Japanese kaiju eiga

Japanese kaiju eiga
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~ Junko “Yoka” Nakanishi, Mosura tai Gojira (1964)!
Japanese kaiju eiga
!  The decade of the 1950’s is considered the Golden Age of Japanese cinema.!
!  Filmmakers during this period address the social and cultural conditions
of postwar Japan, its subsequent American occupation, and the
devastation it suffered during the nuclear attacks.!
Akira Kurosawa’s Rashômon (1950) and Shichinin no Samurai (1954)
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!  Jidai-geki films are period dramas that depict samurai heroes struggling
against feudalism and militarism.!
!  Gendai-geki films depict modern, middle-class families, and promote
themes of humanism and democracy.!
Japanese kaiju eiga
!  The decade of the 1950’s is considered the Golden Age of Japanese cinema.!
!  Filmmakers during this period address the social and cultural conditions
of postwar Japan, its subsequent American occupation, and the
devastation it suffered during the nuclear attacks.!
Selflessness in Muhomatsu no issho (1958)
!
Generational conflict in Tôkyô monogatari (1953)
!
!  Jidai-geki films are period dramas that depict samurai heroes struggling
against feudalism and militarism.!
!  Gendai-geki films depict modern, middle-class families, and promote
themes of humanism and democracy.!
Japanese kaiju eiga
!  The Kaiju eiga (literally monster film) also emerges in the 1950’s,
highlighting creatures that attack major Japanese cities, or
engage with other kaiju in battle.!
Ghidorah spewing lightning bolts in San daikaiju chikyu saidai no kessen (1964)
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!  Kaiju are typically large, excessively powerful monsters modeled
after animals, insects, or mythological creatures. !
!  They often possess mystical abilities like emitting heat rays,
supersonic flight, shape-shifting, or telepathy.!
Japanese kaiju eiga
!  Kaiju are most often brought to life as a consequence of human
negligence (nuclear radiation, environmental pollution, etc.).!
Radiation in Sora no Daikaijū Radon (1956)
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Special effects in Daikaijū Gamera (1965)
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!  Suitmation effects employ actors in rubber suits fashioned to
look like monsters or creatures. !
!  The effect is often less “realistic” than Hollywood standards,
however, cinematic realism is not the purpose. Japanese art
forms value poetry and fantasy above realism. !
Japanese kaiju eiga
!  Many of the aesthetic “hallmarks” of kaiju eiga that inspire
laughter (dubbing, scratchy stock footage, illogical plot points,
exaggerated performances), were actually alterations added by
Hollywood distributors in an effort to appeal to American
audiences.!
Re-editing Gojira no Gyakushu (1955)
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English dubbing in Mosura (1961)
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!  This has led to the common perspective in the West that kaiju
eiga have little cultural value, and represent the worst aspects of
commercial and technical filmmaking. !
Japanese kaiju eiga
!  A critical examination of kaiju eiga can produce a number of
possible interpretations. In the context of postwar Japanese culture,
however, two prevailing theories emerge:!
Oodaku in Kingu Kongu tai Gojira (1962)
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Wreaking havoc in Uchû daikaijû Girara (1967)
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1) Nuclear War – Still fresh in the Japanese consciousness, Kaiju are!
representations of the atomic bombs dropped on Hiroshima and !
Nagasaki.!
2) Animism - Kaiju are representations of natural disasters (tsunamis, !
earthquakes, storms, etc.), made manifest by the effects of !
modernization, and Japan’s growing disconnect with nature.!
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Japanese kaiju eiga
Gojira!
Directed by !
Ishirô Honda!
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Written by !
Ishirô Honda &!
Takeo Murata!
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Toho Eiga, !
(1954) 96 mins.!
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