{"title":"“Whose roar is it, anyway? Localization and ideological communication with respect to the toho Godzilla franchise”","authors":"Jeeshan Gazi","doi":"10.1080/20004214.2024.2367264","DOIUrl":null,"url":null,"abstract":"Since the mid-1980s, film critics and audiences have come to recognize Ishirō Honda’s original cut of Gojira/Godzilla (1954) to be a substantial meditation on the atomic bombing of Japan, an analys...","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2024-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Aesthetics & Culture","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/20004214.2024.2367264","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"CULTURAL STUDIES","Score":null,"Total":0}
引用次数: 0
Abstract
Since the mid-1980s, film critics and audiences have come to recognize Ishirō Honda’s original cut of Gojira/Godzilla (1954) to be a substantial meditation on the atomic bombing of Japan, an analys...
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