King Kong Vs Godzilla Analysis

Honda, by the use of metaphors, was able to depict Godzilla as a representation of traditional Japanese culture. When the audience was first exposed to Godzilla, the scene showed it emerging from its frozen sarcophagus. By introducing Godzilla in this fashion, Honda was able to allude to the idea of connecting tradition with Godzilla’s prehistoric background as one connecting factor in symbolizing traditional culture. Furthermore, when Dr. Johnson was describing size different between Godzilla’s and King Kong’s brain, the idea that Godzilla had a brain the size of a walnut can mirror the mentality of traditional Japanese culture. When observing traditional Japanese culture, one can say that they were narrow mind in regards to change as they stuck to a certain cultural

Asma states, "Monsters can stand as symbols of human vulnerability and crisis, and as such they play imaginative foils for thinking about our own responses to menace.” This means that human weaknesses and fears are represented through monstrous figures, and these fictional situations provide perspective into how we react in fearful environments. In our current society we fear many things, including but not limited to failed or corrupt governmental systems, the afterlife, the unknown, and captivity, which makes this claim valid. Although we may not realize it, these fears are embodied by the horror monsters we see in popular culture. Society shares common fears, and often times the most prevailing fear is reflected in the most popular characters at any given time. Monsters are the fictional representations of society’s dark subconscious, exploring not only why the author’s statement is accurate but what we actually fear.

Many timeless novels have impacts on our everyday culture, not only as a book, but also through music or movies. Many popular novels have multiple adaptations, which shape how we approach their interpretation, in ways we may never even notice. In some films, humans are depicted as monsters, whether through their actions, or through the thoughts of other beings. In these films we find issues with our own society, and in turn see ourselves as monsters, and look for ways we can change, for the better. One particular novel that influences this side of Hollywood is Mary Shelley's “Frankenstein”. The ways Frankenstein influences pop culture can be seen in science fiction films in which humans are depicted as monster, and “monsters” are seen as

Aesthetics help contribute to make a movie more enjoyable. Breaking it down, there are a few types of aesthetics that can be observed, including formalist and realistic aesthetics. The film The King of Kong: Fistful of Quarters uses realistic aesthetics, such as on camera interview, Text/data on screen, real mise-en-scene, and existing footage to make up the movie. On the other hand. Wreck-It Ralph uses formalist aesthetics like expressive mise-en-scene and expressive editing throughout the film.

A little girl screams in fear for her parents as she envisions a green, three-eyed monster lurking under her bed, waiting to get her until she finally closes her eyes. A little boy scares fellow trick-or-treaters as he’s dressed as a vampire for Halloween brandishing his pointy teeth with blood dripping out of his mouth. Both of these examples of monsters focus on the physicality of a creature and undermine the weight which the word ‘monster’ actually carries. In Shakespeare’s play, The Tempest, and in Mary Shelley’s novel, Frankenstein, there are characters that perfectly fit the description of a tangible monster. However, monsters are more than their somatic features. Monsters are created within based on circumstances, decisions that are

myth on Frankenstein, and what does the influence mean for us as readers and scholars of

Greek Mythology has influenced many “monsters” we reference in various works of current literature. Anywhere from 3 headed dogs to women with snakes for locks of hair, all of these deformed common things originated from Mythology. Not only do we still reference the monsters themselves in all forms of art today but also we implement the qualities the monsters posses unto characters in our stories.

Godzilla is a well-known monster movie franchise, built on a foundation of large-scale battles and destruction. Godzilla himself is a force of nature that restores balance to the world, whenever it is in danger. His appearance is usually depicted as a giant pre-historic creature with rough scales, a long tail, and large dorsal plates along his spine. From film to film his appearance may vary but this is the general basis of his core character design.

