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  • 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.
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    présente un film de Ryuhei Kitamura avec Don Frye Rei Kikukawa Masahiro Matsuoka 124’ - Japon - 2004 - couleur - Cinémascope - Dolby SRD Sortie nationale le 31 août 2005 Distribution Presse PRETTY PICTURES BOSSA NOVA 100, rue de la Folie Méricourt Michel Burstein 75011 Paris 32, bd Saint Germain Tél: 01 43 14 10 00 75005 Paris Fax: 01 43 14 10 01 Tél: 01 43 26 26 26 [email protected] Fax: 01 43 26 26 36 www.prettypictures.fr [email protected] www.bossa-nova.info Les photos du film et le dossier de presse sont téléchargeables sur le site www.prettypictures.fr Suite à une vague incessante de guerres et à la croissance Masahiro MATSUOKA ...... Soldat Shin’ichi Ôzaki démesurée de la pollution, d’énormes monstres font leur apparition. Rei KIKUKAWA ................ Biologiste moléculaire Miyuki Otonashi Heureusement pour l’humanité, l’Armée Mondiale veille et emploie Akira TAKARADA ............. Secrétaire Général Naotarô Daigo des unités mutantes, la Force M, pour combattre la nouvelle menace. Kane KOSUGI ................. Militaire Katsunori Kazama Lorsque les différentes créatures gigantesques se mettent à attaquer Kazuki KITAMURA ........... Officier de la Planète X simultanément les diverses capitales de la planète, l’Armée Mondiale Maki MIZUNO ................. Présentatrice Anna Otonashi se retrouve soudainement impuissante face à l’énorme invasion. Masami NAGASAWA ....... Fées Shobijin Arrive alors un vaisseau spatial qui stoppe net la menace. À son bord, Don FRYE ....................... Douglas Gordon Capitaine du Gotengo les Xiliens, des extraterrestres humanoïdes venus prévenir la terre Kenji SAHARA ................. Paléontologiste Hachirô Jingûji d’une menace imminente : la collision avec un astéroïde gigantesque Kumi MIZUNO ................. Commandant Akiko Namikawa nommé Gorus.
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  • 2020 M. Low, Visualizing Nuclear Power in Japan, Palgrave Studies
    INDEX A Astro Boy, 9, 205, 206, 209, 248 Abe Shinzō, 248 Asuka, Jusen, 247 A-Bomb Dome, 58, 67, 128, Atomic Achievement (1956), 149 197, 199 Atomic age, 148 Aichi Prefectural Museum of Art, 137 Atomic bomb, 13, 14, 19, 56, A is for Atom (1952), 140 57, 75, 78, 79, 86, 96, 104, Akamatsu, Toshiko, 5, 45–51, 58, 67, 109, 119, 120, 139, 198, 201, 95, 246, 247 245, 247 Alice in Atom-Land, 246 Atomic Bomb Casualty Commission, Alice in Atom-Land diorama, 76, 77 Hiroshima, 118, 145 Alice in Wonderland, 77 Atomic boy, 198 Alice’s Adventures in Atomic Energy Basic Law, 141, 142 Wonderland, 12, 216 Atomic Energy for Everyone Allied Occupation of Japan (1945-52), Exhibition, 75, 84 2, 50, 51, 67, 78, 100, 135 Atomic Fuel Corporation, 141 Allison, John M., 82, 83, 97, 104, 107 Atomic Marshall Plan, 73, 74 Alvarez, Robert, 209 Atomic tuna, 98 America Fair, 4, 23, 27, 68 Atoms for Peace, 1, 5, 7, 68, 70, 71, Anno, Hideaki, 218 74, 79, 80, 136, 137, 143, 196, Anti-nuclear movement, 249 208, 247 Asahi Gurafu (Asahi Graph), 58, 95, Atoms for Peace exhibition, 7, 82, 85, 98, 99, 247 108, 118, 136, 139, 143, 147, Asahi Shimbun, 23, 25, 27, 30, 85, 150, 154, 177, 183, 184 86, 106, 108, 198, 199 Atoms for Peace Study Societies, 141 © The Author(s) 2020 253 M. Low, Visualizing Nuclear Power in Japan, Palgrave Studies in the History of Science and Technology, https://doi.org/10.1007/978-3-030-47198-9 254 INDEX B Compton, Karl T., 13, 14 Baker, Frances, 3, 4, 13, 21–24, 31, Conference on the Peaceful Uses of 33, 45, 49, 51, 82, 246 Atomic Energy, 184 The Beast
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    VHD Index - 02 9/29/04 4:43 PM Page 715 Alternative Titles Index While it's true that we couldn't include every Asian cult flick in this slim little vol- ume—heck, there's dozens being dug out of vaults and slapped onto video as you read this—the one you're looking for just might be in here under a title you didn't know about. Most of these films have been released under more than one title, and while we've done our best to use the one that's most likely to be familiar, that doesn't guarantee you aren't trying to find Crippled Avengers and don't know we've got it as The Return of the 5 Deadly Venoms. And so, we've gathered as many alternative titles as we can find, including their original language title(s), and arranged them in alphabetical order in this index to help you out. Remember, English language articles ("a", "an", "the") are ignored in the sort, but foreign articles are NOT ignored. Hey, my Japanese is a little rusty, and some languages just don't have articles. A Fei Zheng Chuan Aau Chin Adventure of Gargan- Ai Shang Wo Ba An Zhan See Days of Being Wild See Running out of tuas See Gimme Gimme See Running out of (1990) Time (1999) See War of the Gargan- (2001) Time (1999) tuas (1966) A Foo Aau Chin 2 Ai Yu Cheng An Zhan 2 See A Fighter’s Blues See Running out of Adventure of Shaolin See A War Named See Running out of (2000) Time 2 (2001) See Five Elements of Desire (2000) Time 2 (2001) Kung Fu (1978) A Gai Waak Ang Kwong Ang Aau Dut Air Battle of the Big See Project A (1983) Kwong Ying Ji Dut See The Longest Nite The Adventures of Cha- Monsters: Gamera vs.
