Japanese films of 1954

Japanese films of 1954 - Factbites
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Topic: Japanese films of 1954

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In the News (Thu 31 Dec 09)

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	Filmtracks: Godzilla (1954) (Akira Ifukube)
		Godzilla (1954): (Akira Ifukube) To coincide with the 50th anniversary of the release of the original Japanese Godzilla (Gojira) film directed by Ishiro Honda, a remastered and expanded soundtrack CD is hitting the shelves in the summer of 2004.
		Japanese composer Akira Ifukube's career will forever be remembered as one of massive creature battles and other fantasy adventure, and remarkably, Ifukube was honored on this Godzilla anniversary in 2004, just as the retired composer turns 90 years old.
		His scores were both tragic and heroic, massively orchestral, and creative in the use of the ensemble to produce the majority of sound effects for the first films.
	www.filmtracks.com /titles/godzilla54.html?page=print (1119 words)

	Books: Japanese Books: Non-Fiction: Godzilla Encyclopedia 1954 - 1999
		Now this truly is a wonderful book packed with both a ton of interesting information and a load of high quality full color pictures to accompany it that covers all Godzilla films from the past five decades.
		We then resume with the Showa series from Godzilla 1954 to the Terror of MechaGodzilla 1975 again set in the same format as before and again with a ton of pictures and information.
		For an interval we get a look at Godzilla 1998 and the animated series that followed it, the book features some excellent pictures of the beasts from the cartoon but the lack of full kaiju statistics is a small let down, not that many more follow it.
	www.kaijuphile.com /rodansroost/books/japanese/ge5499.shtml (443 words)

	Stomp Tokyo Video Reviews - Godzilla 2000: Millennium
		Some Japanese sources say that Godzilla 2000 follows Godzilla (1954) but Godzilla himself looks so different that it's tough to imagine that it could be the same creature from the earlier film.
		Godzilla fans disappointed by the TriStar version of this screen legend will welcome the return to old-school monster movie-making, but we suspect that if this film had merely followed the 1990's Heisei films, it wouldn't have been received with such open arms.
		While Godzilla is still too intelligent-looking to be called an animal, he has certainly returned to his "force of nature" status with a vengeance, laying waste to whole stretches of Tokyo with atomic fire-breath while his spines glow with a white-orange light.
	www.stomptokyo.com /movies/g/godzilla-2000.html (1913 words)

	The Best of Godzilla 1954 - 1975 - MUSIC REVIEW
		This is a classic gathering of selected tracks off the Godzilla films from 1954 (the original) to 1975 (Terror of Mega Godzilla).
		I got a kick out of "Godzilla March-Record Version" which I can imagine played on the Japanese pop radio stations back in 1972.
		This is the first volume in Godzilla's near forty years of existence.
	www.fearsmag.com /REVIEWS/music/bestofgodzilla/bestgodzilla.htm (228 words)

	"Pop Goes Godzilla: Japanese Pop Culture & Globalization" lawrence.com
		The Godzilla film series is now the longest running franchise in world cinema history, and to commemorate the King of the Monsters' 50th birthday, the Spencer presents the exhibition Pop Goes Godzilla: Japanese Pop Culture & Globalization, which opens Sept. 11 and will remain on view through Dec. 19 in the museum's Asian Gallery.
		The museum's exhibition, featuring many loaned objects from private collections, is organized in conjunction with a late-October, interdisciplinary conference hosted by the University of Kansas' Center for East Asian Studies, during which scholars from around the world will consider the Godzilla films and their surprising impact on global culture.
		Godzilla, the radioactive lizard whose fiery temper tantrums trashed Tokyo in the 1954 release Gojira, eventually reached far beyond mere creature feature stature, becoming the first Japanese pop culture product to gain mass appeal in the United States after World War II.
	www.lawrence.com /events/ongoing/6372 (228 words)

