Godzilla (Japanese: ??? , Hepburn: Gojira ) ( ; [? o? d? i | a] (< span> listen ) is a monster originating from a series of tokusatsu movies of the same name from Japan. The character first appeared in Ishir? The 1954 movie, Godzilla and became a pop culture icon worldwide, appeared in the media including 29 films produced by Toho, three Hollywood movies, and many video games, novels, comic books, television shows. Often dubbed the "King of Monster", the first phrase used in Godzilla, King of the Monsters! , the American version of the original movie.
Godzilla is described as a large, destructive prehistoric sea monster, awakened and empowered by nuclear radiation. With the nuclear bombings of Hiroshima and Nagasaki as well as the Lucky Dragon 5 incident still fresh in Japanese consciousness, Godzilla is understood as a metaphor for nuclear weapons. As the series films expand, some stories take a less serious tone, describing Godzilla as an antihero, or a lower threat that defends humanity. With the end of the Cold War, several post-1984 Godzilla films shifted portrayal of characters to themes including forgetting Japan over its imperial past, natural disasters, and human conditions.
Godzilla has been featured alongside many supporting characters. He has faced human opponents such as JSDF, or other monsters, including King Ghidorah, Gigan, and Mechagodzilla. Godzilla sometimes has allies, like Mothra, Rodan and Anguirus, and his descendants, such as Minilla and Godzilla Junior. Godzilla has also been fighting characters from other franchises in crossover media, such as RKO Pictures/Universal Studios, King Kong movie monsters and American comic book publishers, Marvel Comics, S.H.I.E.L.D., Fantastic Four and the Avengers characters.
Video Godzilla
Overview
Name
Gojira ( ??? ) is the portmanteau of the Japanese words: gorira ( ??? , "gorilla") , and kujira (
span>, which fits because in one stages of planning, Godzilla is described as "a cross between a gorilla and a whale", referring to its size, strength and aquatic origin. One popular story is that "Gojira" is actually the nickname of the arrogant stage at Toho Studio. Kimi Honda, the director's widow, disbanded this in a BBC documentary 1998 devoted to Godzilla, "The backstage boys at Toho love to joke with high stories".
The name Godzilla is written in ateji as Gojira ( ??? ) , where kanji is used for phonetic value and not for meaning. Japanese pronunciation of its name is [? O? D? I? A] Ã, ( listen ) ; Anglis form is , with the first syllable pronounced like the word "god", and the rest rhymes with "gorilla". In the Hepburn romanization system, the name Godzilla is given as "Gojira", whereas in the Kunrei romanization system, it translates to "Gozira".
During the development of the American version of Godzilla Raids Again (1955), Godzilla's name was changed to "Gigantis", a movement initiated by producer Paul Schreibman, who wanted to create a different character from Godzilla.
Characteristics
In the context of Japanese films, the origins of Godzilla vary widely, but are generally described as large and violent prehistoric sea monsters that are awakened and empowered by nuclear radiation. Although the specific details of Godzilla's appearance have been slightly different over the years, the overall impression remains consistent. Inspired by the fiction of Rhedosaurus created by animator Ray Harryhausen for the movie The Beast of 20,000 Fathoms, the design of the iconic character Godzilla was conceived as an amphibious reptile monster based around loose concept of dinosaurs with posture standing straight, scaly skin, anthropomorphic torso with muscular arms, spikes on back and tail, and furrowed eyebrows. Art director Akira Watanabe combines the attributes of Tyrannosaurus , an Iguanodon , a Stegosaurus and a crocodile to form a sort of mixed chimera, inspired by illustrations. from the magazine edition of Life . To emphasize the monster's connection with the atomic bomb, its skin texture is inspired by the keloid scars seen on the victims in Hiroshima. The basic design has a reptile face, sturdy build, upright posture, long tail and rows of jagged fins along the back. In the original film, fins are added for purely aesthetic purposes, to further differentiate Godzilla from other living or extinct creatures. Godzilla is sometimes depicted as a green color in comics, cartoons and movie posters, but the costumes used in films are usually painted gray charcoal with a bone-white dorsal fin to the Godzilla 2000 film.