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    Cyclopaedia 18 – Kaiju By T.R. Knight (InnRoads Ministries * Article Series) Overview Who are the biggest of the Kaijū derives from the Japanese for "strange big? beast" but in more common vernacular these are giant monster stories. Giant monsters Some debate which are the greatest of the attacking cities (especially Tokyo), the Kaiju. The top quartet are easy to choose military defending the city, giant monsters (Gamera, Godzilla, King Kong, and Mothra). fighting each other, and secret societies or The most commonly discussed and with the aliens betting involved. These were all most screen time include… trademarks of the kaiju genre. • Destroyah Gojira (translated as Godzilla in the US) • Gamera receives credit for being the first ever kaiju • Godzilla film. Released in 1954, it is considered the • King Ghidorah first kaiju film but it is not the first giant • King Kong monster movie. King Kong and The Beast • MechaGodzilla from 20,000 Fathoms were hits in the US and • Mothra Japan, so Gojira was the Japanese cinematic • Rodan response to those popular films. Tomoyuki Tanaka of Toho Studios combined the Following are sources of information Hollywood giant monster concept with the pertaining to Kaiju to assist prospective growing fear of atomic weapons in Japan. game masters, game designers, writers, and The movie was a huge success in Japan, storytellers in knowing where to start their spawning the kaiju movie genre. The movie research. was so popular in Japan it was brought to the US as Godzilla, King of Monsters. Articles In the US, the Create Double Feature matinee and Mystery Science Theater 3000 developed Godzilla: why the Japanese original is no a massive following for these kaiju movies joke from Japan.
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    Sorted by film Title - (See below for sorted by disc name). 10_000 BC (2008) Mixed Films S015 100% Wolf-2020 Mixed Films S250 10x10 2018 Mixed Films S173 12 Angry Men 1957 Mixed Films S112 12 Strong 2018 Mixed Films S175 12 Years A Slave 2013 Mixed Films S116 13 Sins 2014 Mixed Films S089 14 Cameras 2018 Mixed Films S181 20 Million Miles To Earth 1957 Mixed Films S059 20_000 Leagues Under the Sea (1916) Mixed Films S021 20_000 Leagues Under the Sea (1954) Mixed Films S021 2001 A Space Odyssey 1968 Mixed Films S004 2001 A Space Travesty (2000) Mixed Films S033 2010 The Year We Make Contact 1984 Mixed Films S004 21 2008 Mixed Films S005 22 Chaser (2018) Mixed Films S197 22 July 2018.mkv Mixed Films S188 27 Gone Too Soon (2018).mkv Mixed Films S194 3 Idiots 2009 Mixed Films S116 30_000 Leagues Under the Sea (2007) Mixed Films S021 4d Man - 1959 Mixed Films S009 7 Days In Entebbe 2018 Mixed Films S177 7 Faces of Dr Lao (1964) Mixed Films S041 8Man (1994) Mixed Films S041 99 Homes 2014 Mixed Films S094 A Beautiful Mind 2001 Mixed Films S112 A Boy and His Dog (1975) Mixed Films S041 A Boy Named Charlie Brown 1969 Mixed Films S099 A Caribbean Dream (2016) Mixed Films S197 A Charlie Brown Christmas 1965 Mixed Films S099 A Charlie Brown Thanksgiving 1973 Mixed Films S099 A Christmas Carol 1999 Mixed Films S100 A Christmas Carol 2009 Mixed Films S100 A Clockwork Orange 1971 Mixed Films S116 A Fancy Piece of Homicide (2017) Mixed Films S197 A Fish Called Wanda Mixed Films S086 A Fistful Of Lead 2018.mkv Mixed Films S193 A Good Day To Die Hard Extended
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  • Der Japanische Monsterfilm (Daikaijū -, Kaijū -, Daimajin - Und Kaijin Eiga) – Filmographie Und Bibliographie Von Ludger Kaczmarek & Hans J
    Repositorium für die Medienwissenschaft Ludger Kaczmarek; Hans Jürgen Wulff Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga). Filmographie und Bibliographie 2018 https://doi.org/10.25969/mediarep/12780 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Kaczmarek, Ludger; Wulff, Hans Jürgen: Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga). Filmographie und Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2018 (Medienwissenschaft: Berichte und Papiere 147). DOI: https://doi.org/10.25969/mediarep/12780. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0147_18.