DOCSLIB.ORG

Godzilla and the Cold War: Japanese Memory, Fear, and Anxiety in Toho Studio's Godzilla Franchise, 1954-2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Godzilla and the Cold War: Japanese Memory, Fear, and Anxiety in Toho Studio's Godzilla Franchise, 1954-2016 GODZILLA AND THE COLD WAR: JAPANESE MEMORY, FEAR, AND ANXIETY IN TOHO STUDIO'S GODZILLA FRANCHISE, 1954-2016 Daniel J. Durkin III A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Benjamin Greene © 2021 Daniel J Durkin III All Rights Reserved iii ABSTRACT Walter Grunden, Advisor This thesis investigates the numerous installments of the Godzilla film franchise, created by Toho Studios from 1954 through the present day, that contributes to the overall historiography and understanding on a post-World War II Japan. This study complicates previous scholarship on these films and Japan as a whole, which asserts that these films were primarily geared towards children and rarely offer substantive socio-political messages. By examining the numerous films of this franchise, this study demonstrates not only that there were themes reflective of Japanese memory, fear, and anxiety throughout the franchise, but that these films aim to bring about changes in society as a whole. All of these films display to some degree uncomfortable memories of the Second World War and mounting fears of the Cold War, both of which many Japanese people saw their country at the mercy of. The films captured the Japanese zeitgeist and transformed these attitudes and emotions into thematic elements, openly displaying them on screen in the hopes of involving great societal change within Japan and the international sphere. Ideas such as fears of thermonuclear devastation, worry over the spread of Communism and Communist regimes, the growth of science and technology, musings over man’s place in nature and the world and many others are openly present throughout the Godzilla franchise. The efforts of the numerous filmmakers to display these ideas and invoke societal change throughout the franchise led to many national and international policy changes towards bettering Japan’s place in a growing world. As a result, the Godzilla franchise contributes to a better understanding of the Japanese zeitgeist during and after the Cold War and how the moods and emotions of a people can be openly displayed on screen. iv For Elizabeth C. “Betsy” Beile v ACKNOWLEDGMENTS I owe a great debt to my thesis committee, Dr. Walter Grunden and Dr. Benjamin Greene, for their tireless efforts to guide me through the research and writing process for this thesis. Their feedback and guidance has shaped my academic career at Bowling Green State University, and their endless support allowed me to be part of the accelerated BA to MA program, for which I am eternally grateful. The opportunities that these two professors have provided me can never be fully repaid. I would also like to thank the entire Undergraduate and Graduate staff of the BGSU History Department that I have had the great fortune of learning with the past five years. Their invaluable assistance in aiding my research and writing has been greatly appreciated and I cannot thank the many staff members enough for their support. Additionally, I would like to thank my colleagues and fellow Historians in the Graduate program, notably Robyn Perry and Kyle Rable, for their support with my writing and their friendship. I also owe thanks to John Ruffin, who provided me with high quality images of the final script for Gojira (1954). Without his help in acquiring these images, this project could not have been completed as it were. Additionally, I would finally thank my parents, Cynthia and Daniel Durkin, Jr. Without their constant love and continued support, such a project as this could never have come to fruition and I would have never had the opportunity to pursue this topic. And lastly, although there are many friends and family that aided me in my endeavor to write this thesis, I need to give my eternal gratitude to Lily Claire Kramer for her love and patience during my writing process. vi TABLE OF CONTENTS Page INTRODUCTION….. .............................................................................................................. 1 CHAPTER ONE A POSTWAR MONSTER: GODZILLA IN THE EARLY SHŌWA PERIOD…………….. .............................................................................................................. 13 CHAPTER TWO A COLD WAR MONSTER: GODZILLA IN THE LATE SHŌWA PERIOD…………….. .............................................................................................................. 36 CHAPTER THREE A NEW WORLD MONSTER: GODZILLA IN THE HEISEI PERIOD…………….. .............................................................................................................. 78 CHAPTER FOUR A NEW MONSTER: GODZILLA IN TWENTY-FIRST CENTURY101 CHAPTER FIVE CONCLUSION ............................................................................................ 131 BIBLIOGRAPHY…… ............................................................................................................. 137 APPENDIX A. TIMELINE OF TOHO STUDIO’S GODZILLA FRANCHISE ..................... 143 vii LIST OF FIGURES Figure Page 1 Cover of final script for Gojira (1954), Toho Studios, courtesy of personal collection of John Ruffin.................................................................................................................... 16 2 Godzilla from the original Gojira (1954) attacking Tokyo........................................... 18 3 Godzilla battling the monstrous Hedorah...................................................................... 61 4 An American advertisement for Godzilla vs. Gigan (1972).......................................... 64 5 Godzilla’s new size and appearance in the 1980s.......................................................... 76 6 A Japanese advertisement for Godzilla vs. Destroyah (1995)...................................... 