As you may or may not know, I'm working on an interpretation of montages in Evangelion using the theories of Russian filmmaker/theorist Segei Eisenstein. Currently, I've completed the first part of my theories.

The full article is here

Here's a synopsis/copy-paste of the article:

The flashing image montage towards the end of Episode 22, when standing alone, seem almost incomprehensible, but when we look at the montage as a collective narrative, which each image building the meaning of the previous image along with the collective whole, we begin to notice that the flash-sign montage is making a profound statement.

SHOTS 1-4

[wkimg width=200]Ep22 Asuka montage 01.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 02.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 03.jpg[/wkimg] [wikimg width=200]Ep22 Asuka montage 04.jpg[/wikimg]

What we see are two images of Asuka-- one condescending, and one of a determined/angry look on Asuka's face. But there is most notably a "tear" in the shot, which indicates either a tear, or crack in Asuka's personality. This is to say that this is not the complete and true person of Asuka, as we have seen now. But, the two images are also speaking in a narrrative sense. At the outset of the narrative, Asuka was both of these, but we know that this was just a facade put on by her, hence the shot of Tokyo-3's facade. A face of a mortified Asuka is the first of several sub-payoffs, shots that reinforce statements made by the previous shots, and act as transitions in this case. Asuka realizes that these two things are not hwe true self -- but her is questioning, as well, what is her true nature? And what defines it?

SHOTS 5-17
(A bit of a problem -- it seems I cannot upload the eighth image in the montage. It can be seen on the wiki, it just wont upload here. It says the image "does not exist". For those curious, it is a screencap of a computer screen displaying DNA info on the sixth angel.)
Problem was an internal Mediawiki database error. This has been fixed and the image is now included in the montage below -OMF

[wkimg width=200]Ep22 Asuka montage 05.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 06.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 07.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 08.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 09.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 10.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 11.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 12.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 13.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 14.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 15.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 16.jpg[/wkimg]

We see another determined look on the part of Asuka, but what is she determined about? The next shot confirms what: Shinji. She is wearing the same bathing suit that she wore in Episode 10. But is this just some good-humored flirtation on Asuka's part? Asuka again looks determined, a shot that also suggests that she is revving up her Eva. The next shot confirms it: Angel number six. Asuka's first time in combat. And what happens? She allows Shinji, to enter the heart (or womb, if one takes the Freudian approach), you might say, if one were to think of it in such a manner. Asuka is inviting Shinji into something sacred: what she truly only sees as an identifying body: her Eva, and her status as an Eva pilot. We see, in essence, an acceptance of Shinji as a potential significant other. Note the Eva=Mother/Shinji=Significant Other dichotomy

Next we have Asuka in a school uniform. This is the first time she is in one, and she does not look thrilled. But we see a totally different expression on Asuka's face in the next shot. Why? This is another well placed reinforcement about Asuka's own projected images of herself as the "popular foreign girl". Her displeasure at the love letters in her gym locker confirms this. She is not attempting to impress these other boys -- she is trying to impress the person (people, possibly including Kaji) who she has been "going after" -- Shinji.

Next we see shots furthering the Asuka/Shinji theme of this montage. Asuka angry over Shinji's pervertedness -- but notice the placement of the shot. It is upside down -- my theory behinf this is that turning the shot upside down is a method of refuting the content and subtext within the shot. That is to say that Asuka seems embarressment over the implication of Shinji's pervertedness, but in an equally perverted way, she wants his gaze. The relationship implication "the newlyweds", Toji said, embarrasses both Shinji and Asuka. Judging by the usual anime-implications of the notable "full-face" blush, both of them want the relationship to occur -- it is just that Asuka is exploring, albeit awkwardly, the feasability of the relationship, and that Shinji is perhaps blushing over Toji's perceptiveness, along with his own inability to reach out to Asuka.

Next, we have a shot of real vulnerability. Asuka's sobbing over her mother as she sleeps in Shinji's bed. Again we are returning to an exploration of the mother vs. significant other theme. The next shot is more overt flirtatiousness on the part of Asuka. Again, this is more attention getting behavior on her part, sexualizing herself for the male gaze.

Finally, the key statement made in this sub-montage: She, throughout the series, actively rejected her statement of hatred of Shinji in Episode 22. She is reacting adversely to the inability of Shinji to properly respond, but she still wants him.

