Structurally, corporation is setup to look after the interest for their stockholders and board of director as well as of the public. This documentary shows the development of the contemporary business corporation and how it evolved from being an institution meant for public function to adopting a personality with entitlement to most legal rights of a person.

The film examines and criticizes corporate business practice, to establish parallels, between corporate legal misbehavior; disregard for the feelings of other people, the incapacity to maintain human relationships, reckless disregard for the safety of others, deceitfulness, the incapacity to experience guilt, and the failure respect the law.

The concept of individual ownerships is disperse, creating a unit that functions as a single entity; the corporation as a whole. Profit is the ultimate form of expression of this institution with the law protecting their rights as a free individual.

An experimental animated short combining traditional cell animation, Flash animation,After Effects video compositing and Photoshop.  Music/sound are composed,collected,manipulated and remix using Audacity,Soundbooth ,Pro Tools and Reason.

Death of the author deconstructs the myth of primary ownership of a creator in his work. Originality it self is an illusion, for creativity is built upon past works and ideas that is borrowed and reinterpreted to give new meaning to a work in which it was built upon. Language itself is a constitution that has it’s own structure and hierarchy meant to give the author control over the narrative, symbolism creating myth to conceal the truth from the massive culture. However, the meaning behind a work is lost when the author begins to write. The language becomes a space containing the ideas that offers multi dimensional meaning to the readers. The essence of work changes as readers extract and reinterpret the narrative providing their own meaning base on their experiences. Therefore, part of the ownership of work transferred to the audience. It becomes an art piece when readers create meaning. An author’s role is realized when the reader contribute their experience in the work which unifies the piece as a whole. The notion of ‘death’ in this content symbolizes the elimination individualizes authorship and transfer of value within a work to the audience which in some ways effect them.

Cinema can help audiences deal with radical changes in identity; it carries them across layers of cultural transformation so that a more or less coherent national identity remains intact, spanning cracks that threaten to disrupt its movement and expose its essential disjointedness.

Princess Mononoke, an animated feature by renowned director Hayao Miyazaki, offers this argument in the film. Despite the film’s fantasy element, the story revolves around a time during feudal Japan when the realm of the supernatural lives side by side with the world of men. Conflict arises when men begin to destroy the environment by extracting natural resources excessively challenging the forest gods along the way.
 The story begins with a warrior prince named Ashitaka who encounters with the boar god on a rampage and threatens the safety of the villagers. He battles the creature, eventually killing it. However the prince, who was injured in the process now bears the creature’s curse after it was revealed that the boar was one of the forest god turned into a demon by men’s weapons. Ashitaka's journey eventually leads him to a fortress-like city named Irontown. The people of Irontown, under the rule of Lady Eboshi, have been mining iron from within a nearby mountain. It is with this iron that they are able to manufacture early forms of rifles, crude by today's standards, but very devastating nonetheless. The mining, however, has resulted in the destruction of the forest, which once covered the mountainside. The creatures of the forest are not pleased with being driven from their homes, none more than Moro, a giant wolf god, and her adopted human daughter, San. San has been repeatedly attacking the humans of Irontown in an attempt to drive them away. Ashitaka, though, believes that the humans and animals can get along peacefully and this lands him squarely in the middle of the conflict.

Miyazaki presents the audience with a universe filled with difficult choices, which, very often, do not have easy answers. For instance, he makes it clear how actions that are morally praiseworthy when looked at from one perspective may be reprehensible when seen from another. He even manages to remind the viewer that an action's being right or wrong does not necessarily depend upon the supposed moral worth of the person towards whom that act is directed. A hurtful deed is shown to be as potentially reprehensible when committed upon a wicked person as it is when done to one who is virtuous. Such meditations are not, however, included in the film in a heavy-handed or overtly didactic manner but are, instead subtly incorporated into the structure of the narrative itself. In fact, the presence of such quandaries gives the movie a depth it would not have had without them.


Princess Mononoke reflects the anxiety that is felt not only in contemporary Japan but also in developing countries around the world that attempt to transform themselves to a modern societies in the presence of technological advancement that is constantly evolving. Although the story seems like a simple tale of humankind versus nature, there are many layers which complicate things. Multiple conflicts abound with humans against humans, humans against nature and even nature against itself. What the film offers is an alternative world that contrasts with the idealized myth of harmony, progress and unproblematic society, the film offers a vision of cultural dissonance, spiritual loss and environmental apocalypse.

Stylistic elements taken from German Expressionism are common today in films that do not need reference to real places such as Blade runner, Dark City, The Crow and Inception. 

Ambitious adaptations of the style are depicted throughout the contemporary films of director Tim Burton . The re launch of Batman franchise during the early 90s is often cited as a modern attempt to capture the essence of German Expressionism. The angular building designs and severe-looking city squares of Gotham City evoke the loom and menace present in both Fritz Lang's and Tezuka Utomo’s Metropolis.

Burton’s inspirations are most apparent in the drawings he creates. The playful aesthetics of his drawings and animations continue to inform his work nurturing an engagement with his past.  The isolation he felt growing up in the suburban environment disconnected him from the world. This period of solitude focuses his attention to his imagination producing sketches that would serve as blueprints for his film. Burton’s drawings have an air of social commentary, a critique of community and mistrust of social relationship underscore his works. 

For instance, Burton’s interpretations are seen in the fairy tale suburban landscape of Edward Scissorhand. The appearance of the titular Edward Scissorhands reflects Caligari somnambulist servant. Burton casts unease in his candy-colored suburb, and the tension is visually unmasked through Edward and his Gothic castle. Burton subverts the Caligari nightmare with an inspired narrative branding, casting the garish somnambulist as the hero and the villagers as the villains.