A Critical History And Filmography Of Toho S Godzilla Series
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A Critical History and Filmography of Toho's Godzilla Series by David Kalat Pdf
Examines over two dozen Godzilla movies made between 1933 and 1995, emphasizing the cultural differences underlying the changes US distributors have made in the Japanese films. Provides exhaustive data for both versions of each, along with plot synopses, casts, credits, and detailed production notes. Also discusses the various political and social subtexts of the films. No illustrations. c. Book News Inc.
A Critical History and Filmography of Toho's Godzilla Series, 2D Ed. by David Kalat Pdf
"This new edition is a thoroughly updated and revised critical account of the Godzilla movies focusing on how differences in American and Japanese culture underlie the discrepancies in the Japanese and American versions. For each film, there are exhaustive filmographic data for both the Japanese and American versions, including plot synopses, cast, credits, and detailed production notes"--Provided by publisher.
A Critical History and Filmography of Toho’s Godzilla Series, 2d ed. by David Kalat Pdf
This thoroughly updated and revised critical account of the Godzilla movie franchise explores the fascinating story behind Japan’s most famous movie monster and its development from black-and-white arthouse allegory to international commercial juggernaut. Reviled by critics but boasting a dedicated cult following, the films of the Godzilla franchise provide a unique window into the national identities of both Japan and the United States. This work focuses on how differences in American and Japanese culture, as well as differences in their respective film industries, underlie the discrepancies between the American and Japanese versions of the films. It features detailed filmographic data for both the American and Japanese versions of each film, including plot synopses, cast, credits, and detailed production notes.
This year, to mark the fiftieth anniversary of his first appearance on the screen, the original, uncut version of Godzilla was released in American theaters to the delight of Sci-Fi and B-Movie fans everywhere. Ever since Godzilla (or, Gojira, as he is known in Japan) crawled out of his radioactive birthplace to cut a swath of destruction through Tokyo, he has claimed a place alongside King Kong and others in the movie monster pantheon. He is the third most recognizable Japanese celebrity in the United States, and his fan base continues to grow as children today prove his enduring appeal. Now, Bill Tsutsui, a life-long fan and historian, takes a light-hearted look at the big, green, radioactive lizard, revealing how he was born and how he became a megastar. With humorous anecdotes, Godzilla on My Mind explores his lasting cultural impact on the world. This book is sure to be welcomed by pop culture enthusiasts, fans, and historians alike.
The Atomic Bomb in Japanese Cinema by Matthew Edwards Pdf
Seventy years after the nuclear attacks on Hiroshima and Nagasaki, Japan is still dealing with the effects of the bombings on the national psyche. From the Occupation Period to the present, Japanese cinema had offered a means of coming to terms with one of the most controversial events of the 20th century. From the monster movies Gojira (1954) and Mothra (1961) to experimental works like Go Shibata's NN-891102 (1999), atomic bomb imagery features in all genres of Japanese film. This collection of new essays explores the cultural aftermath of the bombings and its expression in Japanese cinema. The contributors take on a number of complex issues, including the suffering of the survivors (hibakusha), the fear of future holocausts and the danger of nuclear warfare. Exclusive interviews with Go Shibata and critically acclaimed directors Roger Spottiswoode (Hiroshima) and Steven Okazaki (White Light/Black Rain) are included.
Bigger, badder, and more durable than Hollywood's greatest action heroes, Godzilla emerged from the mushroom cloud of an H-bomb test in 1954 to trample Tokyo. More than 40 years later, he reigns as the undisputed monarch of movie monsters, with legions of fans spanning several generations and countless international boundaries.
Exploiting East Asian Cinemas by Ken Provencher,Mike Dillon Pdf
From the 1970s onward, “exploitation cinema” as a concept has circulated inside and outside of East Asian nations and cultures in terms of aesthetics and marketing. However, crucial questions about how global networks of production and circulation alter the identity of an East Asian film as “mainstream” or as “exploitation” have yet to be addressed in a comprehensive way. Exploiting East Asian Cinemas serves as the first authoritative guide to the various ways in which contemporary cinema from and about East Asia has trafficked across the somewhat-elusive line between mainstream and exploitation. Focusing on networks of circulation, distribution, and reception, this collection treats the exploitation cinemas of East Asia as mobile texts produced, consumed, and in many ways re-appropriated across national (and hemispheric) boundaries. As the processes of globalization have decoupled products from their nations of origin, transnational taste cultures have declared certain works as “art” or “trash,” regardless of how those works are received within their native locales. By charting the routes of circulation of notable films from Japan, China, and South Korea, this anthology contributes to transnationally-accepted formulations of what constitutes “East Asian exploitation cinema.”
