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19 pages, 346 KiB

Open AccessArticle

Is Your War over Now? Nationalism, Nostalgia, and Japan’s Long Postwar from Gojira (1954) to Godzilla Minus One (2023)

by William M. Tsutsui

Humanities 2024, 13(6), 158; https://doi.org/10.3390/h13060158 - 15 Nov 2024

Viewed by 539

Abstract

This essay explores the political dynamics of the Godzilla film franchise over the past 70 years, arguing that critical and scholarly characterizations commonly oversimplify the movies’ complicated messages, which reflect the complex, often contradictory responses of Japanese filmmakers and audiences to the experiences [...] Read more.

This essay explores the political dynamics of the Godzilla film franchise over the past 70 years, arguing that critical and scholarly characterizations commonly oversimplify the movies’ complicated messages, which reflect the complex, often contradictory responses of Japanese filmmakers and audiences to the experiences of war, the atomic bombings, defeat, occupation, lasting subordination to the United States, and a seemingly endless postwar period. The analysis focuses on Honda Ishirō’s Gojira (1954), in which pacifist sentiments are tempered by depictions of military weaponry and patriotic pride, and Yamazaki Takashi’s Godzilla Minus One (2023), where ahistorical narratives, misty-eyed nostalgia, and ultranationalist tropes co-exist with strong anti-authoritarian and anti-establishment themes. By contextualizing these two films within the contested history of early postwar Japan and the polarized politics of the early twenty-first century, this essay suggests that the Godzilla series has shown remarkable continuities over time and has captured the profound ambivalence with which the Japanese people have negotiated memory, nationalism, and the charged relationship between Japan and the United States since the end of World War II. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

26 pages, 351 KiB

Open AccessArticle

The Five Serizawas and the Practice of Sacrifice: Reframing the Stereotypes of Scientists in Godzilla Media

by Rachel L. Carazo

Humanities 2024, 13(6), 156; https://doi.org/10.3390/h13060156 - 11 Nov 2024

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Abstract

With the growing popularity of Godzilla and kaijū media, scholarship on these topics is also increasing. While science themes (i.e., nuclearism, genetics, and environmentalism) are regular aspects of these publications, a research gap on the scientists themselves exists. Therefore, this article focuses on [...] Read more.

With the growing popularity of Godzilla and kaijū media, scholarship on these topics is also increasing. While science themes (i.e., nuclearism, genetics, and environmentalism) are regular aspects of these publications, a research gap on the scientists themselves exists. Therefore, this article focuses on the five Serizawas (Daisuke, Eiji, Ishirō, Ren, and Shigeru) of Godzilla media (namely films, novelizations, and a webtoon) to examine their significance. Haynes’ six scientist stereotypes and Frayling’s considerations of how scientists are disconnected from laypeople provide frameworks for the analysis. Yet the complexities of the Serizawas ultimately suggest that interpreting them through a lens of sacrifice (of their families, loves, creations, and lives) provides a more solid thread by which to understand these men and their utilization of what can be deemed ‘Godzilla science’—a method to (re)assert the natural order of the world on (and in) which humans and kaijū must learn to live. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

11 pages, 278 KiB

Open AccessArticle

Shattering Reality: Monsters from the Multiverse

by Kristine Larsen

Humanities 2024, 13(6), 148; https://doi.org/10.3390/h13060148 - 29 Oct 2024

Viewed by 385

Abstract

Kaijū media frequently features dangerous scientific experiments as a central theme, invented by scientists who are falsely convinced that they both completely understand and control their advanced technology. In the past few decades, this has included the introduction of high-energy physics (HEP) experiments—especially [...] Read more.

Kaijū media frequently features dangerous scientific experiments as a central theme, invented by scientists who are falsely convinced that they both completely understand and control their advanced technology. In the past few decades, this has included the introduction of high-energy physics (HEP) experiments—especially mammoth particle accelerators—that, among other destructive results, allow for the entrance of equally large and dangerous creatures into our world from parallel dimensions. Public concerns voiced about the safety of the creation of two groundbreaking energy accelerators—the Relativistic Heavy Ion Collider (RHIC) in New York and the Large Hadron Collider (LHC) in Europe—in the early 21st century are tied to related science fiction media that capitalize on such fears (including Godzilla vs. Megaguirus [2000], Pacific Rim [2013], The Cloverfield Paradox [2018], The Kaiju Preservation Society [2022]). Particular attention is paid to the Netflix original series Stranger Things (2016–) as a detailed case study. This study concludes with an analysis of scientists’ attempts to embrace the popularity of Stranger Things in their communication with the general public, and suggests that ongoing issues with conspiracy theories have been fueled in part by such attempts, coupled with long-standing issues with the HEP community and their peculiar scientific naming conventions. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

23 pages, 415 KiB

Open AccessArticle

Godzilla at 70: Time for Kaijū Studies

by Steven Rawle

Humanities 2024, 13(6), 145; https://doi.org/10.3390/h13060145 - 26 Oct 2024

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Abstract

This article contextualises the history of kaijū scholarship and looks particularly at the swell of publishing that has emerged in the last decade. It argues that the release of a series of new Godzilla films has led to a greater focus on the [...] Read more.

