Godzilla

Gojira (a.k.a. Godzilla) has come a long way since its 1954 debut, spawning dozens of increasingly silly sequels and growing into one of the most recognizable franchises to date. However these ridiculous sequels have created a tendency to overlook Ishiro Honda’s “Gojira” as just another monster movie, but Gojira is much more than that. From a technical perspective, Gojira is a collaborative effort from some of Japans most renowned film makers, most notably film director Ishiro Honda and special effects

frustration and his deep longing for home. For example, the author uses the word “Los Monstruos” which translated to English, means monsters. Suarez uses this word as he talks about Godzilla to convey to the reader how he feels as an immigrant from a foreign country and to illicit sympathy. Incidentally, Godzilla was a

Standing in one corner was King Kong and in the other was Godzilla. By just looking at them they looked to be the same size, but when they began walking towards each other it was clear that King Kong was larger. This worked because the back wall was higher on one side, which made King Kong look shorter and the wall was lower on the side with Godzilla, which caused him to look taller than he was. The illusion did not stop there, one side of the wall was

Virgil Suarez’s poem, “Isla,” uses imagery and descriptive phrases for elicit sympathy to show that he is able to make a visual comparison of himself as an immigrant to Godzilla. One way Virgil Suarez uses imagery and a descriptive phrase for elicit sympathy are how he felt unwanted, exiled (Kirszner & Mandell, 2012). As a reader, the words “exiled” and “unwanted” bring out sympathy, especially for a twelve-year-old boy. This image affected me as a reader because I think of a sad, little boy alone

normal. I am partly normal it’s just I just drift off a lot. By that I mean I just start to daydream in the middle of nowhere. Like one time I was just sitting there in the middle of class and then all of a sudden the roof was ripped off by Godzilla. Then Godzilla started speaking in a high pitched woman’s voice. It sounded like my teacher,”Aiden, Aiden do your work.” That is just one example of my daydreams. It started out like any original day. I woke up to my mom telling me to get ready and I

The nuclear technology debate returns. Narrations about nuclear power in post-Fukushima Japanese and Western films The widespread debate concerning the Fukushima fallout, the future of the Japanese reactors and, last but not least, the suffering, fears and social problems the nation has to face, influenced also the Japanese cinema. The artists’ responses to the incident and its aftermath that is still being felt, resulted in the cinematic wake that happened surprisingly quickly after the catastrophe

“Frankenstein exemplified our terror of untethered science, Godzilla emerged from the atomic age, werewolves arose from panic of being preyed upon, vampires represented the loss of purity or AIDS, and zombies represent rabies or the pitfalls of consumerism” (Klosterman). In this passage we learn how each monster is associated to different fears people have faced in the past and present. Frankenstein was feared because that was

Sherman Alexie's "Superman and Me" and Julia Alvarez's "New Clothes" both explore the transformative power of education in shaping one's identity. Indian Education and A Temporary Matter both draw on the impact of societal expectations as well as cultural identities on the characters’ identities. "The Powwow at the End of the World" by Sherman Alexie and "Antiquing with Indians" by Tiffany Midge both explore the complexities of Native American identity and the impact of trauma. "The Yellow Woman"

6. Torakku Yaro (10 films, 1975-1979) Norifumi Suzuki and Bunta Sugawara have already become famous, particularly through the plethora of exploitation films they worked in. As the genre started to lose its appeal, major studios turned to romantic comedies with some elements of action. Torakku Yaro, with the first directing and the second starring, was one of the most successful. Sugawara plays Momojiro Hoshi, a truck driver who drives around Japan, along with his colleague Kinzo Matsushita. All ten

Thomas Lux’s poem A Little Tooth is not simply about a tooth, rather a child going up (Kirszner & Mandell, 2012). More specifically, it revolves around the narrator’s daughter. It quickly moves from his daughter cutting her first tooth to being on her own and the narrator being old. This is a poem that resonates with any parent, as they all feel their children have grown up too quickly. Parents reminisce and have regret about one thing or another, regardless of how involved they were. In A Little