SCREEN THOUGHT:  Volume 5, Number 1, 2021


Joey Palluconi, Damian Schofield : The Kaiju as Beholder: Finding Empathy in Godzilla

Keywords: Kaiju Eiga, Godzilla, cinema, Toho Studios

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Toho Studios created the first Godzilla film in Japan in 19541, the film was Japan’s first international movie success story, and the franchise went on to inspire multiple sequels and dozens of other radioactive monster films. The Godzilla creature was particularly successful and garnered a huge following around the world. This paper examines the history of this iconic monster and attempts to understand some of the reasons for Godzilla’s global popularity. This paper attempts to analyse and explain the multiple ways in which the audience has empathised with each of the different incarnations of Godzilla throughout the franchise’s history. This is undertaken with particular reference to the oft-seen parenting roles performed by Godzilla in many of the major franchise films.


 
Alex D'Aloia: On Da-sein and Doctor Who

Keywords: Doctor Who, Da-sein, Heidegger, time, narrative

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This paper revisits my previous publication On the Future of Narrative by addressing the concept of the future with regard to time-travel tropes and Doctor Who (2005–). It was previously demonstrated that the concept of the past is an uncharacteristically introduced theme within the concept of the future, the germ of which can be traced throughout the many adaptations of H. G. Well’s The Time Machine, and derivatives thereof—including, but not limited to, the TARDIS in Doctor Who. The characterisation of The Doctor as a Time Lord, however, blurs the lines between what is past, what is present, and what is future, as a being in time in which being constitutes an extension, or rather, an expression, of this time in being in ways that recall Martin Heidegger’s Being and Time. Indeed, “If being is to be conceived in terms of time and if the various modes and derivatives of being, in their modifications and derivations, and in fact to become intelligible through consideration of time,” according to Heidegger, “then being itself—and not only beings that are ‘in time’—is made visible in its ‘temporal’ {‘zeitlich’} character.” (p.16). The characterisation of this character, in turn, calls for a film philosophical interpretation of Doctor Who, as well as a careful re-examination of the relationship between being and time as both the MacGuffin and The Hero With a Thousand Faces.
 

Shaun Wilson: Reconsidering Place in Honda's Kaiju Eiga 1961-1969

Keywords: Kaiju Eiga, Japan, monsters, Ishiro Honda, place

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The critical readings of Honda’s Kaiju Eiga films between 1961 and 1969 are lacking in any substantial investigation into place which brings into question the neglect of place as a philosophical enquiry within Japanese screen studies. This article reflects on a gap in current research by considering how place not only has guided Honda’s films through his own personal experiences of the atomic bombings of Hiroshima and Nagasaki but further, provides a means of accessing Kaiju Eiga films of the 1960s through a place-based lens to derive at a consideration of place as being instrumental in the way that Japanese monster films reflect national trauma and collective grief.