Godzilla's signature weapon is "atomic breath", a nuclear explosion generated inside his body and releases from his jaw in the form of radioactive blue or red radioactive rays. Toho's special effects department has used a variety of techniques to make breath, from fire-fueled physical gas to fire withdrawn by hand or computer. Godzilla proved to have tremendous physical and muscular strength. Haruo Nakajima, the actor who plays Godzilla in the original film, is a black belt in Judo and uses his skills to make choreography a series of battles. Godzilla can breathe under water, and is depicted in the original film by Dr. Yamane as a transitional form between the sea and the land reptile. Godzilla proved to have great vitality: he was immune to conventional weaponry because of his rough skin and his ability to regenerate, and as a result of the survival of nuclear explosions, Godzilla could not be destroyed by something less powerful. Various films, television shows, comics, and games have portrayed Godzilla with additional strengths such as atomic pulses, magnets, precognitions, fireballs, electric bites, super human speed, eye shadows, and even aviation.
Godzilla's devotion and motivation has changed from film to film to fit the needs of the story. Although Godzilla does not like humans, he will fight with mankind against common threats. However, there is no special effort to protect human life or property and will turn against its human allies casually. He is not motivated to attack by predatory instinct: he does not eat people, and instead defends himself on radiation and omnivorous diets. When asked whether Godzilla is "good or bad", producer Shogo Tomiyama likens it to Shinto's "God of Destruction" which has no moral rights and can not be held by good and evil human standards. "He really destroys everything and then there is rebirth, something fresh and fresh can begin."
In the original Japanese film, Godzilla and all other monsters are referred to as gender-neutral pronouns equivalent to "that", while in the dubbed English version, Godzilla is explicitly portrayed as a man, as in the title of Godzilla, King of the Monsters ! . The creature in Godzilla 1998 film was described laying through parthenogenesis.
Roar
Godzilla has a different roar (transcribed in some comics as Skreeeonk! ), created by composer Akira Ifukube, which produces sound by rubbing pine-resin coated gloves along the conical strings and then slow the playback. In the American version of Godzilla Raids Again (1955) titled Gigantis the Fire Monster , the Godzilla iconic roar was replaced with monsters from Anguirus. From The Return of Godzilla (1984) to Godzilla vs. King Ghidorah (1991), Godzilla was given a deeper and more threatening roar than in the previous film, although this change has been restored from Godzilla vs. Mothra (1992) and beyond. For the 2014 American film, Ethan's voice editor Van der Ryn and Erik Aadahl refused to reveal the source of the sound used for their Godzilla roar. Aadahl describes the two syllables roar as two different emotional reactions, with the first express anger, and the second conveys the character's soul.
Size
Godzilla size is inconsistent, changing from movie to movie and even from scene to scene for artistic license. Miniature sets and costumes are usually built on - 1 / 50 scale and filmed at 240 frames per second, to create the illusion of large size. In the original 1954 film, Godzilla was raised to 50 m (164 ft). This was done so Godzilla could only peep from the largest building in Tokyo at the time. In the American version of 1956, Godzilla is estimated to be as high as 122 m (400 ft), as producer Joseph E. Levine feels that 50 m does not sound "strong enough". As the series progresses, Toho will perform character degradation, eventually making Godzilla as high as 100 m (328 ft). This is so as not to be dwarfed by the larger new buildings on the Tokyo skyline like the 243-meter Tokyo Metropolitan Government Building (the height of the ceiling) Godzilla destroyed in the movie Godzilla vs. King Ghidorah (1991). Additional information such as character profiles will also depict Godzilla weighing between 20,000 and 60,000 metric tons (22,000 and 66,000 short tons). In the American movie Godzilla (2014) from Legendary Pictures, Godzilla was raised to 108.2 m (355 ft) and weighing 90,000 metric tons (99,000 tonnes short), making it the biggest movie version of that time. Director Gareth Edwards wants Godzilla "so great to be seen from anywhere in the city, but not so big that he can not be blurred". To Shin Godzilla (2016), Godzilla is made even higher than the Legendary version, at 118.5 m (389 ft).
