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The Rhetorical Significance of Gojira
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph. -
Godzilla Music and Soundtracks
Godzilla music and soundtracks Alternate 1954-1975 01 - Akira Ifukube - Main Title (Godzilla; 1954) 02 - Akira Ifukube - Godzilla Comes Ashore (Godzilla; 1954) 03 - Akira Ifukube - End Title (Godzilla; 1954) 04 - Masaru Sato - Main Title (Godzilla Raids Again; 1955) 05 - Masaru Sato - End Title (Godzilla Raids Again; 1955) 06 - Akira Ifukube - Godzilla Rebirth (King Kong vs Godzilla; 1962) 07 - Akira Ifukube - Fumiko Delivery Plan (King Kong vs Godzilla; 1962) 08 - Akira Ifukube - King Kong Transportation Plan (King Kong vs Godzilla; 1962) 09 - Akira Ifukube - King Kong vs Godzilla (King Kong vs Godzilla; 1962) 10 - Akira Ifukube - Sacred Fountain (Mothra vs Godzilla; 1964) 11 - Akira Ifukube - Godzilla and Nagoya (Mothra vs Godzilla; 1964) 12 - Akira Ifukube - Mothra's Departure (Mothra vs Godzilla; 1964) 13 - Akira Ifukube - Kurobe Valley (Ghidorah, the Three-Headed Monster; 1964) 14 - Akira Ifukube - Birth of King Ghidorah (Ghidorah, the Three-Headed Monster; 1964) 15 - Akira Ifukube - Three Great Monsters Assembled (Ghidorah, the Three-Headed Monster; 1964) 16 - Akira Ifukube - Marsh Washigasawa and Lake Miyojin (Invasion of the Astro-Monsters; 1965) 17 - Akira Ifukube - Godzilla on the Lakebed (Invasion of the Astro-Monsters; 1965) 18 - Akira Ifukube - Saucer Appearance (Invasion of the Astro-Monsters; 1965) 19 - Akira Ifukube - Great Monster War March (Invasion of the Astro-Monsters; 1965) 20 - Masaru Sato - Yacht and Storm with Monster (Ebirah, Horror of the Deep; 1966) 21 - Masaru Sato - Flight (Ebirah, Horror of the Deep; 1966) -
Godzilla Un Monstre Et Ses Époques Alain Vézina
Document généré le 28 sept. 2021 14:29 Séquences La revue de cinéma Godzilla Un monstre et ses époques Alain Vézina Le cinéma à la plage Numéro 291, juillet–août 2014 URI : https://id.erudit.org/iderudit/72128ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Vézina, A. (2014). Godzilla : un monstre et ses époques. Séquences, (291), 18–19. Tous droits réservés © La revue Séquences Inc., 2014 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 18 PANORAMIQUE | ÉTUDE Godzilla Un monstre et ses époques Coïncidant avec le 60e anniversaire de Godzilla, l’adaptation américaine de Gareth Edwards offre l’opportunité de jeter un regard rétrospectif sur l’une des franchises les plus célèbres du cinéma. Héros de 28 films, dont certains sont injustement raillés et relégués dans les bas-fonds de la culture kitsch, Godzilla n’en demeure pas moins un révélateur intéressant des hantises d’une nation marquée par les catastrophes, qu’elles soient attribuables à la fatalité ou à la folie des hommes. -
You're Listening to Imaginary Worlds, a Show About How We Create Them
1 You’re listening to Imaginary Worlds, a show about how we create them and why we suspend our disbelief. I’m Eric Molinsky. When I was a kid, I used to watch something called the Creature Double Feature on Channel 56 every weekend afternoon. They were black and white monster movies from the ‘50s. The funny thing is, I didn’t really like them, but there was nothing else to watch in those days. The ones that used to freak me out the most were the movies about giant insects like “Them.” CLIP: THEM Usually on this show, I delve into genres that mean a lot to me. But I’m equally fascinated by the stuff that other people obsessed over. It adds another layer of mystery for me – like what is the cult following about? And in this case, I’m not talking about giant insects or the 50-foot woman or King Kong. There’s only one monster that matters. CLIP: GODZILLA DS: It was on Ch. 9, which is a local station in NY tri-state area, and my brother had been watching it, as with all things because I looked up to him, I started watching it, and it was like a real living dinosaur, which I also loved because I was 4 by the way who could shoot fire, I’m 43 and my feelings are still strong about this, who shot fire and destroy cities it was the best thing of all time. That’s my friend Dave Serchuck, who’s a journalist in Louisville. -