SHOTS 17-23

[wkimg width=200]Ep22 Asuka montage 17.jpg[/wkimg][wkimg width=200]Ep22 Asuka montage 18.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 19.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 20.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 21.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 22.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 23.jpg[/wkimg]

The conclusion of sorts. We see an intertitle that reads "Are you stupid?". This quote, almost always directed at Shinji, rings especially true. "Are you stupid," she asks, "because you refuse to respond to me?!". With her going as far as climbing into his bed, shown in the next shot, and canceling a date with another boy, shown in the shot after that, she is justifiably angry. The next shot builds on the "are you stupid theme", an almost fully accusative shot, pointing a finger at Shinji.

In the final three shots, we will finally reach the conclusion, the climax, the major statement that this montage has been building up to. We see a misty scene, so what we can imply is that there is a truth needing to be unveiled, a secret code needing to be cracked: What does Asuka want? In what seems to be a phallic allegory, the answer is simply: Shinji. And with the final shot of her piloting flipped, one can only assume that this realization has turned all of her facades, defense mechanisms, and her justifcation for existence completely upside-down.
Retrieved from "http://wiki.evageeks.org/User:Ran1"

Well, there it is. There is also plenty of Freud in their two, but I think the psychological aspects of it are already implied by the nature of the mindrape as a forced psychological introspection.

And, though this may come off as some elaborate Asuka/Shinji ship theory, its not. As I noted in the Fave Couple thread, I am not an Asuka/Shinji shiipper.

So...what's the Rei shot down near the bottom have to do with anything?

AuraTwilight wrote:So...what's the Rei shot down near the bottom have to do with anything?

Which Rei shot are you talking about?

The only one that might look like Rei is the one with Asuka at the drinking fountain. Is that the one that you're talking about? It almost looks like Rei, but that's mostly because it appears that Asuka is holding her bangs back.

Do you think that it matters how quickly some of these come up? Maybe too quick to even qualify them as a montage?*

*First time I've heard of this montage theory is on your page.

planet news wrote:Do you think that it matters how quickly some of these come up? Maybe too quick to even qualify them as a montage?*

Ah, but this is where the true genius of it comes in. Do you know times when something has been abuntantly clear, but you sometimes can't regonize it? Well, when you do realize it, everything really comes together in an instant -- I think that Anno is actually trying to show this in the montage.

These montages work on subliminal levels - they're not ment to be consciously processed at instant, they aim for subconscious.

and very fucking succesfully I'd say

Nice analysis. I think the purpose is subliminal, which was done very well.

I'd like to thank you for putting all this together. Apart from the flashing images guides in the commentary pages, I don't think that any of the flashing images montages have been looked at in any great detail before this.

Ran1's analysis definitively shows that the montage sequence is not simply a random progression of images and that a signifigant amount of thought and care went into its preparation. While I for one was of this opinion, since this kind of analysis has not been done before, it wasn't a decided matter, whereas now I think it is. While the specific interpretation of images might be up for debate, I think it's now clear that these sequences were always intended to convey deeper meaning.

Some comments on the above. (I'll mention here that the problem with image 08 has been fixed)

One thing that should be mentioned is the context of this montage. During the mind rape sequences, Asuka finds hereself sitting naked in a playground, speaking with the "Doll Girl" Asuka who is presumably Arael's avatar.

Episode #22' wrote:Asuka (CHILD):
Are you lonely?
Are you lonely?

Asuka:
No!
Stay away from me! I'm going to live on my own!

After the "Stay away from me!" line, the doll girl disintegrates and leaving her decapitated monkey behind. The entirety of the above montage takes place during Asuka's line "I'm going to live on my own!".

ran1 wrote:[wkimg width=200]Ep22 Asuka montage 01.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 02.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 03.jpg[/wkimg] [wikimg width=200]Ep22 Asuka montage 04.jpg[/wikimg]

SPOILER: Show

What we see are two images of Asuka-- one condescending, and one of a determined/angry look on Asuka's face. But there is most notably a "tear" in the shot, which indicates either a tear, or crack in Asuka's personality. This is to say that this is not the complete and true person of Asuka, as we have seen now. But, the two images are also speaking in a narrrative sense. At the outset of the narrative, Asuka was both of these, but we know that this was just a facade put on by her, hence the shot of Tokyo-3's facade. A face of a mortified Asuka is the first of several sub-payoffs, shots that reinforce statements made by the previous shots, and act as transitions in this case. Asuka realizes that these two things are not hwe true self -- but her is questioning, as well, what is her true nature? And what defines it?