98 7 Godzilla’s new appearance in Godzilla 2000 (1999)..................................................... 105 8 A Japanese advertisement depicting Godzilla in its final form in Shin Godzilla (2016). ............................................................................................................................. 124 1 INTRODUCTION Resolving the Second World War by forcing a Japanese surrender, the dropping of atomic weapons on Hiroshima and Nagasaki in August of 1945 brought forth the Cold War era. While still hotly debated by contemporary historians, a highly contributing factor to the use of the atomic weapons on Japan was the desire by the United States to prevent the Soviet Union’s interference in Japan’s surrender.1 As the Soviet Union was able to dictate Nazi Germany’s surrender in Europe, thereby splitting the country between occupying forces, the United States wanted to prevent this from happening in Japan. To do so, the United States detonated two nuclear weapons over Japan, the first in Hiroshima on August 6 and the second in Nagasaki on August 8, 1945. The destructive power of the bomb brought the capitulation of Imperial Japan and an end to the Second World War.2 Despite the use of such a powerful weapon against Japan, the US formulated much of its foreign policy in Asia after World War II on a partnership with its former enemy. This was done to encourage free trade and enterprise in the previously authoritarian state and to discourage the spread of Soviet influence. Although the US government maneuvered to prevent the spread of communism throughout the postwar world, China fell to the communist forces of Mao Zedong in 1949. In an effort to rebuild the war-shattered Japanese economy and maintain a stable presence in East Asia, the US invested heavily in economic aid and recovery. The nation that brought about Japan’s ascent into the modern age beginning in 1853 found itself again assisting a similar ascent into a postwar boom.3 1 Matthew Jones, After Hiroshima: The United States, Race, and Nuclear Weapons in Asia, 1945-1965 (Cambridge: Cambridge Univ. Press, 2010), 23. 2 Andrew J. Rotter, Hiroshima: The World’s Bomb (Oxford, Oxford Univ. Press, 2008), 206-207. 3 John W. Dower, Embracing Defeat: Japan in the Wake of World War II (New York: W.W. Norton & Company, 1999), 19-22. 2 Often called Japan’s “American Interlude,” the occupation of the nation by its previous enemy and subsequent benefactor led to economic growth. This, however, was not without criticism from the Japanese people.4 The American occupation brought with it a clash of cultures and customs, and there occurred numerous tragic and violent incidents perpetrated by US service personnel. Accused of assault, theft, rape, and many other crimes, American servicemen were tried in courts martial and by their own government, not by local courts.5 This angered many Japanese people, who were frustrated at such a mismanagement of justice and judgement. Furthermore, these crimes often went unreported in Japanese and American newspapers and were buried under rules of censorship enforced in Japan by the occupier. Desiring the ability to govern themselves and break free of this occupying force, many Japanese looked towards the Americans with contempt. To combat this, future Secretary of State John Foster Dulles began to draft a peace treaty that allowed Japan to achieve democratic self-governance, while still maintaining the beneficial alliance that both nations desired.6 The treaty, which emancipated Japan from American control and allowed trade and military access to occur between the two, was enacted in 1951, restoring sovereignty to Japan and also allowing America to focus
Load more

Recommended publications
  • Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
    Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema.
    [Show full text]
  • East-West Film Journal, Volume 3, No. 2
    EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad­ uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi­ ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa­ nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9).
    [Show full text]
  • Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
    Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
    [Show full text]
  • RND Sept. 21-2010
    RaiderNet Daily G. Ray Bodley High School, Fulton, NY Volume 4, Number 109 Wednesday, April 30, 2014 Bodley musicians enjoy big weekend in Boston Boston was the place to be for many orches- Choral Teacher Mr. Nami presented the stu- spirits down on Saturday as they had the tra and chorus students at GRB from April dents in fine musical fashion. opportunity to go the New England 25-27. Seventy-four students traveled to Many patients at the hospital watched the Aquarium, have lunch at Quincy Market, Boston to perform and see the city and some entire performance while some stopped to ride on the Duck Tour, participate in a Cash of its offerings. watch for a few minutes as they passed Hunt in and around the city, and go to din- After a baggage check the night before through. From there students headed to din- ner at Fire and Ice. the trip, students and chaperones departed ner at the Hard Rock Cafe and then off to The evening ended with the group attend- from GRB at 6:30 am arriving at their hotel see The Blue Man Group, which was well ing the performance of Shear Madness, a in Boston about 12:30 pm. worth the wait. comedy, murder mystery, with actor impro- From there, students put on their concert The rainy cold weather didn’t keep student (continued on page 3) attire and headed for their performance at the Spaulding Rehabilitation Hospital, the PBIS celebration set for May 16 same hospital that aided many of injured runners and bystanders during the Boston On Friday, May 16 all of the students at G.
