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Poetika Filmů S Godzillou V Letech 1954 Až 1965

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Poetika Filmů S Godzillou V Letech 1954 Až 1965 Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Bc. Daniel Krátký (magisterské prezenční studium) Flexibilita probuzené zkázy: Poetika filmů s Godzillou v letech 1954 až 1965 Magisterská diplomová práce Vedoucí práce: Mgr. Radomír D. Kokeš, Ph.D. Brno 2020 Prohlašuji, že diplomovou práci jsem vypracoval samostatně a použil jen uvedených zdrojů V Brně dne 29. července 2020 Podpis: ................................................... Daniel Krátký Děkuji Mgr. Radomíru D. Kokešovi, Ph.D, za inspirativní poznámky, nemilosrdné, ale velmi přínosné komentáře k původním verzím textu, diskuze o filmech a volnost při volbě tématu práce. Dále pak těm, kteří odpovídali na mé otázky spojené s Godzillou či poskytovali zpětnou vazbu na některé z tezí – David Milner, Mgr. Kateřina Šardická, John Berra a Ed Godziszewski. OBSAH: 1. ÚVOD ....................................................................................................................................... 6 1.1. K VÝBĚRU FILMŮ, ZÁPISU A KONTEXTU ............................................................................... 11 1.1.1. GODZILLA VERSUS TI DRUZÍ – VÝBĚR FILMŮ ................................................................. 11 1.1.2. MAPA PŘÍBĚHŮ – SYNOPSE ANALYZOVANÝCH FILMŮ ..................................................... 13 1.1.3. KONTEXT KAIJU EIGA ............................................................................................... 15 2. GODZILLA VERSUS AKADEMIE ................................................................................................. 20 2.1. SHRNUTÍ DOSAVADNÍCH PŘÍSTUPŮ ................................................................................... 20 2.2. ZÁPADNÍ POZICE........................................................................................................... 26 3. GODZILLA VERSUS VYPRÁVĚNÍ ................................................................................................ 31 3.2 GODZILLA (1954).......................................................................................................... 32 3.3 GODZILLA SE VRACÍ (1955) .............................................................................................. 37 3.4. KING KONG VERSUS GODZILLA (1962) .............................................................................. 40 3.5. MOTHRA VERSUS GODZILLA (1964) ................................................................................. 43 3.6. GHIDORAH, TŘÍHLAVÉ MONSTRUM (1964) ......................................................................... 45 3.7. GODZILLA – ÚTOK Z NEZNÁMA (1965) .............................................................................. 47 3.8. SROVNÁNÍ A FIKČNÍ SVĚTY .............................................................................................. 49 4. GODZILLA VERSUS POSTAVY ................................................................................................... 52 5. GODZILLA VERSUS POPULÁRNÍ KULTURA ................................................................................ 58 5.1. GODZILLA VERSUS AUTORSTVÍ ......................................................................................... 59 5.2. GODZILLA VERSUS WRESTLING ......................................................................................... 60 5.3. GODZILLA VERSUS DĚTSKÉ FILMY ...................................................................................... 63 6. GODZILLA VERSUS FILMOVÝ STYL ............................................................................................ 67 6.1. GODZILLA VERSUS DEKORATIVNÍ KLASICISMUS ..................................................................... 67 6.2. GODZILLA VERSUS VIZUÁLNÍ HYPERBOLA ............................................................................ 76 6.2.1. VIZUÁLNÍ HYPERBOLA JAKO NÁSTROJ INTENZIFIKACE PROSTOROVÉ KONTINUITY ................. 78 6.2.2. NÁVAZNOSTI A NEEXISTUJÍCÍ PROSTORY ...................................................................... 82 7. ZÁVĚR .................................................................................................................................... 88 8. ANGLICKÉ RESUMÉ ................................................................................................................. 89 9. BIBLIOGRAFIE A FILMOGRAFIE ................................................................................................ 91 9.1. CITOVANÁ LITERATURA .................................................................................................. 91 9.2. PŘÍSPĚVKY V PERIODIKU A DIPLOMOVÉ PRÁCE ..................................................................... 