The first image in fact is from episode #09 where Asuka declares that she will avenge Misato and Rei's "injury" to her pride. I beleive the script in fact uses the term "determined"(SSD may be able to confirm this). The second image is from episode #16 immediately Asuka slams her fist into the locker, infuriated by her "humiliation" at having Shinji's synch scores pass her own. Again, a wound to her pride. The tear here is pregnant with possible meanings, but obviously Asuka's sense of pride and accomplishment is one of them.

I like the idea about the facade of Tokyo-3 in image 03 standing in for a "facade", with the implication that Asuka's facade is cracking(There is in fact another Tokyo-3 shot in the sequence (See below)). The next image might actually be reinforcing this. It is from episode #16, where Asuka sees the savagery of Unit-01 and asks "I'm piloting something like that?". Asuka's revelation here concerned seeing past the facade of the Evangelion she had been familiar with and seeing the barely contained beast beneath.

ran1 wrote:[wkimg width=200]Ep22 Asuka montage 05.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 06.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 07.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 08.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 09.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 10.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 11.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 12.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 13.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 14.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 15.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 16.jpg[/wkimg]

SPOILER: Show

We see another determined look on the part of Asuka, but what is she determined about? The next shot confirms what: Shinji. She is wearing the same bathing suit that she wore in Episode 10. But is this just some good-humored flirtation on Asuka's part? Asuka again looks determined, a shot that also suggests that she is revving up her Eva. The next shot confirms it: Angel number six. Asuka's first time in combat. And what happens? She allows Shinji, to enter the heart (or womb, if one takes the Freudian approach), you might say, if one were to think of it in such a manner. Asuka is inviting Shinji into something sacred: what she truly only sees as an identifying body: her Eva, and her status as an Eva pilot. We see, in essence, an acceptance of Shinji as a potential significant other. Note the Eva=Mother/Shinji=Significant Other dichotomy

Next we have Asuka in a school uniform. This is the first time she is in one, and she does not look thrilled. But we see a totally different expression on Asuka's face in the next shot. Why? This is another well placed reinforcement about Asuka's own projected images of herself as the "popular foreign girl". Her displeasure at the love letters in her gym locker confirms this. She is not attempting to impress these other boys -- she is trying to impress the person (people, possibly including Kaji) who she has been "going after" -- Shinji.

Next we see shots furthering the Asuka/Shinji theme of this montage. Asuka angry over Shinji's pervertedness -- but notice the placement of the shot. It is upside down -- my theory behinf this is that turning the shot upside down is a method of refuting the content and subtext within the shot. That is to say that Asuka seems embarressment over the implication of Shinji's pervertedness, but in an equally perverted way, she wants his gaze. The relationship implication "the newlyweds", Toji said, embarrasses both Shinji and Asuka. Judging by the usual anime-implications of the notable "full-face" blush, both of them want the relationship to occur -- it is just that Asuka is exploring, albeit awkwardly, the feasability of the relationship, and that Shinji is perhaps blushing over Toji's perceptiveness, along with his own inability to reach out to Asuka.

Next, we have a shot of real vulnerability. Asuka's sobbing over her mother as she sleeps in Shinji's bed. Again we are returning to an exploration of the mother vs. significant other theme. The next shot is more overt flirtatiousness on the part of Asuka. Again, this is more attention getting behavior on her part, sexualizing herself for the male gaze.

Finally, the key statement made in this sub-montage: She, throughout the series, actively rejected her statement of hatred of Shinji in Episode 22. She is reacting adversely to the inability of Shinji to properly respond, but she still wants him.

Some notes here. The static filled image 05 is I beleive the only image which is from this particular episode, occurring just before the eyecatch. Image 07 is from episode #16, with Asuka racing to the paralytic Shinji's aid while proclaiming "You idiot, what are you doing!?". Image 09 is from episode #11, where Asuka, vexed at Shinji's inability to decide on a route declares "Honestly! I'm the leader, so just shut up and follow me!"

My feeling on these images is that we are seeing a "bleed-over" of some kind from Asuka's problems as a pilot and with the Angels, to Asuka's problems as a girl with Shinji. However, that's just a thought for now.