Kong was conceived by director/producer Merian C. Cooper. Cooper tells the story of an attractive blonde woman and a frightening gigantic ape-monster who are immersed in a Beauty and the Beast type tale. A major section of the film is the struggle on Skull Island between the filmmakers, the islanders, and the other resident of the island. The other resident being a mutant creature who must also fight civilization when it is brought to New York City for display. From the beginning of the movie, its screenplay by James Creelman and Ruth Rose foretells the coming terror. The film

Godzilla versus Auroran Yellowknife Bay in December holds houseboats like fossils in rock encircled with Old Town’s candlelight my snowmobile chortles impatient beneath me, its grinding engine-heart immunizing it to the cold infiltrating my parka this is our fifth ride this winter, the fifth time we’ve fled basement Halo sessions excavating carts from Wal-Mart’s parking lot this cinder-block city sleeps no matter the toil in its frosted veins. Maybe one day the ice on the bay will part black blood fountaining, cleaved by a jagged fin on its path to the city each building trembles in rhythm everyone piles out into the ice fog to see a leviathan looming over downtown, wreathed in burning 50th Street serrated back shredding the skyline the trunk

In J.P Telotte’s critical article of the 1933 version of King Kong, “The Movies as Monsters: Seeing in King Kong”, he explores the purpose of the film King Kong. He came to the conclusion that the film “forces us to refocus our vision, to shift our perceptions, and in the process hints of a reflexive impulse at work” (4). Telotte sees the film as being representational of our own greed and sexuality and being a way for society to see itself. He claims that our desire to see is driven by what he calls an “imperative to seeing” (5), and this is our crave to see things we are not supposed to. Telotte’s argument about the 1933 version of King Kong is seen through the characters decisions and dialogue, but his argument that King Kong is about

The movie "Gojira" in 1954 reflects monstrosity in the history of mid 20 century. The appearance of the dinosaur age animal in Japan bring different perspective view through psychoanalysis to different groups of people. This film also read as a national allegory for Japanese, war trauma and the revenge of nature.

For the film, 74 different Kong were created, they were all alike, their only difference being in their size. The largest Kong was 50 ft. tall, its face alone, from chin to hair line, was 7 ft. tall. The biggest Kong was only seen fully assembled once during the film and that was at the end after being after being shot down by aeroplanes. Sometimes multiple Kongs had to be used in the one sequence.

“I wanted to make radiation, visible” as a result the bomb became the beast. (Brothers, pg1). Metaphors in Cinema exist to help the public cope with societal problems such as death and fear of some kind. There is one monster in particular Godzilla, who was created through fear of an already existing threat atomic bombs. Godzilla a product of Japan, was used as a coping mechanism for their fear of the atomic bombs. Japan was the only country that suffered the effects of the atomic bombs. Not only did they have to cope with the fear of the nuclear bomb, but, with the effect of the bomb. Yet, the United States also needed a coping mechanism for cold war paranoia, and fear of science. Thus, the creation of “Them!” giant mutated ants that symbolized Americans fears. These films use the symbolism of destruction to show their fear and belief in the dangers of using science to make things such as nuclear weapons, and in even some occasions to show the destruction of a particular political ideal such as communism. Gigantic monsters are symbols that represent societal fear. The origins of these films is not one of entertainment, they exist to warn society and help society cope with their fears of death through events such as the atomic age. Monster films like Godzilla and big bug movies; show how humans turn their fear of death into symbolism, in monster movies. Threats and fears like nuclear bombs, atomic age, science, ideals, and war make people feel helpless, films like Godzilla

The transition from historical information to cinema is often a dangerous and controversial road, few films are able to consistently please both historians and mainstream audiences. The topic of Sino-Japanese relations and China’s anti-Japanese war is frequently explored in the medium of film. Films such as City of Life and Death, Norman Bethune: The Making of a Hero, Devils on the Doorstep, The Last Emperor, Nanking, Flowers of War and The Inn of the Sixth Happiness all seek to investigate this turbulent period in Chinese history and to reflect upon the many different perspectives involved. Although the medium of film can never accurately portray history or ever hope to achieve the detailed work of a scholarly source, it can provide an emotional understanding of some of the most chaotic periods of human history. The Second World War involved more than 100 million people from thirty different countries resulting in the deadliest conflict in human history. How can anyone make sense of that on paper other than listing the number of casualties? Film, deeply aware of its limitations has become a different form of understanding the past, capable of taking a particular event such as war and exploring universal themes. Historian Natalie Zemon Davis states that: “Historians want to chronicle what happened, to be sure, but also to explain why it happened and what difference it made…Although there is an inevitable dialogue between the past and the present, the