filmed from a low angle, emphasizing her power and authority. manages to depict its main character as nude or semi-nude throughout without sexualizing her. The 1995 Ghost in the Shell animated film - the first exposure to the franchise for most in the U.S. This has me wondering: How will the new film, starring Scarlett Johansson and releasing on March 31 in the United States, depict its lead female? In some cases, this has related to the overall themes and philosophy of the work. The Ghost in the Shell franchise has enjoyed many iterations over the years, each one depicting lead character Motoko Kusanagi in various stages of undress.