This article contextualises the history of kaijū scholarship and looks particularly at the swell of publishing that has emerged in the last decade. It argues that the release of a series of new Godzilla films has led to a greater focus on the kaijū film, but that there is recurrence of critical themes that have persisted throughout scholarship on giant monster movies since the 1960s. This provides a literature review to understand how kaijū media has been critiqued, defined and challenged in response to the near three-quarter century history of kaijū cinema to consider if studies of the kaijū media provide the impetus to look at the kaijū as deserving of its own field of study. If zombie studies and vampire studies can occupy their own emerging fields of study, why not the kaijū? If the figure of the kaijū asks the biggest questions of our cultures, then do the giant monsters not deserve their own field? But, if this is an emerging field of study, the article poses, it needs to be more than kaijū film studies. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

12 pages, 14405 KiB

Open AccessArticle

Mediating Monstrosity: The Threat of the (In)Visible in the MonsterVerse

by Linda Kopitz

Humanities 2024, 13(6), 142; https://doi.org/10.3390/h13060142 - 22 Oct 2024

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Abstract

Drawing on Susan Sontag’s understanding of the anxieties about contemporary existence lurking beneath the surface of science fiction films, this article argues that the focus on media monitoring, mapping and materializing the giant monster in the MonsterVerse functions as a negotiation of the [...] Read more.

Drawing on Susan Sontag’s understanding of the anxieties about contemporary existence lurking beneath the surface of science fiction films, this article argues that the focus on media monitoring, mapping and materializing the giant monster in the MonsterVerse functions as a negotiation of the limits of visibility of catastrophe. Hiding, waiting, lurking underneath the surface in the “Hollow Earth”, the giant monsters are—paradoxically—invisible and hypervisible, absent and present at the same time. Throughout and across the films and series in the narrative universe, media in the MonsterVerse are charged with “proving” the threat of the (in)visible, while at the same time challenging mediated registers of truth and trustability. Making the monster is simultaneously presented as the promise and problem of technological mediation. With the emphasis on flashbacks to different time periods—including the 1940s in Kong: Skull Island (2017), the 1950s in Monarch: Legacy of Monsters (2023) and the 1990s in Godzilla (2014)—this not only appears to be about the mediatization of the monsters but rather their analogization. Captured in hand-drawn maps, grainy images and static sound recordings, proving the existence of the monstrous threat becomes a question of materiality as well. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

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9 pages, 219 KiB

Open AccessArticle

Hybrid: Reading Godzilla Through Posthumanism

by Fernando Gabriel Pagnoni Berns, Emiliano Aguilar and Jorge Eduardo Traversa

Humanities 2024, 13(5), 139; https://doi.org/10.3390/h13050139 - 21 Oct 2024

Viewed by 909

Abstract

This essay proposes to read the classic cycle of Godzilla films (roughly, 1954–1995) using a posthuman perspective that makes its emphasis on animal, vegetal and mineral life. We will use posthuman and materialist philosophy to analyze hybrid monsters as part of new interdisciplinary [...] Read more.

This essay proposes to read the classic cycle of Godzilla films (roughly, 1954–1995) using a posthuman perspective that makes its emphasis on animal, vegetal and mineral life. We will use posthuman and materialist philosophy to analyze hybrid monsters as part of new interdisciplinary studies about non-human agencies and their creepy potential. As such, we want to offer the first posthumanist readings of the Godzilla franchise, in time to celebrate its 70 years of existence and, in consequence, highlight how posthumanist the series has always been. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

9 pages, 268 KiB

Open AccessArticle

Blue Öyster Cult’s “Godzilla”: An American Kaiju Anthem

by Daniel Patrick Compora

Humanities 2024, 13(5), 138; https://doi.org/10.3390/h13050138 - 21 Oct 2024

Viewed by 857

Abstract

In 1978, the American hard rock band Blue Öyster Cult released the song “Godzilla” as the first single from the fifth studio album Spectres. Despite not registering on popular charts, it would eventually evolve into an iconic song of its era. “Godzilla” [...] Read more.

