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Atomic Bombings of Hiroshima and Nagasaki and Science Fiction

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Argumentative Synthesis Between Ryfle and Sontag Many differences can be seen between Steve Ryfle’s article “Godzilla’s Footprint” and Susan Sontag’s well known 1965 article “Imagination of Disaster” as Ryfle talks about the Japanese’s imagination perspective while Sontag talks about the American imagination perspective of there view points on science fiction films. Furthermore, Ryfle takes an intensive approach toward Godzilla has he provides evidence that advances his argument with the help of Susan Napier’s article “Panic Sites” where she demonstrated key points toward Japanese science fiction films and relate to Ryfle’s point of view. Whereas the famous Feminist write of the 1950’s and 60’s, Sontag disagrees with Ryfle on his idea and …show more content…

Many Japanese viewers went and watched the movie, leaving the theatre in tears due to the scenes relating so vividly to the events that occurred. One such occurrence included the lucky dragon incident, which involved a tuna trawler that trekked dangerously close to an H-bomb test site, resulting in radiation poisoning to the crew members. Along with this imagery, a still illustration of Hiroshima and Nagasaki in ashes after being hit by Godzilla symbolizes the attack of atomic bombs by the Americans. This visual resembles how both cities looked after they had been attacked by the atomic bombs. After the successful release of the film, Japanese critics accused the directors of cashing in on national hysteria, and thus were not pleased. To support Ryfle’s argument, Susan Napier partially agrees with what Ryfle has to say in her article, “Panic Sites,” by stating that “the notion of disaster is of course not the only theme in Japanese science fiction” (Napier 330)—meaning that the aesthetic concentration of disaster is not always praising the special effects but moreover looking at the effects of disaster. Furthermore, she states, “The film offered its immediate post war Japanese audience an experience that was both cathartic and compensatory, allowing them to rewrite or at least to re-imagine their wartime experience” (Napier 330). They both conclude that certain science fiction movies have intensive dramatics as well as something important to

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