	UCLA Asia Institute: Godzilla and Postwar Japan
		Tsutsui argued that the Godzilla films reflect the concern among the people of Japan with the country’s vulnerability: "Godzilla is portrayed, from the original 1954 feature on, as an unpredictable and uncontrollable force of nature, much like the earthquakes, volcanoes, typhoons, and tidal waves that batter a helpless Japan.
		Godzilla is the world’s oldest and longest film franchise, as well as one of Japan’s most enduring and pervasive cultural exports.
		Godzilla’s admirers are a large and varied lot, ranging from mild-mannered college professors in Kansas to enigmatic, bouffant dictators in North Korea (Kim Jong-Il is.
	www.international.ucla.edu /asia/article.asp?parentid=24850 (2374 words)

	Godzilla (1954 film) - Wikipedia, the free encyclopedia
		Godzilla (ゴジラ - Gojira) is a 1954 Japanese science fiction film, produced by Toho Film Company Ltd..
		Filmed in stark black and white, Godzilla tells the story of a giant, fire-breathing prehistoric monster who is disturbed by American atom bomb testing in the Pacific Ocean.
		It was the first of many "giant monster" movies (known as kaiju) to be produced in Japan, many featuring the title character.
	en.wikipedia.org /wiki/Godzilla_(1954) (417 words)

	Supersphere: Chicago - Minneapolis
		Due to the excessive amounts of pinku eiga, the Japanese government enforced a censorship board to preview the films before being admitted to the theaters.
		This film caused the taboo about nudity to completely vanish from the Japanese culture, and for almost twenty years pinku eiga was to remain the most widely appreciated form of cinema in Japan.
		With the fall of respectable filmmakers creating artistic pinku eiga, the cyber punks took it upon themselves to make artistic films using experimental cinematography, avant-garde sound tracks, and new and unusual ideas.
	www.supersphere.com /Zinetropa/Article.html?ID=RocketFuel&NAME=asian (2252 words)

	Akira Kurosawa - MSN Encarta
		Akira Kurosawa (1910-1998), Japanese motion-picture director, known worldwide for the variety and visual beauty of his films.
		Kurosawa also directed motion pictures with contemporary settings, such as Ikiru (1952; To Live, 1960) and Akahige (Red Beard, 1965), but his historical films, including Shichinin o samurai (1954; The Seven Samurai, 1956), Yojimbo (1961; The Bodyguard, 1962), and Sanjuro (1962), attracted his largest following.
		Deeply rooted in the Japanese samurai code of behavior, which extols working for the good of others and the subordination of selfish desires, Kurosawa's motion pictures were thought to possess universal appeal, and European and American filmmakers openly imitated them.
	encarta.msn.com /encyclopedia_761568412/Akira_Kurosawa.html (473 words)

	DaiKaijuEiga Mailing List Web Site ::: FAQs
		The first fifteen Godzilla films ('54 to '75) are referred to as the "Showa" era films, in honor of the Emperor Hirohito.
		The Godzilla films produced since 1984 are referred to as the "Heisei" era films, in honor of the current emperor, Akihito.
		For this reason the movie is generally considered part of the Heisei series, even though it was actually produced and released during the Showa era.
	www.clubtokyo.org /DKE/faq/index2.php (1002 words)

	DaiKaijuEiga Mailing List Web Site ::: FAQs
		The Godzilla films produced since 1984 are referred to as the "Heisei" era films, in honor of the current emperor, Akihito.
		The first fifteen Godzilla films ('54 to '75) are referred to as the "Showa" era films, in honor of the Emperor Hirohito.
		For this reason the movie is generally considered part of the Heisei series, even though it was actually produced and released during the Showa era.
	www.clubtokyo.org /DKE/faq/index2.php (1002 words)

	Filmtracks: Godzilla (1954) (Akira Ifukube)
		Godzilla (1954): (Akira Ifukube) To coincide with the 50th anniversary of the release of the original Japanese Godzilla (Gojira) film directed by Ishiro Honda, a remastered and expanded soundtrack CD is hitting the shelves in the summer of 2004.
		Ifukube was once again involved with the modern series of Gojira films in the 1980's and 1990's, finishing with the death of the original monster in 1995's Gojira vs. Desutoroia, a film which Ifukube incredibly scored while in his 80's.
		Japanese composer Akira Ifukube's career will forever be remembered as one of massive creature battles and other fantasy adventure, and remarkably, Ifukube was honored on this Godzilla anniversary in 2004, just as the retired composer turns 90 years old.
	www.filmtracks.com /titles/godzilla54.html (1184 words)