The Supervillain Reader by Robert Moses Peaslee,Robert G. Weiner Pdf
Contributions by Jerold J. Abrams, José Alaniz, John Carey, Maurice Charney, Peter Coogan, Joe Cruz, Phillip Lamarr Cunningham, Stefan Danter, Adam Davidson-Harden, Randy Duncan, Richard Hall, Richard Heldenfels, Alberto Hermida, Víctor Hernández-Santaolalla, A. G. Holdier, Tiffany Hong, Stephen Graham Jones, Siegfried Kracauer, Naja Later, Ryan Litsey, Tara Lomax, Tony Magistrale, Matthew McEniry, Cait Mongrain, Grant Morrison, Robert Moses Peaslee, David D. Perlmutter, W. D. Phillips, Jared Poon, Duncan Prettyman, Vladimir Propp, Noriko T. Reider, Robin S. Rosenberg, Hannah Ryan, Lennart Soberon, J. Richard Stevens, Lars Stoltzfus-Brown, John N. Thompson, Dan Vena, and Robert G. Weiner The Supervillain Reader, featuring both reprinted and original essays, reveals why we are so fascinated with the villain. The obsession with the villain is not a new phenomenon, and, in fact, one finds villains who are “super” going as far back as ancient religious and mythological texts. This innovative collection brings together essays, book excerpts, and original content from a wide variety of scholars and writers, weaving a rich tapestry of thought regarding villains in all their manifestations, including film, literature, television, games, and, of course, comics and sequential art. While The Supervillain Reader focuses on the latter, it moves beyond comics to show how the vital concept of the supervillain is part of our larger consciousness. Editors Robert Moses Peaslee and Robert G. Weiner collect pieces that explore how the villain is a complex part of narratives regardless of the original source. The Joker, Lex Luthor, Harley Quinn, Darth Vader, and Magneto must be compelling, stimulating, and proactive, whereas the superhero (or protagonist) is most often reactive. Indeed, whether in comics, films, novels, religious tomes, or video games, the eternal struggle between villain and hero keeps us coming back to these stories over and over again.
Who Makes the Franchise? by Rhonda Knight,Donald Quist Pdf
Fans and the billion-dollar franchises in which they participate have together become powerful agents within popular culture. These franchises have launched avenues for fans to expand and influence the stories that they tell. This book examines those fan-driven narratives as "wilderness texts," in which fans use their platforms to create for themselves while also communicating their visions to the franchises, thus spurring innovation. The essays in this collection look at how fans intervene in the production of mass media. Scholars analyze the negotiations between fan desires for both novelty and familiarity that franchises must maintain in order to achieve critical and commercial success. Applying varying theoretical approaches to discussions of fan responses to franchises, including Star Wars, Marvel, Godzilla, Firefly, The Terminator, Star Trek, DC, and The Muppets, these essays provide insight into the ever-changing relationships between fandom and transmedia storytelling.
“An appreciation of Japanese fantasy-film history through the eyes of a filmmaker whose name is obscure but populism remains influential.” —Chicago Tribune Ishiro Honda, arguably the most internationally successful Japanese director of his generation, made 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, Honda’s films reflected postwar Japan’s anxieties and incorporated fantastical special effects, a formula that created an enduring pop culture phenomenon. Now, in the first full account of this overlooked director’s life and career, 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. The book 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. Fans of Godzilla and tokusatsu (special effects) film, and of Japanese film in general, will welcome this in-depth study of a highly influential director who occupies a uniquely important position in science fiction and fantasy cinema, as well as world cinema. “Provides the reader with a lasting sense of the man—his temperament, values, philosophies, dreams, and disappointments?behind some of cinema’s most beloved characters.” —Film Comment
Intelligent writing, intense characters, a dark sense of humor, innovative editing, and complex plots--Homicide: Life on the Street has raised the caliber of television police drama Homicide: Life on the Street is addictive television. Each week we watch to see who Detective Pembleton will spar with in "the Box," or what conspiracy theories Detective Munch will be espousing as the truth, but more than anything we tune in to see the gritty reality that makes this show the best police drama to ever grace the small screen. There aren't any car chases, rarely any shootouts, and sometimes the cases don't get solved. Instead, these detectives keep their clothes on, have a relentlessly morbid sense of humor, and catch the criminals because they have brains, not necessarily brawn. In other words, they're real. Homicide: Life on the Street, The Unofficial Companion by David P. Kalat--the first and only full-length guide to this Emmy Award-winning and three-time Peabody Award-winning television series--brilliantly captures the essence of this groundbreaking show. You'll Learn About: famed filmmaker Barry Levinson's decision to bring Homicide to television instead of making a film of David Simon's novel Homicide: A Year on the Killing Streets the behind-the-scenes anecdotes about cast regulars, including the onscreen clutches that led to offscreen romances the producers' many battles with the network suits over poor placement in the schedule, and the series' repeated trips to the land known as hiatus cast casualties--why they left or were let go the esteemed cast--including Andre Braugher, Ned Beatty, Daniel Baldwin, and Yaphet Kotto, among others--the characters they've created, and their beyond-Homicide careers season-by-season critiques of each episode Revealing, resourceful, and thoughtful, Homicide: Life on the Street, the Unofficial 0Companion is a must-have for any fan!