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 147, 2018: Japanischer Monsterfilm Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek u. Hans J. Wulf. ISSN 1613-7477. URL: htp://berichte.derwulf.de/0147_18.pdf. Letzte Änderung: 25.09.2018. Der japanische Monsterfilm (daikaijū -, kaijū -, daimajin - und kaijin eiga) – Filmographie und Bibliographie von Ludger Kaczmarek & Hans J. Wulf Inhalt: 1. Vom Horror zum Trash – der japanische Monsterflm / Oliver Miller [1] 1.1 Die Wurzeln des Monsterflms [1] 1.2 Der Ursprung des japanischen Monsterflms: oodzilla [2] 1.3 Die Monster sind los – auf dem Weg in die Kommerzialisierung [3] 1.4 Der japanische Monsterflm als eigenstänndiges oenre [4] 1.5 Die Rückkehr oodzillas und ein Blick in die ZukunF [4] 1.6 Fazit [5] Anmerkungen [5] 2.
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    In This Issue: Fairyland’s new Album Warp 11 Shadowless Sword Kwaidan Vampire Gigolo Basilisk Anime and... Contents: ∏Godzilla: Final Wars Page 3 ≥Fairyland Page 17 æBasilisk Anime Page 13 ∑ Shadowless Sword ∏Kawaidan Page 8 Page 21 ØWarp 11 Vampire Host Page 24 æ Page 27 Godzilla: Final Wars that the Japanese suitmation is better, the real Godzilla was performed (Gojira: Fainaru Uozu) by an actor in costume. Japan 2004 When the two finally battle it out, ‘Zilla is quickly dispatched, Directed by Ryuhei Kitamura almost as an afterthought. The evil alien overlord who is controlling all the monsters on Earth, except for Celebrating the 50th anniversary of the Godzilla of course, remarks that he never should premier kaiju franchise, Godzilla: Final Wars is have put his faith in that “tuna-eating” both a tribute to the history of the series and disappointment. an answer to the horrible American movie There’s also a lame scene set in New York carrying the Godzilla name. City just before Rodan destroys it that plays Toho Studios was not pleased with on Japanese stereotypes of Americans. the U.S. version of Godzilla, nor were None of the other international cities most Godzilla fans, and Final Wars is that are wasted during the film, such clearly an attempt to bring the big guy as Paris and Shanghai, receive this home, even more so than Godzilla 2000 and treatment. the other post-U.S. Godzilla movies. There are In addition to taking shots at the U.S. a number of pot shots at the U.S.
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  • Reply Comment on Anticircumvention Rulemaking--Arromdee
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  • Godzilla's Body: Reviving Memories …
    GODZILLA'S BODY: REVIVING MEMORIES … UDC 316.723(520) GODZILLA'S BODY: REVIVING MEMORIES THROUGH COLLECTIVE FLESH Ana Dosen Singidunum University, Belgrade, Serbia Abstract: Through Merleau-Ponty’s philosophy of the Today, in a year celebrating the 60th anniversary body, this paper explores the one of the most of the original Godzilla by Ishiro Honda, famous recognizable characters of Japanese pop culture – Japanese pop culture symbol re-emerges from the Godzilla. Born in specific historical conditions of the silver screen in its second Hollywood blockbuster film postwar Japan, Godzilla stands as a cinematic behemoth which has been countlessly (re)generated ever since, version. Over the last six decades, Godzilla appeared in both domestically and internationally. In Godzilla total of 30 films, positioning itself as the most narrative, Merleau-Ponty’s statement that „I am my prominent monster character in the world of cinema. Body“ can be extended to „we are other’s Body“ by Through three Japanese eras of Godzilla series – transcending Japanese collective entity into its Showa (1954-1975), Hesei (1984-1995) and Shinsei monstrous embodiment. Positioning Godzilla’s body as a (1999-2004) and two American films, Godzilla’s site of remembrance, a walking monument, the identity shifts from terrifying invading force meant to memories of nuclear attack and fallen soldiers in South Seas battle become alive. Variety of those memories in reflect on a national trauma, morphing to a benevolent flesh is followed by abundant Godzilla filmography protector of Japan from foreign intruders, and then which can be understood by Deleuze’s argument „that into a global phenomenon preying on the western each multiplicity is already composed of heterogeneous audience.
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