I think you are right about the inverted nature of image 12 refuting the literal context of the original shot. Asuka's overt statement—as in fact often occurs with her—is reflective of her own desires. As you've pointed out, the surrounding shots in the sequence reinforce this. Following this idea though, I wonder what the rotated image in 06 might mean?

I found the juxtaposition of images 15 and 16 particularly intriguing. In both we have Asuka with her bath towels, respectively emerging and entering the bath. While the images could in conjunction simply be a sexualisation reference, I'm reminded of an old mystery of why Asuka's mood changes so quickly in episode #09 (Image 15). Her mood also changes rather quickly in episode #16 (image 16), after she steps into the overly hot bath. Think about this, and the inverted nature of image 16 combined with that in 12, and remembering the bathroom sequence in this episode, I can't help but think there may be a clue of some kind in these two images., either about Asuka in general or her behaviour in these episodes specifically.

ran1 wrote:[wkimg width=200]Ep22 Asuka montage 17.jpg[/wkimg][wkimg width=200]Ep22 Asuka montage 18.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 19.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 20.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 21.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 22.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 23.jpg[/wkimg]

SPOILER: Show

The conclusion of sorts. We see an intertitle that reads "Are you stupid?". This quote, almost always directed at Shinji, rings especially true. "Are you stupid," she asks, "because you refuse to respond to me?!". With her going as far as climbing into his bed, shown in the next shot, and canceling a date with another boy, shown in the shot after that, she is justifiably angry. The next shot builds on the "are you stupid theme", an almost fully accusative shot, pointing a finger at Shinji.

In the final three shots, we will finally reach the conclusion, the climax, the major statement that this montage has been building up to. We see a misty scene, so what we can imply is that there is a truth needing to be unveiled, a secret code needing to be cracked: What does Asuka want? In what seems to be a phallic allegory, the answer is simply: Shinji. And with the final shot of her piloting flipped, one can only assume that this realization has turned all of her facades, defense mechanisms, and her justifcation for existence completely upside-down.

I think your interpretation of images 17-20 is spot on; they are a clear allusion to Shinji and his inability to respond to Asuka's hints. I note here in passing the tear in image 18, where Shinji(and his attempted kiss) has been excised from the cut.

Image 21 is in fact a misted over image of the Tokyo-3 topographical map. which appears a few times in the series. Image 23 is again from episode #16, and inverted shot of Asuka spotting Leliel's shadow, ready to swallow her, before leaping away.

I'm not sure about the meaning of the final three shots. I suppose a phallic reference is as good an explanation as any for image 22. I'm also wondering about the possible connection between image 21 and image 03. Perhaps these shots are not the intended payoff montage shots, and instead those comes later, possibly during the third montage sequence (this is only the first).

Nevertheless, this is a fascinating presentation which reveals just how deep these montage sequences are. The cuts have an order and coherency one would not have expected without detailed investigation.

@ObsessiveMathsFreaks: Thanks for the input! I figure I will add the context of the images with their respective episodes, which is something I did not do for all of the shots.

I'm reminded of an old mystery of why Asuka's mood changes so quickly in episode #09 (Image 15). Her mood also changes rather quickly in episode #16 (image 16), after she steps into the overly hot bath. Think about this, and the inverted nature of image 16 combined with that in 12, and remembering the bathroom sequence in this episode, I can't help but think there may be a clue of some kind in these two images., either about Asuka in general or her behaviour in these episodes specifically

That is particularly intriguing. I'll definitely see if those can be worked into my analysis. If I can finish the raw draft for the subsequent montage, I will certainly update the wiki page.

I'm not sure about the meaning of the final three shots. I suppose a phallic reference is as good an explanation as any for image 22. I'm also wondering about the possible connection between image 21 and image 03. Perhaps these shots are not the intended payoff montage shots, and instead those comes later, possibly during the third montage sequence (this is only the first).

I'm thinking along those lines as well. If the payoff sequences in the subsequent montages actually are more powerful, then I will relegate them to a "transitory" status. But I would say that while not putting in an esepcially strong way, they point to a concluison that Asuka must have made -- that she is looking for phallic completeness (through Shinji/Kaji) and that her fears and misgivings about the Eva have finally been brought to the fore.

Anno's use of montage and especially how it connects to Eisenstein's theories and even Godard's innovative use of it is something that's fascinated me since the first moment I learned about such things and encountered them in NGE. I wish I had more time to read this now but I don't, but I do want to commend you, ran1, on a superb job of putting this together and giving it the time and attention it needs. It's the kind of analysis I've always wanted to do on NGE (with some aspect) but never can seem to find the free time. I will definitely find a day ASAP and go over this thoroughly and provide my own thoughts on the matter.

