Ghost in the Shell (2017) deserves all the harsh criticism it has received from movie critics and the Asian American community. Supporters of the film object, saying that the White-washing debate is a distraction. In fact, the White-washing controversy is totally relevant; moreover, it is symptomatic of the film’s essential problem: Ghost in the Shell (2017) fundamentally misunderstands its source material.
Whether due to ignorance or apathy, Ghost in the Shell (2017) fails to recognize the key thematic elements of the 1995 anime — Ghost in the Shell(1995) — from which it derives its inspiration. While Ghost in the Shell (2017) faithfully recreates many of Ghost in the Shell (1995)‘s most iconic scenes in breathtaking live-action CGI, Ghost in the Shell (2017) lacks any of Ghost in the Shell (1995)’s philosophical or theological essence. What results is an awful, wooden, lacklustre, and overtly racist live-action remake: a stilted, soulless artifice wrapped in the visually stunning iconography of the Ghost in the Shell anime franchise.
In other words, Ghost in the Shell (2017) is a shell without a ghost. All the good things about Ghost in the Shell (2017) come from the original anime, and all the terrible things are both uninspired and racist.
This review contains spoilers of both Ghost in the Shell (2017) and Ghost in the Shell (1995), as well as a brief spoiler ofEx Machina (2014). Please read on with care.
Though Jordan Peele’s Get Out has been primarily read (and marketed) as an excoriation of white liberalism, Peele actually asserts the multi-racial nature of white supremacy through the character of Hiroki Tanaka (Yasuhiko Oyama), a Japanese man.
This post contains spoilers of the movie “Get Out”. Please read on with caution.
As soon as we saw this Autostraddle’s article about Roopa Rao’s web series “The ‘Other’ Love Story” we knew we had to binge watch it and devote a newsletter to it immediately. The twelve short episodes follow the lives of two teenage college students who meet and fall in love in late 1990s Bangalore.
Asian American Twitter has been abuzz this week with news that Tilda Swinton singled out Margaret Cho to explain to her the backlash surrounding her whitewashed casting as “The Ancient One” in Dr. Strange. On a recent episode of Bobby Lee’s TigerBelly podcast, Cho described the odd email exchange with Swinton, who she had never met, explaining that it left her feeling like a “house Asian, like I’m her servant.”
While many commentators have rightfully jumped on Swinton’s behavior as another example of white people expecting people (especially women) of color to perform uncompensated intellectual and emotional labor, few have discussed how Cho’s coopting of the term “house Asian” represents a parallel trend of non-Black Asian Americans repurposing Black movements, analyses, and terminology for our own purposes.
After seeing Hollywood green-light projects that actively erase Asian Americans from the silver screen (think Emma Stone playing Allison Ng or a whitewashed Doctor Strange) it’s understandable if pop culture watchers reflectively flinch when they hear news of upcoming mainstream film projects featuring characters of color.
That’s also why I did a little squeal of glee in the middle of Starbucks on Friday when I saw the news that Mr. Robot’s Rami Malek was just cast as Freddie Mercury in the upcoming Queen biopic, which is titled Bohemian Rhapsody. Malek’s casting is also hopefully a sign that this movie (which was first announced way back in 2007) is finally on the right track.