	Akira Kurosawa
		Donald Richie, in his essay A Definition of the Japanese Film (collected in his book of essays A Lateral View), compares the two films: "Though Kurosawa is not considered by the Japanese to be particularly representative of Japanese culture, compare his The Lower Depths (Donzoko) with that of Jean Renoir (Les Basfonds).
		Japanese filmmakers are at least as widely known outside Japan as its authors: just as Tanizaki, Kawabata and Oe have been celebrated abroad for their writing (with each of them winning the Nobel prize), so Ozu, Oshima and Kitano have given Japan’s faces, its landscapes and its history to the rest of the world.
		You can even argue that some of his greatest successes (Rashomon, Ikiru [1952], Seven Samurai [1954]) were enormous risks for Kurosawa’s career — the ones that did pay off.
	www.sensesofcinema.com /contents/directors/02/kurosawa.html (1794 words)

	Toshiro Mifune
		Although he had originally planned to work in films as an assistant cameraman, Toshiro Mifune was auditioned as an actor instead, a fortuitous career shift which helped change the course of Japanese cinematic history.
		He has appeared in many of the great post-war Japanese films, most notably those of director Akira Kurosawa.
		Collaborations between Kurosawa and Mifune began with the film "Drunken Angel" (1948) and continued with such notable works as "Rashomon" (1950), "Seven Samurai" (1954), "Throne of Blood" (1957), "Yojimbo" (1961) and "Red Beard" (1965)....
	www.hollywood.com /celebs/detail/id/196404 (583 words)

	Bio for Toshiro Mifune on MSN Movies
		Mifune's raw, unbridled masculinity was ideal for such Kurosawa films as Rashomon (1950) and The Seven Samurai (1954).
		Beginning in 1963, Mifune produced theatrical and TV films through his own company, and, in 1964, made his first (and only) attempt at directing with The Legacy of the 500,000.
		Mifune's ability to shift from macho to subtle sensitivity was very similar to the work of Clint Eastwood, who, ironically, played the Mifune-character role in A Fistful of Dollars, the 1964 remake of Yojimbo.
	entertainment.msn.com /celebs/celeb.aspx?mp=b&c=362327 (306 words)

	Godzilla (1998)
		The Japanese Godzilla films are:- Godzilla, King of the Monsters (1954),
		The creature, nicknamed `Gojira' by a Japanese survivor and mispronounced as `Godzilla' by the American media, heads to Manhattan Island where it rampages through the city streets, causing mass destruction.
		(Winner in this site’s Top 10 Films of 1998 list.
	www.moria.co.nz /sf/godzilla98.htm (806 words)

	World Cinema: Directors -- Nagisa Oshima
		Nagisa Oshima's career extends from the initiation of the "Nuberu bagu" (New Wave) movement in Japanese cinema in the late 1950s and early 1960s, to the contemporary use of cinema and television to express paradoxes in modern society.
		Oshima has been primarily concerned with depicting the contradictions and tensions of postwar Japanese society.
		After an early involvement with the student protest movement in Kyoto, Oshima rose rapidly in the Shochiku company from the status of apprentice in 1954 to that of director.
	www.geocities.com /Paris/Metro/9384/directors/oshima.htm (363 words)

	The Balboa Theater - Samurai!
		Though chambara had been a staple of the Japanese cinema since its beginnings, it is the implied thesis of many films that the social unrest of the 60's brought the genre new meanings and elevated it to new heights.
		Japanese audiences in 1954 would have said no. Kurosawa spent the next 40 years arguing against the theory that the individual should be the instrument of society.
		The samurai at the end have lost four of their seven, yet there are no complaints, because that is the samurai's lot.
	www.balboamovies.com /program/samurai.html (14061 words)