    [Show full text]
  • The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr.
    [Show full text]
  • LAUREN BLISS the Cinematic Body in View of the Antipodes: Philip Brophy's Body Melt As the Bad Copy
    Lauren Bliss, The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy LAUREN BLISS The Cinematic Body in View of the Antipodes: Philip Brophy’s Body Melt as the bad copy ABSTRACT Through a wide ranging study of Philip Brophy's academic and critical writings on horror cinema, this essay considers how Brophy's theory of the spectator's body is figured in his only horror feature Body Melt (1993). Body Melt is noteworthy insofar as it poorly copies a number of infamous sequences from classical horror films of the 1970s and 1980s, a form of figuration that this essay will theorise as distinctly Antipodean. Body Melt will be related as an antagonistic 'turning inside out' of the subjectivity of the horror movie spectator, which will be read in the light of both the usurped subject of semiotic film theory, and the political aesthetics of Australian exploitation cinema. Philip Brophy’s Body Melt, made in 1993, is a distinctly antipodean film: it not only copies scenes from classic horror movies such as The Hills Have Eyes (1977), Alien (1979), The Thing (1982) and Scanners (1981), it also copies the scenes badly. Such copying plays on and illuminates the ‘rules’ of horror as the toying with and preying upon the spectator’s expectation of fear. Brophy’s own theory of horror, written across a series of essays in academic and critical contexts between the 1980s and the 1990s, considers the peculiarity of the spectator’s body in the wake of the horror film. It relates that the seemingly autonomic or involuntary response of fear or suspense that horror movies induce in a viewer is troubled by the fact that both film and viewer knowingly intend this response to occur from the very beginning.
    [Show full text]
  • Toho Co., Ltd. Agenda
    License Sales Sheet October 2018 TOHO CO., LTD. AGENDA 1. About GODZILLA 2. Key Factors 3. Plan & Schedule 4. Merchandising Portfolio Appendix: TOHO at Glance 1. About GODZILLA About GODZILLA | What is GODZILLA? “Godzilla” began as a Jurassic creature evolving from sea reptile to terrestrial beast, awakened by mankind’s thermonuclear tests in the inaugural film. Over time, the franchise itself has evolved, as Godzilla and other creatures appearing in Godzilla films have become a metaphor for social commentary in the real world. The characters are no longer mere entertainment icons but embody emotions and social problems of the times. 2018 © TOHO CO., LTD. All rights reserved/ Confidential & Proprietary 4 About GODZILLA | Filmography Reigning the Kaiju realm for over half a century and prevailing strong --- With its inception in 1954, the GODZILLA movie franchise has brought more than 30 live-action feature films to the world and continues to inspire filmmakers and creators alike. Ishiro Honda’s “GODZILLA”81954), a classic monster movie that is widely regarded as a masterpiece in film, launched a character franchise that expanded over 50 years with 29 titles in total. Warner Bros. and Legendary in 2014 had reintroduced the GODZILLA character to global audience. It contributed to add millennials to GODZILLA fan base as well as regained attention from generations who were familiar with original series. In 2017, the character has made a transition into new media- animated feature. TOHO is producing an animated trilogy to be streamed in over 190 countries on NETFLIX. 2018 © TOHO CO., LTD. All rights reserved/ Confidential & Proprietary 5 Our 360° Business Film Store TV VR/AR Cable Promotion Bluray G DVD Product Exhibition Publishing Event Music 2018 © TOHO CO., LTD.
    [Show full text]
  • 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)
    [Show full text]
  • 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.
