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Full Description
From relatively humble beginnings in a King Kong-inspired Japanese studio picture, the kaij? eiga has developed into a global phenomenon. While the origins of giant kaij? the term often preferred to 'monster' remain firmly rooted in Japan, the figure has become a transnational spectacle. This book explores how kaij? went global, from the adoption of Godzilla movies in translation to the appropriation of cultural material across borders. With reference to the subgenre's global development, its exploitative western circulation and how it demonstrates shifting power bases in global cinema, the book examines how genres with deep national roots can become transnational phenomena.
Contents
Introduction: 'Every Country has a Monster'
What is the kaijū eiga?
Cult Movies
Transnational Cinema
Transnational Kaijū
Chapter 1: National Films, Transnational Monsters
Kaijū and the Japanese National Imaginary
Carl Denham's Giant Monster
The Lost World and The Beast
Kaijū emerge
Chapter 2: The First Monster Boom
Kaijū at Tōhō
Kaijū at Daiei
Kaijū at Shōchiku, Nikkatsu and Toei
Chapter 3: Exchanging monsters: Korean Kaijū
The kaijū meme
Kaijū head west
Kaijū on the Korean Peninsula
Kim Jong-Il's kaijū
Kaijū in new Korean Cinema
Chapter 4: Distributing Kaijū: Localisation and Exploitation
National Cinema: Quality and Trash
Popular Cinema to Exploitation Film
Long Live the King
Cozzilla
The Return of Steve Martin
Chapter 5: 'Paul Bunyan never fought Rodan'
Appropriation, Borrowing, Exchange
European Kaijū
Hollywood Kaijū
Kaijū Mockbusters
Kongsploitation
Chapter 6: Legendary Monsters
Legendary Entertainment
Marked/Unmarked Transnational Cinema
Pacific Rim
The Great Wall
Pacific Rim: Uprising
Into the MonsterVerse
Conclusion: The Limiting Imagination of Transnational Monsters
National Kaijū
Nostalgia and fandom