Macro Wrap-Up: a Monetary Policy Mechagodzilla
Macro Wrap-Up: A Monetary Policy Mechagodzilla August 3, 2018 Japan hasn’t played a large role in market moves this year. It’s been an afterthought in discussions about trade, with Europe, China and the U.S. getting most of the attention. Back in the 1980s and 1990s, even minor financial news stories from Japan could have major repercussions for currency, fixed income and equity markets, but now it seems Godzilla could attack Tokyo and global bond markets wouldn’t move a bp. That was until two weeks ago, when rumors of a Bank of Japan (BOJ) move began to spread. 1By Tuesday, trading desks in New York and London were left scrambling to find accurate translations of a BOJ press conference, and Japan suddenly seemed like the most relevant market in the world. Since the BOJ instituted its Yield Curve Control (YCC) policy in 2016, ten-year JGB yields have been in a very narrow range around 0 bps. The reason the BOJ moved from traditional quantitative easing to yield targeting was simply that its balance sheet had expanded so much that it seemed like it might run out of bonds to buy. 2YCC has solved that problem and kept ten-year rates pegged near zero, but it has also left volatility so low that some tactical investors have reduced their exposures to JGBs. Volumes in the market have declined.3 However, this complacency about Japan, on the part of international investors, may make global markets even more vulnerable to future moves in JGBs. Some strategists have suggested the low yields in Japan (and perhaps Germany) have dragged down global yields via the substitution effect. -
Bamcinématek Presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 Tales of Rampaging Beasts and Supernatural Terror
BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 tales of rampaging beasts and supernatural terror September 21, 2018/Brooklyn, NY—From Friday, October 26 through Thursday, November 1 BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, a series of 10 films showcasing two strands of Japanese horror films that developed after World War II: kaiju monster movies and beautifully stylized ghost stories from Japanese folklore. The series includes three classic kaiju films by director Ishirô Honda, beginning with the granddaddy of all nuclear warfare anxiety films, the original Godzilla (1954—Oct 26). The kaiju creature features continue with Mothra (1961—Oct 27), a psychedelic tale of a gigantic prehistoric and long dormant moth larvae that is inadvertently awakened by island explorers seeking to exploit the irradiated island’s resources and native population. Destroy All Monsters (1968—Nov 1) is the all-star edition of kaiju films, bringing together Godzilla, Rodan, Mothra, and King Ghidorah, as the giants stomp across the globe ending with an epic battle at Mt. Fuji. Also featured in Ghosts and Monsters is Hajime Satô’s Goke, Body Snatcher from Hell (1968—Oct 27), an apocalyptic blend of sci-fi grotesquerie and Vietnam-era social commentary in which one disaster after another befalls the film’s characters. First, they survive a plane crash only to then be attacked by blob-like alien creatures that leave the survivors thirsty for blood. In Nobuo Nakagawa’s Jigoku (1960—Oct 28) a man is sent to the bowels of hell after fleeing the scene of a hit-and-run that kills a yakuza. -
00:00:00 Dan Host on This Episode of the Flop House We Discuss—Godzilla: King of the Monsters!