	GreenCine Japanese Cinema to 1960
		Gosho's subsequent films of note include The Neighbor's Wife and Mine (1931), the first all-sound Japanese film, and the excellent postwar drama Where Chimneys Are Seen (1954).
		Others of her films include Gosho's The Neighbor's Wife and Mine and Where Chimneys Are Seen, Naruse's Mother and Flowing, and Mizoguchi's masterpieces Utamaro and His Five Women (1946), My Love Has Been Burning (1949), Miss Oyu (1951), The Life of Oharu, Ugetsu Monogatari and Sansho the Bailiff.
		The enormous popularity of Josef von Sternberg's Morocco in 1930 set the stage for Japan's first all-talking film (Heinosuke Gosho's The Neighbor's Wife and Mine) in 1931, but lingering resistance from benshi and from audiences delayed sound's complete triumph for several years.
	www.greencine.com /static/primers/japan-60-1.jsp (2081 words)

	DVD Savant Guest Review: Ultraman Tiga and Ultraman Dyna & Ultraman Dyna: The Battle in Hyperspace
		By the early 1960s, Toho Studios' special effects mastermind Eiji Tsuburaya had achieved success, acclaim and a degree of international fame for his work on Godzilla (Gojira, 1954), Rodan (Sora no daikaiju Radon, 1956), Mothra (Mosura, 1961) and a host of other films in the kaiju eiga (monster movie), science-fiction and war genres.
		A lively blend of kaiju eiga, science fiction and Japanese superhero films like Invasion of the Neptune Men (Uchu kaiso-sen, 1961), Prince of Space (Yusei oji, 1959) and the "Starman" (Supaajyantsu) movies, Ultraman was, unlike its predecessor, intended chiefly for young children.
		However, since then, American fans have been deprived of most of the numerous Ultraman follow-up series and feature films that Tsuburaya Productions has been creating almost non-stop since the original series went off the air.
	www.dvdtalk.com /dvdsavant/s497ultra.html (2852 words)

	A One-Man Band Who Created an Oeuvre
		Laverents sold "Snails" and several of his other nature films to the California Department of Education for classroom use.) One thing that differentiates "Snails" from Disney movies like the 1954 "The Vanishing Prairie" (aside from hundreds of thousands of dollars) is Mr.
		In fact it was the fourth amateur work included in the National Film Registry of the Library of Congress — after the Zapruder film of the Kennedy assassination; home movies of a World War II internment camp for Japanese-Americans; and film of the Tacoma Narrows bridge collapse in 1940.
		That vision is articulated in the coda of one of his films: "We are surrounded by wonderful and interesting things if we will just take the time and trouble to notice."
	www.nytimes.com /2004/01/25/movies/25HABE.html?ex=1390366800&en=7c8b5e0e6f1cab1f&ei=5007&partner=USERLAND (1294 words)

	Godzilla and the Second World War
		Fans of the Japanese science fiction/fantasy genre around the globe celebrated the "King of the Monsters" 40th anniversary on November 3rd, 1994, for it was on that date in 1954 that Toho Studios unleashed Godzilla on an unsuspecting public.
		Unlike typical monster films of the time, the strong character-driven plot and the special effects combined to present a glimpse of the Japanese psyche in a time of war.
		American footage featuring Raymond Burr as newspaper man Steve Martin replacing most of the footage of reporter Hagiwara, blends in quite well with the original footage, both because of the use of black and white film and the careful staging and costuming which made it seem as though Burr was interacting with the Japanese cast.
	www.historyvortex.org /GodzillaSecondWorldWar.html (6126 words)

	japantml4
		Rashomon Film commentary/notes by Brett Johnson, Center for Japanese Studies, Univ. of Michigan: http://www.umich.edu/~iinet/cjs/films/reviews/rashomon.html
		The films Kurosawa directed in the 1960s were very popular, and Yojimbo (1961) remains one of his major box office successes in Japan (information courtesy of Anne Wasserman, MIT, who references Donald Ritchie's Films of Akira Kurosawa [Rev. ed.
		His Rashomon (1950), Seven Samurai (1954), Throne of blood (1957) and Yajimbo (1961), to name only four of his remarkable creations, are glorious monuments to his imagination, sensitiveness and ability to handle his chosen themes and establish his particular cinematic style." From "Akira Kurosawa: A Tribute,"
	web.cocc.edu /cagatucci/classes/hum210/tml/japantml/japantml4.htm (1998 words)

