Kaiju Essays

“The most amazing thing for me is that every single person who sees a movie, not necessarily one of my movies, brings a whole set of unique experiences. Now, through careful manipulation and good storytelling, you can get everybody to clap at the same time, to hopefully laugh at the same time, and to be afraid at the same time” (“Steven Spielberg Quotes”). As the inspiration for how many films are produced, Steven Spielberg is a director, producer, and writer. Having won 3 Academy Awards, several

The Golem In 1920 the film “The Golem was released” and was named the first “monster” movie, created by Paul Wegner. This film was based on Jewish folklore legends of a clay man created by a Rabbi who possessed magic.The film was produced three times, in 1915, in 1917 and in 1920, the 1920 version is the only one that survived. The term “Golem” is used to name a creature that is dense and easily manipulated. They are usually made from materials like clay, sand or stone. The most modern example of

characteristics closest to Mako. Mako shows a vivid range of emotions and also has a traumatic experience that prevents her from piloting her Jaeger when she flashbacks to her younger self being attacked by a Kaiju. Kaiju and Angels both come in a new and diverse form each time. The Kaiju from Pacific Rim have blue colored blood. The Angels from Neon Genesis Evangelion can be identified before coming into physical combat, and with a simple scan. If the monitor reads “Blood Pattern Type: Blue”,

the person who popularized the word yokai after World War II, there are four types of yokai namely Kaiju, Henge, Yurei and Choshizen. The kaiju are the monsters in the Japanese Folklore. From its Kanji radicals, "kai"(mysterious) and "ju" (beast), it can best be translated as mysterious beast. These creatures are the animals or insects with mysterious and magical powers. One representation of a kaiju in the modern context is Godzilla. Godzilla is often portrayed as a violent monster that cause havoc

GODZILLA: THE PLANET OF THE MONSTERS Godzilla has been one of the greatest works of Japanese culture creating 37 films so far letting us see the magnificence that can have a work, being one of the first franchises to leave Japan after the Second World War. I would dare to say that it was the work that allowed Japan to resurface from its foundations and then become the power that it is now. Called Gojira in its original language, the Japanese, it is a fictitious monster very popular in the twentieth

One of my favorite movie genres is the kaiju film genre, which kaiju means “strange creature” or “giant monster”, that tends to have a giant monster destroying major cities and fighting the military and even other giant monsters. One of the most popular and the first kaiju films was Godzilla. Godzilla one the most iconic character in pop culture has been starred over thirty films including some American film adaptations. The most two recent films were legendary’s Godzilla (2014) and Shin Godzilla

interest in the movie. Even for a girl the film was seemingly interesting with constant action and no downtime whatsoever. The scientific film, released in 2013, is about monstrous sea creatures multiple times larger than Godzilla, known as the Kaiju, that destroy some of the largest cities of the world while taking the lives of thousands of people. Massive, almost defenseless robots known as Jaegers (German for hunter), are created and run by two pilots

Ghidorah, the Three-Headed Monster (Ishiro Honda, 1964) 1964 was the year that Toho decided to shift the kaiju genre 's focus from adults to children, stripping the films from much of their depth and largely turning them into wrestling matches among actors with monster suits. This particularly film though, remains one of the best entries in the category, particularly due to its cast that featured Takashi Shimura, who played in Akira Kurosawa 's "Ikiru" and Eiji Okada, from Hiroshi Teshigahara 's

In the article “The Devil in Disguise: Modern Monsters and their Metaphors,” Emma Louise Backe discusses the various kinds of monsters and what they symbolize or represent. The author’s target audience in this article is people who is interested in pop culture. She points out that the meaning of monsters’ changes throughout time, but she defines it as a symbol created from a cultures nightmare. Starting with Frankenstein, Backe states that the famous monster created by Mary Shelly, “represents the

The 1950s are considered the Golden Age of Japanese cinema. The aftermath of WW2 and particularly the atomic bomb, and the subsequent American Occupation left the country scarred, but filled with inspiration and eagerness to start over. As Japanese economy started to rise once more, five major studios emerged that shaped Japanese cinema. Toho, Daiei, Shochiku, Nikkatsu and Toei, hired the most gifted artist of the era and financed their movies, in a tactic that ended up in a plethora of masterpieces

According to Hall & Hall (1996), Context is defined as the information that surrounds an event and it is inextricably bound up with the meaning of that event. There are four context of communication in the interaction such as physical, cultural, social-psychological and temporal context. Physical context is the tangible or concrete environment, the room, park, or auditorium. The physical context of the interaction is happening at a briefing or meeting room, where Marshal Pentecost wanted to see Raleigh

as a flower next a gun represents peace next to war. In the movie ‘Pacific Rim’ two characters lose their shoes. Most people have not realised that this a symbolism for the fact that two people have to work together to pilot the Jaegers that kill Kaiju (who are wreaking havoc on the human race). Simultaneity is when actions are shown happening in two different locations. This gives you the idea that they are happening at the same time – which is not always true. This is also called cross-cutting

The scalar utilization of environments in Godzilla contextualizes the ideological connotations of the film and allows for comparison between humanity and Godzilla. The natural environment of people is represented on-screen by miniatures of buildings used to constitute a city. This environment is characterized by tall, thin structures (e.g. skyscrapers) and wind (almost every establishing shot of an inhabited landscape is accompanied by a flag or treetop billowing in the wind), making the city seem

For as long as man has known fear, lusus naturae have terrorized our imaginations: some entirely legendary; others based on bigoted knowledge. Folklore of many ancient beasts, for instance dragons, have lasted generations. Indeed we know devils do not exist, but they serve purposes other than scaring; they educate. From monumental leviathans, such as Ishirō Honda’s Godzilla, who informs of fissionable threats, or Ray Bradbury’s plesiosaurus, who gives a window en route lonely minds, to insentient