![]() These keywords were added by machine and not by the authors. I know I am what I am today because of Patlabor.” 1 Keywords Oshii said of his work, “In retrospect, Patlabor for me was a major film in many ways, and I think it became my turning point. ![]() It is not merely a show about giant robots, but serves as a basis from which to explore history, politics, and culture. ![]() ![]() However, like all good mecha anime, Patlabor overcomes the limitations of its genre. Beginning in 1989, the Patlabor series can be situated within the giant robot theme in Japanese animation. Much of the early classic Japanese animation had emphasized mecha, and its lineage can be traced from Tetsuwan Atom ( Astro Boy) and Tetsujin 28-go ( Gigantor) in the 1960s, Mazinger Z and Mobile Suit Gundam in the 1970s, Superdimensional Fortress Macross in the 1980s, and Neon Genesis Evangelion in the 1990s. Mecha films and shows place an emphasis on mechanical elements, especially robots and giant mechanical suits. Patlabor was his first foray into the mecha subgenre of Japanese animation. Prior to Patlabor, Oshii’s films had been science fiction comedies and meditations on the nature of dreams and reality. Mamoru Oshii’s involvement in the Mobile Police Patlabor series of OVAs, television episodes, and films may seem out of place when compared to his previous work.
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