95 9.3. WEBOVÉ STRÁNKY ........................................................................................................ 97 9.4 ANALYZOVANÁ FILMOVÁ DÍLA .......................................................................................... 97 9.5 CITOVANÁ FILMOVÁ DÍLA ................................................................................................ 99 9.6. CITOVANÁ SERIÁLOVÁ DÍLA ............................................................................................ 101 5 Nemohu uvěřit tomu, že Godzilla byl poslední svého druhu. Ale pokud budou jaderné testy pokračovat, tak se v jiný den, na jiném místě, objeví Godzilla další. Kyohei Yamane, Godzilla (1954) Má kuří oka vždycky bolí, když je poblíž monstrum! Kinsaburo Furue, King Kong versus Godzilla (1962)1 1. Úvod První celovečerní Godzilla z roku 1954 je jedním z nejvlivnějších japonských filmů druhé poloviny dvacátého století, a to jak pro domácí trh, tak pro ten mezinárodní. Jeho sérii nyní tvoří více než třicet dílů, několik amerických adaptací a jedna italská.2 Ba co víc, radioaktivní dech, gigantická velikost, ale také hrubá zelenkavá kůže se staly součástí hesla s pevnou pozicí v kulturních encyklopediích diváků3 po celém světě – Godzilla! Na konkrétnější úrovni můžeme mluvit o jeho dopadu na japonskou kinematografii. Pomohl propojit vědecko-fantastický žánr s tradicí praktických triků zvanou tokusatsu,4 fenoménem, který nyní čítá stovky filmů i seriálů, přičemž další přibývají každý rok. Sem patří i tzv. kaiju eiga, japonské snímky o velkých monstrech. Pokud dočasně přistoupíme k rétorickému zjednodušení, zlatá éra – spojená s rostoucími počty takových produkcí, jejich vysokou návštěvností a posléze sledovaností na televizních obrazovkách či s prodejem do mezinárodní distribuce – se začala formovat v prvních letech s Godzillou. Ishirō Honda a Tomoyuki Tanaka, režisér a producent prvního dílu, pokračovali v natáčení těchto filmů až do poloviny sedmdesátých, a v případě Tanaky dokonce devadesátých let. Eiji Tsuburaya – režisér trikových a akčních scén Godzilly – dokonce na počátku šedesátých let založil vlastní produkční společnost, kde vytvořil několik samostatných kaiju a tokusatsu značek. Tou nejpopulárnější byl Ultraman,5 který přinesl čistý zisk několika miliard a v osmdesátých letech byl třetí nejlépe prodávanou fikční postavou 1 Přel. DK. Vědomě ve své práci překračuji citační normy a uvádím filmografické údaje v těle textu, čímž sice dochází ke zdvojení všech zápisů – totožný zápis bude pod čarou i v závěrečné filmografii –, ale usnadním tak orientaci ve velkém množství jmen, filmů, názvů i zemí, z nichž pocházejí. Godzilla (Gojira; Ishirō Honda, Japonsko, 1954); King Kong versus Godzilla (King Kong Tai Gojira; Ishirō Honda, Japonsko, 1962). 2 Za všechny jmenuji americké filmy Godzilla (Gareth Edwards, USA, 2014) či Godzilla II Král monster (Godzilla: King of the Monsters; Michael Dougherty, USA, 2019) a kultovní italský sestřih Godzilla (Luigi Cozzi, Ishirō Honda, Itálie / Japonsko, 1977) přezdívaný Cozzilla. 3 Kulturní encyklopedie tvoří diváckou „pomyslnou zásobárnu informací o skutečném světě a na její přítomnost spoléhá jakákoli osnova vyprávění a jakékoli aranžmá fikčního makrosvěta“. KOKEŠ, Radomír D. Světy na pokračování. Rozbor možností seriálového vyprávění. Praha: Akropolis, 2016, s. 23. 4 Termín označuje typy triků, které spoléhají na kaskadéry v kostýmech monster i hrdinů či budování miniatur měst, jež jsou posléze zničeny za doprovodu množství pyrotechniky. Srov. NORMA, James. "Pacific Rim" (2013). Film & History. 2014, roč. 44, č. 1 (Spring), s. 45. 5 Postava je dokonce důležitým vizuálním prvkem současných internetových stránek společnosti dodnes. Srov. Company Profile, Tsuburaya Productions. [Vid. 15. 11. 2019] Dostupné z: https://en.tsuburaya- prod.co.jp/company/ 6 v Asii.6 Série Godzillou inspirovaného červeného strážce čítá přes třicet seriálů, stejný počet filmů a vzniká dodnes. Vedle Ultramana se poměrně brzy objevily série Kamen Rider (1971– 1973)7 či Five Rangers (1975–1977), kteří se posléze stali světovým fenoménem v americké verzi Strážci vesmíru (1993–1996).8 Studio Daiei přišlo s Gamerou,9 Nikkatsu s Gappou10 a desítky dalších filmů zapojovaly obrovská monstra do ustavených – především žánrových – vývojových, tematických i narativních schémat. Pomocí monster byly ozvláštněny žánry jako historický spektákl v sérii Daimajin (1966),11 mysteriózní thriller v Ultra Q (1966)12 nebo seriál pro děti Johnny Sokko and his Flying Robot (1967–1968).13 Výčet by mohl být veden i v transmediální rovině, protože tyto příběhy pokračují ve formě komiksů, videoher nebo knih. V současné době zájem stále neupadá, streamovací platforma Netflix například představila novou animovanou trilogii Godzilla: Planet of the Monsters (2017), Godzilla: City on the Edge of Battle (2017) a Godzilla: The Planet Eater (2018) či seriál
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