Absolutely wonderful! I'm not as big a film geek as I wish I was, but stuff like this makes me realize why I want to be. On one hand, these quick paced image montages have always been what's fascinated me most about Eva, but I haven't seen any Eisenstein in years, two I believe.

I need souls, lots of them.

To all of you who took the time to read the theories presented and gave me feedback, Thanks!

Now for parte due. This analysis is a bit weaker, admittedly, because the meta-concept seems to just be a reiteration of the theme presented in the last montage.

Though I'll paste it here, the article is in its original form here

SHOTS 1-7

[wkimg width=200]Ep22 Asuka montage2 01.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 02.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 03.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 04.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 05.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 06.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 07.jpg[/wkimg]

What opens the montage is one of Asuka in anger, followed by a screenshot of an electric transformer tower. Admittedly, the meaning is ambiguous, but the most sensible interpretation is that Asuka is angry at a constructed, unattainable complex that she herself has molded. The next shots seem to reinforce this. In the next sequence, we see an Asuka who is looking into her "true self", a self lost in blackness, constricted, captured, by an outer self that is a determined , almost to the point of hostile, Eva pilot, and of course, the bubblegum pop version of herself that she presents at school. She is none of these things. The next shot, a periscope that seems to be looking at a spiral drill, probably Matariel's. This is probably an allusion to "digging deeper", or "getting to the core" of Asuka's existence, and her problems

SHOTS 8-16

[wkimg width=200]Ep22 Asuka montage2 08.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 09.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 10.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 11.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 12.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 13.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 14.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 15.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 16.jpg[/wkimg]

What we see next is a shot of a very condescending Asuka. She is looking down on someone, something -- but the question is, why? Who is she to look down on someone? A girl who cannot even handle herself? And to whom is she looking for approval from, if anyone? Another shot of her looking condescending is flipped upside down, a further refutement of the sentiment. The next shot answers the question: Asuka is looking for the approval of none other than Shinji. She wants him to notice her, to respond to her, somehow.

Obviously, this angers her, his usual lack of response or incorrect response to any of her advances. She feels that she is just another crow on the wire, so to speak, as evidenced by this shot -- and is maddened by it. This is followed by a look of determination -- something is driving her to seperate herself, to become acknowledged, but what and by whom? The next shot again answers, she is looking at Shinji, for his response. It seems, however, that the next shot of her acting wildly seems to reinforce the impression that Shinji will only notice her if she acts out, if she treats him poorly or acts flamboyantly. If she doesn't do so, she will only be another face in the crowd, or car on the road, as exemplified in the following shot.

SHOTS 17-20

[wkimg width=200]Ep22 Asuka montage2 17.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 18.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 19.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage2 20.jpg[/wkimg]

What we see in shot eighteen is the beginning of Asuka's final conceit, her conclusion. She is a failed romantic, opening herself up to Shinji but failing miserably, and her physical failure of being an Eva pilot who can no longer produce successful results. This conclusion, this payoff shot(s) begs the question for Asuka: to where do you go from here?

If you've made it this far, it is quite obvious to see that this interpretation is much weaker. I am more than open to any other interpretations, as I've said before, and all relevant info will be added as soon as I finish the interpretation for the third one. Though I am under the impression that this montage is transitory, it is reiterating/reinforcing images and statements that the third will deliver in a knockout blow to Asuka's psyche. And from the research I've done thus far, it looks like it will be!

mostly just lurking here... waiting for the full article to really dig in.

I think you're off on shots 16 and 17 though... after seeing these shots of Shinji as the one she seeks, Asuka recoils in horror/disbelief. She isn't like that, can't fall for someone so common and boring!

The next slide, so many different but practically indistinguishable cars on a road, seems to be saying "Asuka, we're all common. Shinji is no worse, and you no better, than anyone else on this road called life."

NemZ wrote:I think you're off on shots 16 and 17 though... after seeing these shots of Shinji as the one she seeks, Asuka recoils in horror/disbelief. She isn't like that, can't fall for someone so common and boring!