00:00:00 Dan Host On this episode of The Flop House we discuss—Godzilla: King of the Monsters! [Audience applauds, cheers.] 00:00:07 Stuart Host Cars!!! 00:00:11 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:37 Dan Host Hey, everyone, and welcome to The Flop House. I’m Dan McCoy. 00:00:40 Stuart Host I’m Stuart Wellington! 00:00:42 Elliott Host And I’m Elliott Kalan. And we’re in Boston again. [Audience cheers, applauds.] 00:00:46 Crosstalk Crosstalk Elliott and Stuart: Oh, boy! 00:00:50 Elliott Host And Dan? When we’re in Boston, what do we like to do on this podcast? 00:00:53 Dan Host [Laughs.] Well, we like to do the same thing as we normally do, but we wear— 00:00:58 Elliott Host “Try to take over the world.” Pinky and the Brain. Wonderful, yes. [Audience laughs.] 00:01:02 Dan Host We talk about— 00:01:03 Stuart Host Wait—was that set in Boston? 00:01:05 Elliott Host Yeah. It was originally called Pinky and the Brain’s Boston Adventure. [Stuart laughs.] And then they were like, “They never leave the cage, really. Or they rarely do. So why are we calling it out as Boston? If we just take Boston out of the title then people can imagine it’s happening in their town.” And then the executives were like, “That would be frightening. If I had super-intelligent mice in my town? But okay! You’re Steven Spielberg We’ll do it!” [Audience laughs.] 00:01:30 Dan Host Um, so— [Laughs.] [Audience laughs.] I’m sorry. -
Rebook: Re-Using Content in Bioconductor Books
Package ‘rebook’ September 21, 2021 Version 1.2.1 Date 2021-08-27 Title Re-using Content in Bioconductor Books Description Provides utilities to re-use content across chapters of a Bioconductor book. This is mostly based on functionality developed while writing the OSCA book, but generalized for potential use in other large books with heavy compute. Also contains some functions to assist book deployment. Imports utils, methods, knitr (>= 1.32), rmarkdown, CodeDepends, dir.expiry, filelock, BiocStyle Suggests testthat, igraph, XML, BiocManager, RCurl, bookdown, rappdirs, yaml, BiocParallel, OSCA.intro, OSCA.workflows License GPL-3 VignetteBuilder knitr biocViews Software, Infrastructure, ReportWriting RoxygenNote 7.1.1 git_url https://git.bioconductor.org/packages/rebook git_branch RELEASE_3_13 git_last_commit fd68600 git_last_commit_date 2021-08-28 Date/Publication 2021-09-21 Author Aaron Lun [aut, cre, cph] Maintainer Aaron Lun <[email protected]> R topics documented: bioc-images . .2 bookCache . .3 buildChapterGraph . .4 chapterPreamble . .5 collapseStart . .6 1 2 bioc-images compileBook . .7 compileChapter . .8 configureBook . .9 createMakefile . 10 createRedirects . 12 deployCustomCSS . 13 extractCached . 14 extractFromPackage . 16 link ............................................. 18 openingDetails . 19 prettySessionInfo . 20 rmd2id . 21 scrapeDependencies . 22 scrapeReferences . 23 setupHTML . 24 updateDependencies . 25 Index 27 bioc-images Get various Bioconductor images Description Helper functions to pull down images to use in the book. These aim to provide a sensible default for Bioconductor-related books. Usage BiocFavicon() BiocSticker(mode = c("static", "animated")) Arguments mode String specifying the type of sticker to show. Value BiocFavicon will return a path to a favicon.ico file. BiocSticker will return a URL or path to a sticker. Author(s) Aaron Lun bookCache 3 Examples BiocFavicon() BiocSticker() bookCache Get the local book cache Description Get the path to the cache directory in which the book will be built. -
D20: Toho Based Dungeons & Dragons
First Published: 10/09/02 Updated: 06/02/16 This article features rules for a Toho universe based Dungeons & Dragons (D&D) game. It adapts Godzilla, Mothra and characters from other science fiction and fantasy films like the Onmyoji series for the game. The rules are broken into four sections: Janjira: a Toho based setting Gods Monsters Spells and Domains Equipment Gods includes information on the god-kaiju of a Toho universe based campaign. The monsters are the various creatures of a Toho universe based game, including non-divine kaiju and monsters. Also includes rules on playing some of the more benign races. The History of Janjira The new world began with the destruction of the old one. Ten thousand years ago the nations of Janjira, who had long labored to secure their kingdoms against the trials and tribulations of the world, achieved their goal. Their greatest minds had derived wondrous technologies from the very foundations of the world, a melding of machine and magic. Where once children in remote villages grew up hungry and sick, automatons were brought to tend crops and heal their maladies. Houses in the mountains were filled with warmth during the coldest months of the year and the deadliest creatures of the wild were held in check by the awesome might of their arms. The most basic trials that had harried civilization since the beginning of time now assuaged, the people of Janjira set aside their toils and gazed out on their lands in peace. Years passed, and they forgot the struggles of their ancestors and set aside their gods, decreeing that their society had reached what must surely be perfection. -
