Movies

Gojira, also known as Godzilla among the English speaking people, is an original Japanese production that comments extensively on the popular Japanese culture. In fact, much of the issues raised in the film, significantly resonates with the themes identical to the Japanese post war experiences such as the atomic bombing of Nagasaki and Hiroshima and the wider scope of the American role in the economic practices.
The director of this movie uses the most compelling theatrical skills to depict the awakening of some sort among the Japanese. Accordingly, Gojira succinctly defines the Japanese culture by effectively underscoring how the Japanese are able to learn from the post war experiences and develop a new set of attitudes to help them move own after such ugly experiences. Essentially, the movie provides a profound social crisis by offering a metaphorical representation of not only fears of disaster but also hopes for a better tomorrow all rooted in the pursuit for deliverance.
Gojira can be viewed as a multilayered work of fiction. It leads the way not only as an allegory that warns against the rampant scientific approaches that are beyond restraints but also provides a vivid snapshot of the Japanese society of the post war time (Buehrer, 2000 218-231). Accordingly, this is a society complete with social differences, fears and attitudes towards the events of the Second World War, factor that points out their skepticism in science and the ideology of whether science is playing God (Jerome, 2003 256-261). Moreover, Gojira is directed in such a way that through its rich and undeniable contemporary cultural symbolism, it stands out as a compelling master piece that touches on the aftermaths of the post war experiences.
The movie also depicts the Japanese people as very optimistic. It focuses on the principles of work ethics to pull together and commence on rebuilding Japan. For instance, scenes of total destructions coupled by scenes of workers busy in the pursuit to clean up and rebuild Tokyo clearly demonstrate immense hope (Buehrer, 2000 278-289). This concept points out the attitude behind Japans speedy and thorough economic recovery after the war. The movie achieves its success from the combination of the many narrative aspects and unique symbols.
To understand the role of Gojira in commenting on the attitude of Japanese on every aspect of Second World War and the subsequent experiences, it is prudent to picture the primary influence of the move on the Japanese people in terms of the aftermaths of the war. Particularly, Jerome (2003 113-122) contend that Gojira was released at a time when Japan as a society had just been liberated from both religious and secular authoritarianism. Therefore, the film traces the depredations of an irritated sea monster, which all the brigades, military efforts and the civilians can not defeat. According to (Mellen, 2005 86-101), the portrayal of such sentiments reflects the relentless efforts of the Japanese people in fighting the enemy in the Second World War. For example, Gojiras sudden appearance echoes the disturbance of the natural order that was severely affected by the Hiroshima and Nagasaki Bombings.
To appreciate this influence, it is safe to argue that this total and anticipated catapulation, ideally brought up the irreversible turn of fortunes in the Japans political life that in some way is recalled by the sudden advent of the monster (Buehrer, 2000 142-151).The Japanese felt shameful and often shunned their victims because, the effects of the bombing were so devastating that they caused immense destructions and continued to exact a toll of deformity as well as disease. Accordingly, the movie underscores an aspect of violation of the national body which is succinctly captured in the metaphor of Godzillas assault that entirely fills the hospitals with mutilated and dying human beings, many of whom are injured beyond the levels up to which medical science can treat (Mellen, 2005 178-189).
Furthermore, literary critics and gurus in the world of cinema take the position that a culturilist view of the movie depicts a newer attitude that the Japanese holds about the war. In essence, the film influences many of the Japanese see that inability of the army to halt the monstrous threat as a post militarist fear of being overcome by the invaders (Jerome, 2003 89-97).The American military occupation, for instance, led to the transformation of the once imperial and powerful army into a less strong defense force. With regard to this, the movie comments on the resigned helplessness of the Tokyo populace in the face of Godzillas assault. This largely experiences the collective dread at having violated the submissive spirit of traditional culture through the failure of the war effort.
Similarly, Buehrer (2000 111-121) outlines that the spirit of traditional culture was abandoned in a Japanese society that is now dedicated capitalism. Accordingly, the Japanese people are portrayed to feel that they were denied the chance to die honorably in an apocalyptic defense of the home islands. Those who survived the post war era did so in the face of an ethically demanding self annihilation, before any acceptance of the national dishonor. Somehow, Godzilla comes to make amends about this failure and perhaps threaten an apocalypse that is avoided only after a host of deaths and destructions (Mellen, 2005 167-174).
To recap, Gojira is definitely a successful masterpiece made in the world cinema. It touches on the Japanese history and culture thus it portends an apologetic allegory to the trials, times and tribulation of a country that struggles to rebuild its ways of life as well as economy. It is equally summed up in an irony that the whole film was created from fears, negative sentiments and horrors of the atomic tragedy that have eventually become iconic to the extent of endearing millions of Japanese who suffered those tragedies. This film is indeed a timeless classic.