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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