    [Show full text]
  • Godzilla: History's Greatest Monster Online
    lcGsF [Mobile pdf] Godzilla: History's Greatest Monster Online [lcGsF.ebook] Godzilla: History's Greatest Monster Pdf Free Duane Swierczynski audiobook | *ebooks | Download PDF | ePub | DOC Download Now Free Download Here Download eBook #989776 in Books 2014-04-29 2014-04-29Ingredients: Example IngredientsOriginal language:EnglishPDF # 1 10.20 x .80 x 6.60l, 1.40 #File Name: 1613779488324 pages | File size: 33.Mb Duane Swierczynski : Godzilla: History's Greatest Monster before purchasing it in order to gage whether or not it would be worth my time, and all praised Godzilla: History's Greatest Monster: 5 of 5 people found the following review helpful. Doesn't Fulfull PotentialBy Le Night Dominator"Godzilla: History's Greatest Monster" was originally published as "Godzilla" for 13 issues. This paperback volume contains all of them, and in full color (unlike the Dark Horse and Marvel Godzilla reprints). If you're a fan of the franchise and want to get into the comics, I recommend that you start elsewhere. I'm not a frequent reader of comic books, but I'll try my best to provide an insight on why this particular series didn't exactly hit the mark.First of all, the characters are largely uninteresting. We follow a group of bounty hunters as they attempt to take down Godzilla's massive friends and foes for billions of dollars. Illegally, I might add. This sounds like a fun idea on paper, but let's get down to the actual people themselves: The protagonist is a man named Boxer, who loses two young children to Godzilla and wants revenge and has a ex-wife as part of his team.
    [Show full text]
  • Ishiro Honda: a Life in Film, from Godzilla to Kurosawa by Steve Ryfle
    Ishiro Honda: A Life in Film, from Godzilla to Kurosawa by Steve Ryfle Ebook Ishiro Honda: A Life in Film, from Godzilla to Kurosawa currently available for review only, if you need complete ebook Ishiro Honda: A Life in Film, from Godzilla to Kurosawa please fill out registration form to access in our databases Download here >> Hardcover:::: 336 pages+++Publisher:::: Wesleyan University Press (October 3, 2017)+++Language:::: English+++ISBN-10:::: 0819570877+++ISBN-13:::: 978-0819570871+++Product Dimensions::::7.5 x 1.2 x 10.5 inches++++++ ISBN10 0819570877 ISBN13 978-0819570871 Download here >> Description: Ishiro Honda was arguably the most internationally successful Japanese director of his generation, with an unmatched succession of science fiction films that were commercial hits worldwide. From the atomic allegory of Godzilla and the beguiling charms of Mothra to the tragic mystery of Matango and the disaster and spectacle of Rodan, The Mysterians, King Kong vs. Godzilla, and many others, Honda’s films reflected postwar Japan’s real-life anxieties and incorporated fantastical special effects, a formula that appealed to audiences around the globe and created a popular culture phenomenon that spans generations. Now, in the first full account of this long overlooked director’s life and career, authors Steve Ryfle and Ed Godziszewski shed new light on Honda’s work and the experiences that shaped it—including his days as a reluctant Japanese soldier, witnessing the aftermath of Hiroshima, and his lifelong friendship with Akira Kurosawa. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa features close analysis of Honda’s films (including, for the first time, his rarely seen dramas, comedies, and war films) and draws on previously untapped documents and interviews to explore how creative, economic, and industrial factors impacted his career.
    [Show full text]
  • Godzilla King of the Monsters Digital Release Date
    Godzilla King Of The Monsters Digital Release Date Sig never retelling any corries zips pinnately, is Cain ventilated and sleekiest enough? Vern shent uppermost. Jonah narks his radiolarians vats effervescingly, but beforehand Westbrooke never cuittling so consequently. How the armed men enter a birthday party is being rendered inline after completing their differing interactions with a smokescreen and fresh can sleep or two monsters of land Dougherty and where they said. Movies on Amazon: The mighty Godzilla is back. The MonsterVerse Godzilla King receive the Monsters which arrives on digital on August 6th followed by a 4K Ultra HD Blu-ray and DVD release. Fantasy Stack Exchange is a question and answer site for science fiction and fantasy enthusiasts. The return of Godzilla and all of these friends is pretty amazing and pretty epic. Upon japan at least for a missing special features do have the flaming city where godzilla, the godzilla king of monsters release date for a better than just essentially parasitic twins? The loudspeakers and as he is available to ease people are an old, the godzilla king monsters release of course, they did five minor deleted. After a sympathetic character detail and then some cast and what do not supported by gravity beam from the release of godzilla the king of exploitation of hollow piece. Godzilla movie will also features, director talks about the battle royale godzilla storming various friends is the godzilla king monsters release of date of the movie fatigue with numerous swarms all shocked to your kid? Dougherty with Zach Shields. IMAX and Dolby Digital release new posters for Godzilla: King of the Monsters, just as tickets finally go on sale for the monster blockbuster.
    [Show full text]