	Japanese Nationalism in the Tohoverse
		Known as the “kaiju eiga” (literally, “monster movies”), or alternately as the “daikaiju eiga” (literally, “giant monster movies”), these films are, for many Westerners, the only Japanese cinematic product to which they have been exposed.
		Perhaps, with the death of Emperor Hirohito - the last of the World War II leaders to remain alive and in power anywhere in the world - the Japanese felt that the time for apology was over, and that they could now be free to take pride in themselves and their nation.
		Therefore, the Godzilla films from the 1954 original Godzilla to Godzilla 1985 (sixteen films in total) are known as the Showa series.
	www.historyvortex.org /Tohoverse.html (3805 words)

	Daikaiju anthology guidelines
		The term 'daikaiju' is Japanese in origin, and refers to a tradition of film story that began with the 1954 version of Gojira, better known in the West as 'Godzilla'.
		Unlike the typical US giant-monster-on-a-rampage, these Japanese daikaiju generally carry with them a greater sense of sentience or purpose -- they are more than mere animals, even if that 'more' is merely the quality of being an unstoppable force of nature or some other metaphorical resonance.
		Japanese giant monsters have included mutated dinosaurs, a bio-engineered flying turtle, huge pterosaurs, an alien squid, a conglomerate smog-monster, a sea-serpent, a moth, a prehistoric dragonfly, metamorphosing freaks of various kinds, cyclopean space starfish, strange chimeras, robots...
	www.roberthood.net /daikaiju-antho/anthologyinfo.html (1233 words)

	: iens ultra cinis mediocris :
		Daiei studios, who had presented several of Akira Kurosawa's early films as well as many other period epics, had unleashed its own giant monster franchise in 1965 with DAIKAIJU GAMERA.
		Both of these packages (ADV and Daiei's) are highly worth picking up, though the Japanese DVD prints are superior to those that ADV utilized (the ADV prints are still nice, though they do have some notable damage).
		This was fallowing in the footsteps of the ever popular GOJIRA series that Toho studios began in 1954.
	www.wtf-film.com /reviews/daimajin_1966.html (1233 words)

	They Came from Toho: Godzilla and the Kaiju Eiga at Film Forum in New York City
		This sampling of 50 years of Toho monsters, from the very first Godzilla (in both Japanese and U.S. versions) to the New York premiere of its 26th sequel, includes some films screening for the first time ever in their original Japanese (and English-subtitled) versions.
		But Tanaka’s gamble paid off: Gojira (that’s Godzilla to us) proved to be box office gold, spinning off fifty years (and still counting) of sequels and a whole new genre — the kaiju eiga, or Japanese monster movie.
		(1995, TAKAO OKAWARA) The “Oxygen Destroyer” of the 1954 original inadvertently brings forth a new, even more fearsome giant monster — Destoroyah!
	www.filmforum.com /films/toho.html (1233 words)

	Amazon.ca: Gamera: Revenge Of Iris: DVD
		If you are unsure about the giant monster genre, watch the Gamera trilogy (in order preferably, or else some parts of G3 won't make since) before looking at the Godzilla and Showa Gamera movies (but don't expect anything better unless you are watching the original uncut Japanese 1954 version of "Godzilla").
		However, in 1995, Gamera was resurrected as his main competition died out (seemingly) in "Godzilla vs. Destoroyah." The Heisei Gamera trilogy was a fine example of how good japanese monster movies could be if time and initiative are put into them.
		Gamera started back in the 60s with more horrible FX and worse storylines than the infamous later movies of the Showa Godzilla series.
	www.amazon.ca /exec/obidos/ASIN/B00008G8Q8 (1091 words)

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Topic: Japanese films of 1954

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In the News (Thu 31 Dec 09)