In Godzilla’s® Footsteps: Japanese Pop Culture Icons on the by William M. Tsutsui
By William M. Tsutsui
These essays ponder the Godzilla movies and the way they formed and encouraged postwar eastern tradition, in addition to the globalization of jap popular culture icons. There are contributions from movie reports, Anthropology, background, Literature, Theatre and Cultural reports and from Susan Napier, Anne Allison, Christine Yano and others.
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Those essays think of the Godzilla movies and the way they formed and prompted postwar jap tradition, in addition to the globalization of jap popular culture icons. There are contributions from movie reports, Anthropology, historical past, Literature, Theatre and Cultural reports and from Susan Napier, Anne Allison, Christine Yano and others.
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Additional resources for In Godzilla’s® Footsteps: Japanese Pop Culture Icons on the Global Stage
Come on,” he said to the monster of the dream. ” He gulped it down and did not notice the harshness of the uncut liquor. “Come on,” he shouted at the monster. ” He stared around the room waiting for the monster. ” In the postwar period such a notion casts doubt on some of our most fundamental conceptions of ourselves. In our postmodern world, however, the notion of a fixed, separate identity is no longer taken for granted. Even though all of us may not yet be able to embrace Godzilla (the Other), we are at least able to listen to him when he begins to speak.
Higuchi, Guddo mpningu, Gojira, pp. 149–156. These films also come up for discussion in Peter High, The Imperial Screen (Madison: University of Wisconsin Press, 2003), pp. 382–408. I use “political theology” here to indicate an appeal to a supernatural, suprascientific spirit for the purpose of framing modernity as a process of secularization that must be reversed. I in no way mean to suggest that Shintp and Christianity are interchangeable, rather that in Hayashi and Kamei’s positions, the Shintp of the emperor cult performs a function closely analogous to that of the Catholicism of Yoshimitsu Yoshihiko and Carl Schmitt in their respective political theologies— it is explicitly appealed to as a salutory source of spirit in opposition to the modernity that their positions frame as secular.
Urusei Yatsura plays on our fears of apocalypse in a lighthearted way that is ultimately comforting, whereas Akira’s scenes of destruction may be considered cathartic, but in both cases they resonate with both Japanese and American audiences. ) My last example, from the elegiac mode, is of the world ending on a personal level—the deaths of a family at the end of World War II in Grave of the Fireflies. In this film, two children struggle to survive during the war only to die at the very end. Although in some ways a very “Japanese” film, with its strong regional details, this is one of the favorite films among American anime watchers, speaking to them in a quieter and more evocative tone than the more bombastic apocalyptic or comic works.