SEPTEMBER 1, 2014 the Following Dvds Were Added to Our Collection During the Month of August
N E W M O V I E S SEPTEMBER 1, 2014 The Following DVDs were added to our collection during the month of August. NEW ENTERTAINMENT RELEASES (Please note “NEW” titles may only be checked out by Deer Park Library cardholders, and cannot be reserved or renewed.) The Amazing Spider-Man 2 The Americans, the Complete First Season Appleseed Alpha [Animated] The Artist and the Model [in French] Bad Words Batman - Assault on Arkham [Animated] The Best of Men Bethlehem [in Hebrew] A Birder’s Guide to Everything The Blacklist, the Complete First Season Breathe In Breathless The Butterfly Room Continued Next page… 09/1/2014 NEW ADULT MOVIES CONTINUED Decline of an Empire Detroit Unleaded Divergent Doctor Who Series Four, Part One The Double Fading Gigolo Fanie Fourie’s Lobola Faust [in German] Frankie & Alice The French Minister [in French] Generation War [in German] Gloria Go For Sisters A Good Man It Felt Like Love Jackpot [in Norwegian] Lost in Thailand [in Chinese] The Love Punch Maidentrip Continued Next page… 09/1/2014 NEW ADULT MOVIES CONTINUED Next Goal Wins A Night in Old Mexico The Normal Heart Oculus Only Lovers Left Alive The Past [Blu-Ray, in French] Past, The The Pervert’s Guide to Ideology Ping Pong Summer Proxy The Quiet Ones Rage Railway Man Reaching for the Moon Redemption Trail The Rocket [in Lao] Rosemary’s Baby Sabotage Continued Next page… 09/1/2014 NEW ADULT MOVIES CONTINUED Shaadi Ke: Side/Effects [in Hindi] Stage Fright Starship Rising Susie’s Hope The Trip to Bountiful Vicious Season One Walking Dead, the Complete Fourth -
Godzilla: Tokyo Clash Summary & Reference V1
The Esoteric Order of Gamers orderofgamers.com Dedicated to immersive, thematic tabletop games. Rules summaries, foamcore plans, battle reports, interviews, reviews, videos, tutorials – and lots more. Sign up to the monthly newsletter on the website! Follow the VIDEOS TWEETS EsotericOrderGamers @EOGamers EOG and Don’t miss PHOTOS NEWS a Thing! orderofgamers EOGamers SUPPORT ME SO I CAN MAKE MORE GUIDES LIKE THIS ONE! Since 2004, I’ve been supplying tabletop gamers with hundreds of free high-quality rules summaries! And the Esoteric Order of Gamers features hundreds of entertaining and informative videos about our excellent hobby. It takes time and money to do this work, and just a few $ a month really does help me do much more. Join the official EOG community – and get bonus rewards too! Please sign up and support me! patreon.com/esotericorder Thankyou! Peter (Universal Head) v1 Dec 2020 Game: GODZILLA: TOKYO CLASH Publisher: FUNKO GAMES (2020) Page 1: Rules summary front Page 2: Rules summary back Page 3: Play reference front Page 4: Play reference back Print on card (ensure you are printing at 100% scale) laminate and trim to size. These sheets are intended only for the personal use of existing owners of the game for additional reference. Universal Head makes no claim whatsoever to the rights of the publisher and copyright holder, and does not benefit financially from these player aids. Artwork from the original game is copyrighted by the publisher and used without permission. This PDF may not be re-posted online, sold or used in any way except for personal use. -
Godzilla and the Japanese After World War II: from a Scapegoat of the Americans to a Saviour of the Japanese
Godzilla and the Japanese after World War II: From a scapegoat of the Americans to a saviour of the Japanese Yoshiko Ikeda Ritsumeikan University Abstract. This paper examines how five Godzilla films illuminate the complicated relationship between Japan and the United States over the use of nuclear weapons. The United States dropped the first atomic bombs on Japan and created the first nuclear monster film, The Beast from 20,000 Fathoms (1953), which inspired the Godzilla series. The popularity of these Godzilla films derives from skilfully grappling with the political, social and cultural problems created by the use of nuclear weapons and science/technology, both inside Japan and in relations between Japan and the United States. This paper takes a historical perspective and shows how the Godzilla characters reflect these attitudes across time, moving from a scapegoat for the Americans to a saviour of the Japanese. Gojira (Godzilla) series An ancient monster, deformed by a series of nuclear bomb tests and expelled from his natural habitat, lands in Tokyo and starts destroying Japanese cities. Given the name Godzilla, he destroys these symbols of civilisation as if seeking revenge on humankind for creating such technology. Gojira,1 produced and released by Toho Studio, was a breakthrough hit in Japan in 1954.2 It was followed by 29 Japanese sequels and two American versions of the Japanese films, Godzilla, King of the Monsters (1956) and Godzilla 1985: The Legend is Reborn (1984). Gojira was Japan’s first export film and the series appealed to both Japanese and foreign audiences. Over the past 50 years, Godzilla has transformed in shape and character, playing various roles in the stories.