Godzilla Vs Gojira

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My experience with Japanese films is very limited. I watched Spirited Away as a child and was terrified of the unrecognisable animation and cultural differences. Nothing resonated with me and left me feeling quite apprehensive to engage in Japanese pop culture.
I have grown up in Australia for the majority of my life, with no strong ties to any Asian influence. This disconnect to the largest continent in the world that I had now seems absurd. We are a multicultural society that relies on so many aspects of the culture and entertainment that influence our lives here.

I don’t know anything about Japanese Kaiju so my perspective is as an outsider looking into the incredibly successful Japanese genre with nothing but a potentially negative experience as a child. As I have grown up I’ve come to appreciate different cultural films and I’m intrigued to see how my autoethnographic study surrounding the film in class will shape my perspective and research.

Ishirō Honda’s 1954 monster classic ‘Gojira’, has come a very long way from its horrific creation. Hollywood has turned “Godzilla” into a pop culture phenomenon driven by commercial appeal and branding. But we are stripping it back to the original where

however just as Hollywood butchered the original, we tore it to pieces on twitter…
As a class, we were engaging in a live tweet during the screening of the film a reoccurring theme over twitter was humour.Whether or not the humour was a credible generalisation of our feelings, or if it was masked by how we have been conditioned communicate on the platform, it added a more relevant aspect for me personally because it was a bit of a tedious process to get through the whole movie in one sitting.
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However, there was a clear turning point for me in the film, where the black and white became irrelevant, you didn’t need to read the subtitles and the music became silent.
The attention to detail and artistic thought into the metaphor of the H-Bomb in Tokyo that is established throughout the whole film is so frightening and raw.
As the film progressed and we began understood the metaphors and creative layers, the live feed shifted in tone and there almost was a sense of sympathy in the room.
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#DIGC330 Twitter feed

 References:

Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview‘, Forum: Qualitative Social Research, 12:1
The attention to detail and artistic thought into the metaphors that are established throughout the whole film, is classic and isn’t done anymore.
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