I was almost ready to post that as my interpretation, but montage #3 really turns that theory into mush, so I had to replace with the only other, albeit kind of weaker interpretation, that I posted here.

ran1 wrote:The next shot, a periscope that seems to be looking at a spiral drill, probably Matariel's. This is probably an allusion to "digging deeper", or "getting to the core" of Asuka's existence, and her problems

Closer than you think! Shot 02-07 is in fact a shot of an Angel's core. It's presence here is an indication of the vunerability of Asuka's own "core"; perhaps her "AT-Field" has been penetrated here.

ran1 wrote:Another shot of her looking condescending is flipped upside down, a further refutement of the sentiment. The next shot answers the question: Asuka is looking for the approval of none other than Shinji. She wants him to notice her, to respond to her, somehow.

The inverted shots do seem to carry such meanings, and I think the context of the following shot reinforces this. Along these lines, I'm wondering could there be any meaning to the "negative" colour shots too?

ran1 wrote:She feels that she is just another crow on the wire, so to speak, as evidenced by this shot -- and is maddened by it.

An interesting interpretation. However, I aslo feel that this image (02-13) is connected somehow to 02-02. Both concern electricity pylons, birds and I believe sunsets. I think these are from episode #18, the scene of Asuka's first defeat by Bardiel.

However, shot 02-17 combined with these does reinforce the concept of "one among many" in this montage. Something Asuka essentially detests. I am reminded of the concept of the Rei-quarium, and how this would be the essence of contempt for Asuka.

I note with some interest that shot 02-15 is in fact from episodes #25 and #26, the End of TV. These montage sequences were produced after the airing of the series, in the interim before End of Evangelion was released, enabling this image to be used here. It is interesting, but strangely fitting, that the director would use such an image in this dreamscape sequence. Perhaps supporting evidence for Quantum time travel effect in the show? But let us move on.

ran1 wrote:This conclusion, this payoff shot(s) begs the question for Asuka: to where do you go from here?

Again, going by the meaning of inverted shots, the final cut here 02-20 is an inverted shot of Asuka's triumphant jump in Unit-02 in episode #08.

ran1 wrote:If you've made it this far, it is quite obvious to see that this interpretation is much weaker. I am more than open to any other interpretations, as I've said before, and all relevant info will be added as soon as I finish the interpretation for the third one. Though I am under the impression that this montage is transitory, it is reiterating/reinforcing images and statements that the third will deliver in a knockout blow to Asuka's psyche. And from the research I've done thus far, it looks like it will be!

I would agree with this assessment. The shots here are seemingly more loosly connected, or else simply more difficult to interpret. However, it is clear that both Shinji and Asuka's many moods are brought up continually here.

The presence of the "core" shot in 02-07 is particularly intriguing; a very deliberate insertion which references the deeper metaphor in the series of cores and AT-Fields as metaphors for human communication and its difficulties. Perhaps the pylon and car images also represent communication? Images 02-04, 02-07 and 02-15 (considering its context) may also be referencing how Asuka has isolated herself from others, and how this is ultimately a negative thing. Perhaps other conclusions can be drawn to allow for more cohesive interpretations?

I'm wondering could there be any meaning to the "negative" colour shots too?

I've thought that about it for some time now, and there's really no universal common thread I can find for them other than the fact that they seem to bringing emphasis to a particular part about Asuka's personality, where the other shots tend to amplify or build on that concept.

The inverted colour shots tend to be points of emphasis, as well, but after I finish the general interpretation for montage 3, I will certainly look into it a bit more...

Both concern electricity pylons, birds and I believe sunsets. I think these are from episode #18, the scene of Asuka's first defeat by Bardiel.

Implying that Asuka has reached the "sunset" of her career as an Eva pilot? Interesting point. I'll add it into the wiki ASAP. I want to see if it can built on, a little bit, though...

Again, going by the meaning of inverted shots, the final cut here 02-20 is an inverted shot of Asuka's triumphant jump in Unit-02 in episode #08.

Duly noted, will be added.

The presence of the "core" shot in 02-07 is particularly intriguing; a very deliberate insertion which references the deeper metaphor in the series of cores and AT-Fields as metaphors for human communication and its difficulties. Perhaps the pylon and car images also represent communication? Images 02-04, 02-07 and 02-15 (considering its context) may also be referencing how Asuka has isolated herself from others, and how this is ultimately a negative thing. Perhaps other conclusions can be drawn to allow for more cohesive interpretations?

This is seemingly the message of the third montage, so I would say that the concept is introduced here, and then fully explored in the following montage.

