{"title":"\"到底是谁的怒吼？东宝哥斯拉系列的本土化和意识形态传播\"","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":"{\"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}","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}
“Whose roar is it, anyway? Localization and ideological communication with respect to the toho Godzilla franchise”
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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