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[85] Shinji's entering into Unit-01 has been interpreted as a Freudian "return to the womb", and his struggle to be free of the Eva as his "rite of passage" into manhood. [86] The series also contains references to philosophical and psychoanalytic concepts, such as the oral stage, introjection, oral personality, ambivalence,[87] and the death drive,[88] including elements of the works of Sigmund Freud,[89][90] Arthur Schopenhauer,[91][92] and Søren Kierkegaard. [93] Related media[edit] Main article: Neon Genesis Evangelion (franchise) Films[edit] Main article: List of Neon Genesis Evangelion movies In May 1996, Gainax announced an Evangelion film[94] in response to fan dissatisfaction with the series finale. [61] On March 15, 1997, Gainax released Neon Genesis Evangelion: Death & Rebirth, consisting of 60 minutes of clips taken from the first 24 episodes of the series and the first 30 minutes of the new ending due to production issues. [95] The second film, The End of Evangelion, which premiered on July 19, 1997, provided the complete new ending as a retelling of the final two episodes of the television series. Rather than depicting the series' climax within the characters' minds, the film provides a more conventional, action-based resolution to the series' plot lines.A Japanese song plays as this occurs and a girl takes off her glasses to show off her purple "anime eyes". Rainbow Brite made use of Japanese-outsourced animation, and it shows, especially the big eyes and thick eyelashes (which even the boys sport). Some of Murky Dismal's expressions wouldn't look out of place in an anime, either. The show is essentially a Magical Girl cartoon as well, and was even translated as Mahou Shoujo Rainbow Brite in Japan. Ready Jet Go!: The characters' huge, shiny eyes and spiky hair on some of them could bring anime to mind. Also, the comic-book style transitions and montages resemble anime.
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