Detail special effects
Godzilla's appearance is traditionally depicted in films by an actor who wore a latex costume, although his character has also been given in animatronic form, stop motion and the resulting computer.
Taking inspiration from King Kong, special artist Eiji Tsuburaya initially wanted Godzilla to be portrayed through stop-motion, but the expensive deadlines and lack of experienced animators in Japan at that time made the harmony more practical. The first coat consists of body cavities made of thin wire and bamboo wrapped with chicken wire to support, and covered with cloth and pillows, which are then coated with latex. The first suit is held together by a small hook on the back, though the next Godzilla clothing uses a zipper. Its weight is more than 100 kg (220 pounds). Prior to 1984, most of Godzilla's clothing was made from scratch, resulting in little design changes in every film appearance. The most notable changes during the 1960s-70s were the reduction in the number of Godzilla's toes and the deletion of external ears of prominent characters and fangs, a feature that would later be incorporated into the Godzilla design of The Return of Godzilla (1984) etc. Godzilla's most consistent design was retained from Godzilla vs. Biollante (1989) for Godzilla vs. Destoroyah (1995), when it was given a face like a cat and two rows of teeth. Some suit actors have difficulty in appearing as Godzilla, because of their weight suit, lack of ventilation and reduced visibility. Especially Kenpachiro Satsuma, who portrayed Godzilla from 1984 to 1995, illustrates how Godzilla's clothes he wears even heavier and hotter than his predecessors, due to an animatronic incorporation. Satsuma himself suffered many medical problems during his tenure, including oxygen deprivation, near-drowning, concussion, electric shock, and lacerations on the legs of steel wire reins worn through rubber pads. The partial ventilation problem was solved in a suit used in 1994 Godzilla vs. SpaceGodzilla , which was the first to enter the air channel, allowing the actors to last longer during the show. In the Return of Godzilla (1984), some scenes use the 16-foot Godzilla robot (dubbed "Cybot Godzilla") for use in close-ups of creatures' heads. The Cybot Godzilla consists of a hydraulically-powered, urethane-coated, mechanical endoskeleton that contains 3,000 computer-operated parts that enable it to tilt its head, and move its lips and arms.
In Godzilla (1998), special effects artist Patrick Tatopoulos was instructed to redesign Godzilla as a very fast runner. At one point, it was planned to use the motion captured from humans to create the computer-generated Godzilla movement, but ended up looking too much like a human in a suit. Tatopoulos then re-imagined the creature as a skinny bipedal iguana, a digitigrade that stood with its back and tail parallel to the ground, provided through CGI. Some scenes have monsters that are played by stuntmen in clothing. His clothes are similar to those used in Toho movies, with actors in the neck of the monster, and face movements controlled through animatronics. However, due to the creature's horizontal posture, the stuntmen must wear a metal leg extender, allowing them to stand two meters (six feet) from the ground with their legs bent forward. The film's special effects crew also made Godzilla's animatronic scale for close-up scenes, which are larger than Stan Winston's < i> T. rex in Jurassic Park . Kurt Carley did the matching sequence for the adult Godzilla.
In Godzilla (2014), the character is fully described through CGI. The design of Godzilla in reboots is intended to remain true to the original series, although the film's special effects team seeks to make the monster "more dynamic than a man with a large rubber suit." To create a CG Godzilla, The Moving Picture Company (MPC) studies animals such as bears, dragons, lizards, lions, and wolves that help visual effects artists visualize Godzilla's body structures like those in bones, fats, and muscles. structure and thickness and texture of the scales. Motion capture is also used for some Godzilla movements. T.J. Storm provides performance capture for Godzilla by using the sensor in front of the green screen.
In Shin Godzilla , the majority of characters are depicted through CGI, with Mansai Nomura describing Godzilla through motion capture.