BTW: Small problem-- I am baffled by the third image in Montage 3. If anyone would like to possibly enlighten me...?



It seems like a piece of machinery... but...

linkage between two train cars.

NemZ wrote:linkage between two train cars.

awesome relevance to theory is awesome. I will be posting the third interpretation as soon as this post is done.

Here's the finalization of the theory, but I would suggest going to the wiki page until some of the errors are fixed.
Errors should now be fixed -OMF
Here's the wiki entry

It's at the very bottom of the page. But I'll leave the meat of the article here once the problem is solved.

[wkimg width=200]Ep22 Asuka montage3 01.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 02.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 03.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 04.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 05.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 06.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 07.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 08.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 09.jpg[/wkimg]

SHOTS 1-9: While the statement "I can live on my own!" blares on in the background -- we first see that side of Asuka that is so connected to the other -- her "projected self". The next shot is Asuka staring, but at what? Following this, we see another piece of machinery -- most likely a traincar linkage, implying that she is indeed linked to others. We see a face of Asuka's anger -- but at what? The only interpretation is at the thing that she is trying to force upon herself -- the fact that she "can live on [her] own!" Then the phallic shot -- but it is inverted, and discoloured. Is she angry at her own statement that she can't live without Shinji? What we see next is the same picture we have seen in the previous montages. This will be from now on called the "command Asuka" because in Episode 8, where this screencap is taken, this shot is Asuka telling Shinji to follow her (in order to show off her Eva). But what is she commanding? Food, or the production of it. Who is the cook in the Katsuragi residence? Shinji, which Asuka realizes, turning round in the next shot. And like it or not, she really does care about his well-being, even if embarrassed to show it. But once again, this begs the question -- why does she hide her emotions like that? Is it the fear of rejection and/or something more?


[wkimg width=200]Ep22 Asuka montage3 10.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 11.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 12.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 01.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 13.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 14.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 15.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 16.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 17.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 18.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 11.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 19.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage 20.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 21.jpg[/wkimg]

SHOTS 10-21: The next shots seem to answer whatever questions are left to be answered: Asuka wants to "lead the charge", and "make the first move" [screencap from just before episode 15 kiss scene], shedding light on her domestic troubles. This, I believe opens up a whole new dimension in the realm of the "synthetic family", something that should be explored in further detail. It truly seems to "shed light" (next shot) on her troubles in piloting the Eva (following shot). Asuka looks at her superiority over the other Eva pilots, both suggested in the shot itself, and in the context of the earlier episodes, where she had generally a higher sync ratio. Her broken self (EoTV screenshot again, where she was really laid out to bare her emotions full-on), was completely justified by her control, reacting negatively when it was implied otherwise, as evidenced in the defensiveness of Toji implying a relationship that she was not "entirely in-control of".
The next shot deserves notice in the fact that it is a screenshot of Asuka "fading away". This is probably alluding to the feeling of "fading away" that she feels when not being bombastic, and fully in control of any situation. If she is not, then she is just another car in the train, so to speak.


[wkimg width=200]Ep22 Asuka montage3 22.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 23.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 24.jpg[/wkimg] [wkimg width=200]Ep22 Asuka montage3 25.jpg[/wkimg]

SHOTS 22-25: But the only way she can maintain this control, it seems, is by making others feel inferior, thus driving them away from her. With no one to control, she is no one. Normally, being this terrible to people, being this commanding, would be anathema to most, but the next shot of Asuka looking on in terror is inverted -- revealing that she is not terrified at her own mental creation, but, as the next shot proves, thrilled, insanely, maddeningly happy about it. This, amplified by the the fish-eye lens, and the following distorted shot, seems to show that Asuka is indeed twisted. And if that was not enough, the montage ends with the "accusative Asuka", effectively saying: "THIS IS YOU."

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It is apparent in the context of the montages as well, even the mindrape itself, Asuka is continually placed in positions of weakness. This is evidenced by the "Arael avatar" standing over the fetal-position, naked Asuka, and the "one of many" crowd scene. More on this later, because I am awaiting feedback.

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Brillant! Excellent job.

By the way, Asuka going into Misato's room in episode 09 and waiting for Shinji to check on her (which never happens as 22 shows--"You won't do anything!") is discussed in 2 different threads somewhere in Dicussion. (And I noticed these EoTV shots sometime back. It's amusing/a nice touch that they were included in 22'.)