War as Entertainment and Contents Tourism in Japan by Takayoshi Yamamura,Philip Seaton Pdf
This book examines the phenomenon of war-related contents tourism throughout Japanese history, from conflicts described in ancient Japanese myth through to contemporary depictions of fantasy and futuristic warfare. It tackles two crucial questions: first, how does war transition from being traumatic to entertaining in the public imagination and works of popular culture; and second, how does visitation to war-related sites transition from being an act of mourning or commemorative pilgrimage into an act of devotion or fan pilgrimage? Representing the collaboration of ten expert researchers of Japanese popular culture and travel, it develops a theoretical framework for understanding war-related contents tourism and demonstrates the framework in practice via numerous short case studies across a millennium of warfare in Japan including: the tales of heroic deities in the Kojiki (Records of Ancient Matters, AD 712), the Edo poetry of Matsuo Basho, and the Pacific war through lens of popular media such as the animated film Grave of the Fireflies. This book will be of interest to researchers and students in tourism studies and cultural studies, as well as more general issues of war and peace in Japan, East Asia and beyond.
Author : J. P. Telotte Publisher : University of Texas Press Page : 217 pages File Size : 53,6 Mb Release : 2023-07-18 Category : Performing Arts ISBN : 9781477327357
Selling Science Fiction Cinema by J. P. Telotte Pdf
How science fiction films in the 1950s were marketed and helped create the broader genre itself. For Hollywood, the golden age of science fiction was also an age of anxiety. Amid rising competition, fluid audience habits, and increasing government regulation, studios of the 1950s struggled to make and sell the kinds of films that once were surefire winners. These conditions, the leading media scholar J. P. Telotte argues, catalyzed the incredible rise of science fiction. Though science fiction films had existed since the earliest days of cinema, the SF genre as a whole continued to resist easy definition through the 1950s. In grappling with this developing genre, the industry began to consider new marketing approaches that viewed films as fluid texts and audiences as ever-changing. Drawing on trade reports, film reviews, pressbooks, trailers, and other archival materials, Selling Science Fiction Cinema reconstructs studio efforts to market a promising new genre and, in the process, shows how salesmanship influenced what that genre would become. Telotte uses such films as The Thing from Another World, Forbidden Planet, and The Blob, as well as the influx of Japanese monster movies, to explore the shifting ways in which the industry reframed the SF genre to market to no-longer static audience expectations. Science fiction transformed the way Hollywood does business, just as Hollywood transformed the meaning of science fiction.
J. P. Telotte,Professor Emeritus of Film and Media Studies J P Telotte
Author : J. P. Telotte,Professor Emeritus of Film and Media Studies J P Telotte Publisher : Oxford University Press Page : 361 pages File Size : 51,8 Mb Release : 2023 Category : Science fiction films ISBN : 9780197557723
The Oxford Handbook of New Science Fiction Cinemas by J. P. Telotte,Professor Emeritus of Film and Media Studies J P Telotte Pdf
"For the contemporary film audience, science fiction has become a key locus for displaying-and imaginatively addressing-its most pressing concerns. Those concerns increasingly surface not just as displaced subjects, injected into conventional sf narratives, but as inflections in the very nature of the genre. We might describe these issues that bulk so large in our everyday world as angling into the world of science and technology, becoming a kind of slant presence in the genre, and in the process altering the thrust of our sf films and other screen media, resulting in what seems like a proliferation of sub-genre labels that mark off a substantially "new" group of sf cinemas. These cinemas challenge us to view or "read" them differently, from perspectives that are just coming into focus. Through an introductory overview and series of articles on various of these contemporary "slants" and the theories that drive them, this volume offers a guide to both what the new sf cinemas are about and how we have come to think about or "read" them differently. In the process, it also links these fragments of the constantly growing sf supertext to our changing sense of how genres function as a process, marked by consistent growth and evolution, and discussed in ways that reflect contemporary culture's own constant changes"--