In 1978, the American hard rock band Blue Öyster Cult released the song “Godzilla” as the first single from the fifth studio album Spectres. Despite not registering on popular charts, it would eventually evolve into an iconic song of its era. “Godzilla” continues to receive airplay on classic rock stations, and it remains a staple of the band’s touring performances. In 2019, a cover of the song, more than forty years after its release, made its film debut in Godzilla: King of the Monsters. Though the song is primarily a tribute to the Japanese monster from which it gets its name, “Godzilla” also reflects the nuclear fear and paranoia of the 1970s Cold War era. “Godzilla’s” cultural impact, the song’s lyrics, the Cold War context in which it was written, and its connection to the kaiju films featuring the famous monster are examined. While this is the most popular and well-known song dedicated to Godzilla, it is not the only one. Other compositions have, but they have failed to achieve the iconic status that Blue Öyster Cult’s version has attained. This song has evolved into an unofficial anthem for the great monster. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

20 pages, 48839 KiB

Open AccessArticle

Capitalizing on Animality: Monstrosity and Multispecies Relations in Jordan Peele’s Nope (2022)

by Heather King

Humanities 2024, 13(5), 136; https://doi.org/10.3390/h13050136 - 18 Oct 2024

Viewed by 1296

Abstract

One amongst many of the defining characteristics of so-called ‘late stage’ capitalism are human-animal relationships that have become acrimonious, hostile, or even monstrous in nature. A foundational premise of monster theory, and one that Jeffrey Jerome Cohen’s seminal 1996 edited collection of the [...] Read more.

One amongst many of the defining characteristics of so-called ‘late stage’ capitalism are human-animal relationships that have become acrimonious, hostile, or even monstrous in nature. A foundational premise of monster theory, and one that Jeffrey Jerome Cohen’s seminal 1996 edited collection of the same name suggests, is that the construction of the monster in popular culture is fraught with the boundaries that constitute the society that has spawned them; the monstrous body “exists only to be read” (p. 4). Bringing together the theoretical insights of the Marxist theory of reification, critical animal studies, and monster theory, this article examines the ways in which cinematic depictions of gigantic monstrosity can inform our theorizing of multispecies relationships under capitalism. Specifically, I explore how the tensions between capital and human-animal relationships serve to construct and constitute the multiform monster, Jean Jacket, in Jordan Peele’s 2022 film Nope. Through an examination of the multispecies relationalities that the film portrays, I argue that the figure of Jean Jacket is a monstrous culmination of the reified and therefore, necessarily deferred nature of human-animal relationships under capital. However, Nope’s conclusion alerts us to the radical dereifying potential of multispecies bonds of care and embodied knowledge; systems of resistance that can be forged even within our current capitalist ruins. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

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18 pages, 3689 KiB

Open AccessArticle

Evergreen Avengers: Nature and Kaijū in the Twenty-First Century

by Sean Rhoads and Brooke McCorkle Okazaki

Humanities 2024, 13(5), 133; https://doi.org/10.3390/h13050133 - 8 Oct 2024

Viewed by 735

Abstract

After a decade of dormancy following the release of Tōhō Studios’ Godzilla: Final Wars (2004), Godzilla and other kaijū burst back onto the scene with Legendary Pictures’ Godzilla (2014). Several American sequels and a television series set in Legendary’s MonsterVerse quickly followed over [...] Read more.

After a decade of dormancy following the release of Tōhō Studios’ Godzilla: Final Wars (2004), Godzilla and other kaijū burst back onto the scene with Legendary Pictures’ Godzilla (2014). Several American sequels and a television series set in Legendary’s MonsterVerse quickly followed over the next ten years. Meanwhile, Japan’s Tōhō used their radioactive creation’s global success to reignite their own films with Shin Godzilla (2016), an animated trilogy, and Godzilla Minus One (2023). Short-format media like Chibi Godzilla and Godziban also circulated thanks to streaming services. Similarly, Godzilla’s longtime competitor Gamera also emerged from hibernation in an animated series produced by Kadokawa Corporation, Gamera Rebirth (2023). But how do these new installations relate to or depart from their predecessors’ predilection to address environmental concerns? This article continues the ecocritical analysis of kaijū eiga, expanding it to the 2010s and 2020s, as a coda to our duograph Japan’s Green Monsters (2018). This article picks up where we left off, examining the recent releases from an ecocritical standpoint. This analysis reveals that today’s films remain steeped in environmental commentary, but both fragmented and updated for the new concerns of the twenty-first century. Full article

(This article belongs to the Special Issue Godzilla at 70: The Giant Monster’s Legacy in Global Popular Culture)

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