1. Neon Genesis Evangelion (1995) - Hideaki Anno
I saw this anime yesterday and it blew my mind. It is filled with technomystic (whatever that means) Kabbalah symbolism. The film screening was a part of the Glorious Basterds film series organised by the Jewish Salon Amsterdam. The next film is in August and will be a kosher kung-fu type of thing, I am terribly sad to be missing it!

2. No Ghost Just a Shell (1999) - Pierre Huyghe and Philippe Parreno
 French artists Pierre Huyghe and Philippe Parreno purchased the copyright for a Manga figure called Annlee from the Japanese agency Kworks in 1999. Annlee was classified as a ‘cheap Manga model’ by the agency, meaning that her character complexity was less developed than others’ in the Japanese Manga industry. She would soon become redundant as a character, Huyghe and Parreno rescued Annlee from imminent character ‘death.’
The title of the art project refers to Masamune Shirow’s manga classic, “Ghost in the Shell,” which explores the possibilities of infiltrating human minds and hijacking identity. Huyghe and Parreno subsequently commissioned other artists to appropriate the Manga character free of charge and to propose scenarios in which Annlee is liberated from ownership and can explore the ambiguities of her existence.

“Each of the projects realized with Annlee is a chapter in the history of a sign, and has a 'life' in the context of the individual artists' activities and within the joint project. The 'life-prolonging' measures taken by the No Ghost Just a Shell project for a short-lived, virtual and commercial being actually raise some 'melancholy' humanitarian questions, but also undermine economic mechanisms by allowing a product that is otherwise viable only in a commercial context to be used free of charge; the artists' autonomous production conditions are another factor. The film and music industries, and the internet, face us with copyright questions nowadays. The project addresses those issues as well overlaps with questions about how identity and difference can be formulated today, given the current demand for the mastery of multiple individual subject realizations.”
In 2002, the project concluded itself when Annlee’s copyright and exploitation rights were signed to her by the French artists, thus liberating the Manga character from circulation and economic and artistic exploitation, yet also condemning her to silence, not unlike the one she would endure if she were made redundant by Kworks. The contract was displayed next to an IKEA coffin built for Annlee by artist Joe Scanlan. The fate of Annlee’s identity, figure and sign remains undetermined.