Maps Godzilla
Appearance
Cultural impact
Godzilla is one of the most recognizable symbols of Japanese popular culture around the world and remains an important aspect of the Japanese film, embodying the kaiju part of the tokusatsu genre. Godzilla's vaguely human-like appearance and tense, sluggish motion make him cherished by Japanese audiences, who can relate to Godzilla as a sympathetic character despite his outrageous nature. The audience responds positively to the character as it acts out of anger and self-preservation and shows where science and technology can go wrong.
In 1967, Keukdong Entertainment Company of South Korea, with production assistance from Toei Company, produced Yongary: Monster from the Deep, a reptile monster that invaded South Korea to consume oil. Movies and characters are often labeled as imitations of Godzilla.
Godzilla has been regarded as a filmography metaphor for the United States, as well as the allegory of nuclear weapons in general. The earlier Godzilla movies, especially the original ones, portray Godzilla as a frightening nuclear monster. Godzilla represents the fears that many Japanese people hold about the atomic bombings of Hiroshima and Nagasaki, and the possibility of recurrence. As the series progresses, so does Godzilla, turning into a less destructive and more heroic character when the films are more directed at children. Since then, the character has fallen somewhere in the middle, sometimes portrayed as the protector of the world from external threats and other times as the bearer of destruction.
In 1996, Godzilla received the MTV Lifetime Achievement Award, as well, Godzilla was starred on the Hollywood Walk of Fame in 2004 to celebrate the premiere of the 50th anniversary of the movie, Godzilla: Final Wars. The influence of Godzilla's pop-culture has led to the creation of various parodies and tributes, as seen in media such as Bambi Meets Godzilla , which is classified as one of the "50 greatest cartoons", episodes of Mystery Science Theater 3000, and the song "Godzilla", by Blue ÃÆ'-yster Cult. Godzilla has also been used in advertisements, as in an advertisement for Nike, where Godzilla lost his basketball game to NBA player Charles Barkley. The ad was later adapted into a comic book illustrated by Jeff Butler. Godzilla also appeared in an advertisement for Snickers candy bars, which served as an indirect promo for the 2014 film. The success of Godzilla inspired the creation of many other monster characters, such as Gamera, Reptilicus of Denmark, Yonggary of South Korea, Pulgasari of North Korea, Gorgo of the United Kingdom , and Cloverfield monsters from the United States.
Godzilla's fame and saurian appearances have influenced the scientific community. Gojirasaurus is a dubious coelophysid dinosaur genus, named by paleontologists and recognizes Godzilla fans Kenneth Carpenter. Dakosaur is a marine crocodile extinct from the Jurassic Age, which was accidentally nicknamed "Godzilla". Paleontologists have written speculative articles on the biology of Godzilla, with Ken Carpenter temporarily classifying them as ceratosaurs based on the shape of his skull, the hands of four fingers and dorsal shavings, and paleontologist Darren Naish expressing skepticism when commenting on the unusual morphology of Godzilla.
Godzilla's ubiquity in pop-culture has led to a mistaken assumption that the characters are in the public domain, so litigation by Toho to protect their company's assets from being a generic trademark. In April 2008, Subway described a gigantic monster in advertising for their Five Dollar Footlong sandwich promotion. Toho filed a lawsuit against Subway for using unauthorized characters, demanding $ 150,000 compensation. In February 2011, Toho sued Honda for portraying a fire-breathing monster in an ad for the Honda Odyssey. The monster was never mentioned, seen briefly on the video screen inside the minivan. The Sea Shepherd Conservation Society baptizes the ship Gojira . The goal is to target and harass Japanese whalers in defending whales in the Southern Ocean Whale Sanctuary. The Gojira was renamed to MVÃ, Brigitte Bardot in May 2011 due to legal pressure from Toho. Gojira is the name of the French death metal band, formerly known as Godzilla; legal issues forced the band to change their name. In May 2015, Toho launched a lawsuit against Voltage Pictures over a planned image starring Anne Hathaway. Promotional material released at the Cannes Film Festival using Godzilla images.
Cultural ambassador
Source of the article : Wikipedia
0 Comments