in Russia 197n6, 198 n29 and traditional Japanese theater 127–8 see also Godzilla, see also under individual film titles Godzilla vs. ... Mothra (1992) 101n22 Godzilla's Revenge (1969) 68, 75, 83, 106 Godzilla Raids Again (1955) 63–4, ...
Author: W. Tsutsui
Category: Social Science
These essays consider the Godzilla films and how they shaped and influenced postwar Japanese culture, as well as the globalization of Japanese pop culture icons. There are contributions from Film Studies, Anthropology, History, Literature, Theatre and Cultural Studies and from Susan Napier, Anne Allison, Christine Yano and others.
Author: Robert Moses PeasleePublish On: 2020-01-15
Susan Napier, “When Godzilla Speaks,” in In Godzilla's Footsteps: Japanese Pop Culture Icons on the Global Stage, ed. William Tsutsui and Michiko Ito (New York: Palgrave Macmillan, 2006), 9–20; and Nancy Anisfield, “Godzilla/Gojiro: ...
Author: Robert Moses Peaslee
Publisher: Univ. Press of Mississippi
Category: Literary Criticism
Contributions by Jerold J. Abrams, José Alaniz, John Carey, Maurice Charney, Peter Coogan, Joe Cruz, Phillip Lamarr Cunningham, Stefan Danter, Adam Davidson-Harden, Randy Duncan, Richard Hall, Richard Heldenfels, Alberto Hermida, Víctor Hernández-Santaolalla, A. G. Holdier, Tiffany Hong, Stephen Graham Jones, Siegfried Kracauer, Naja Later, Ryan Litsey, Tara Lomax, Tony Magistrale, Matthew McEniry, Cait Mongrain, Grant Morrison, Robert Moses Peaslee, David D. Perlmutter, W. D. Phillips, Jared Poon, Duncan Prettyman, Vladimir Propp, Noriko T. Reider, Robin S. Rosenberg, Hannah Ryan, Lennart Soberon, J. Richard Stevens, Lars Stoltzfus-Brown, John N. Thompson, Dan Vena, and Robert G. Weiner The Supervillain Reader, featuring both reprinted and original essays, reveals why we are so fascinated with the villain. The obsession with the villain is not a new phenomenon, and, in fact, one finds villains who are “super” going as far back as ancient religious and mythological texts. This innovative collection brings together essays, book excerpts, and original content from a wide variety of scholars and writers, weaving a rich tapestry of thought regarding villains in all their manifestations, including film, literature, television, games, and, of course, comics and sequential art. While The Supervillain Reader focuses on the latter, it moves beyond comics to show how the vital concept of the supervillain is part of our larger consciousness. Editors Robert Moses Peaslee and Robert G. Weiner collect pieces that explore how the villain is a complex part of narratives regardless of the original source. The Joker, Lex Luthor, Harley Quinn, Darth Vader, and Magneto must be compelling, stimulating, and proactive, whereas the superhero (or protagonist) is most often reactive. Indeed, whether in comics, films, novels, religious tomes, or video games, the eternal struggle between villain and hero keeps us coming back to these stories over and over again.
To provide Godzilla s sound effects, apanese composer Akira Ifukube was brought on board. He created music that reflected the doom that accompanied the monster. He also created the noise of Godzilla's footsteps and roar.
Author: Therese M. Shea
Publisher: The Rosen Publishing Group, Inc
Category: Juvenile Nonfiction
Through his famous ransack of Tokyo, Gojira—or Godzilla, to Western audiences—became the definitive movie monster. But the original Godzilla delivers more than just thrills—the fictional monster represents Japan’s very real reaction to nuclear war. Attracting new generations of fans decades after his 1954 debut, Godzilla’s popularity launched a franchise of over two dozen films and paved the way for numerous other B-movie kaiju (monsters), including Rodan and Mothra, to take the silver screen. This lively volume provides a behind-the-scenes look at the various Godzilla films and the monster’s pop culture legacy both in Japan and abroad.
more dangerous and darker Godzilla; the films and the monsters became a useful critique of Japan's powerful ally. ... Y. Igarashi, “Mothra's Gigantic Egg: Consuming the South Pacific in 1960s Japan,” in In Godzilla's Footsteps: Japanese ...
Author: Matthew Edwards
Category: Performing Arts
Seventy years after the nuclear attacks on Hiroshima and Nagasaki, Japan is still dealing with the effects of the bombings on the national psyche. From the Occupation Period to the present, Japanese cinema had offered a means of coming to terms with one of the most controversial events of the 20th century. From the monster movies Gojira (1954) and Mothra (1961) to experimental works like Go Shibata’s NN-891102 (1999), atomic bomb imagery features in all genres of Japanese film. This collection of new essays explores the cultural aftermath of the bombings and its expression in Japanese cinema. The contributors take on a number of complex issues, including the suffering of the survivors (hibakusha), the fear of future holocausts and the danger of nuclear warfare. Exclusive interviews with Go Shibata and critically acclaimed directors Roger Spottiswoode (Hiroshima) and Steven Okazaki (White Light/Black Rain) are included.
In Godzilla's Footsteps: Japanese Pop Culture Icons on the World Stage. Eds. William Tsutsui and Michiko Ito. New York: Palgrave Macmillan, 2006, 201–204. Bix, Herbert P. Hirohito and the Making of Modern Japan.
Author: Jason Barr
Category: Performing Arts
The Kaiju (strange monster or strange beast) film genre has a number of themes that go well beyond the "big monsters stomping on cities" motif. Since the seminal King Kong 1933) and the archetypal Godzilla (1954), kaiju has mined the subject matter of science run amok, militarism, capitalism, colonialism, consumerism and pollution. This critical examination of kaiju considers the entirety of the genre--the major franchises, along with less well known films like Kronos (1957), Monsters (2010) and Pacific Rim (2013). The author examines how kaiju has crossed cultures from its original folkloric inspirations in both the U.S. and Japan and how the genre continues to reflect national values to audiences.
Godzilla. Directed by Gareth Edwards. 2014. Burbank, CA: Legendary Pictures. ... In In Godzilla's Footsteps: Japanese Pop Culture Icons on the Global Stage, edited by William M. Tsutsui and Michiko Ito, 51–62.
Author: Sean Rhoads
Category: Performing Arts
In 1954, a massive irradiated dinosaur emerged from Tokyo Bay and rained death and destruction on the Japanese capital. Since then Godzilla and other monsters, such as Mothra and Gamera, have gained cult status around the world. This book provides a new interpretation of these monsters, or kaiju-ū, and their respective movies. Analyzing Japanese history, society and film, the authors show the ways in which this monster cinema take on environmental and ecological issues--from nuclear power and industrial pollution to biodiversity and climate change.
In: In Godzilla's Footsteps: Japanese Pop Culture Icons on the Global Stage, eds. William M. Tsutsui and Michiko Ito, 18. New York: Palgrave Macmillan, 2006). Tudor, Andrew. Monsters and Mad Scientists: A Cultural History of the Horror ...
Author: Verena Bernardi
Publisher: Vernon Press
Category: Social Science
We know all kinds of monsters. Vampires who suck human blood, werewolves who harass tourists in London or Paris, zombies who long to feast on our brains, or Godzilla, who is famous in and outside of Japan for destroying whole cities at once. Regardless of their monstrosity, all of these creatures are figments of the human mind and as real as they may seem, monsters are and always have been constructed by human beings. In other words, they are imagined. How they are imagined, however, depends on many different aspects and changes throughout history. The present volume provides an insight into the construction of monstrosity in different kinds of media, including literature, film, and TV series. It will show how and by whom monsters are really created, how time changes the perception of monsters and what characterizes specific monstrosities in their specific historical contexts. The book will provide valuable insights for scholars in different fields, whose interest focuses on either media studies or history.
... Times).12 It didn't help that Godzilla's size in relation to the New York landmarks kept varying, or that Godzilla's footsteps shook cars but not people or that sometimes he could fit his head through a tunnel and other times not.
Author: Alison McMahan
Publisher: Bloomsbury Publishing USA
Category: Social Science
Most Tim Burton films are huge box-office successes, and several are already classics. The director's mysterious and eccentric public persona attracts a lot of attention, while the films themselves have been somewhat overlooked. Here, Alison McMahan redresses this imbalance through a close analysis of Burton's key films () and their industrial context. She argues that Burton has been a crucial figure behind many of the transformations taking place in horror, fantasy, and sci-fi films over the last two decades, and demonstrates how his own work draws on a huge range of artistic influences: the films of George Melies, surrealism, installation art, computer games, and many more. The Films of Tim Burton is the most in-depth analysis so far of the work of this unusual filmmaker - a director who has shown repeatedly that it is possible to reject mainstream Hollywood contentions while maintaining critical popularrity and commercial success.
... Jing Tian, as the focus of the film. 8. Despite a higher production budget, Godzilla: King of the Monsters grossed around $70 million less than Pokémon Detective Pikachu. ... In In Godzilla's Footsteps: Japanese Pop ...
Author: Uğur Baloğlu
Publisher: Rowman & Littlefield
Category: Language Arts & Disciplines
Transcultural Images in Hollywood Cinemaexamines the transnational and transcultural characteristics of Hollywood cinema. The narrative, cinematographic, and aesthetic structures of Hollywood cinema are turned upside down as chapters analyze gender, social, cultural, and economic-political contexts.
The pounding on the soundtrack that accompanies Godzilla's footsteps might as well be the ticking of Watchmen's Doomsday Clock. “What brought this upon us?” asks Emiko Yamane (Momoko Kōchi), daughter of the famous scientist who is ...
Author: Josh Larsen
Publisher: InterVarsity Press
Movies do more than tell a good story. Filmspotting co-host Josh Larsen brings a critic's unique perspective to how movies can act as prayers—expressing lament, praise, joy, confession, and more. When words fail, the perfect film might be just what you need to jump-start your conversations with the Almighty.