Transnational kaijū: Exploitation, Globalisation and Cult Monster Movies

Description

Examines the ways in which the kaijū eiga has developed into a global genre Focusses on a largely non-Hollywood genre Examines the ways in which globalisation has contributed to the spread and popularisation of the genre Explores the means by which fandoms contribute to the understanding of global genres One of very few academic texts to treat the kaijū eiga seriously From relatively humble beginnings in a King Kong-inspired Japanese studio picture, the kaijū eiga has developed into a global genre. While the origins of giant kaijū – the term often preferred to ‘monster’ – remain firmly rooted in Japan, the figure has become a transnational spectacle. This book explores how kaijū went global, from the adoption of Godzilla movies in translation to the appropriation of cultural material across borders. With reference to the genre’s global development, its exploitative Western circulation and the labour of fans, the book examines how genres with deep national roots can become transnational phenomena. Contents Figures Acknowledgements Introduction ‘Every Country Has a Monster’ CHAPTER 1 National Films, Transnational Monsters CHAPTER 2 The First Monster Boom CHAPTER 3 Exchanging Monsters: Korean Kaijū CHAPTER 4 Distributing Kaijū: Localisation and Exploitation CHAPTER 5 ‘Paul Bunyan Never Fought Rodan’ CHAPTER 6 Legendary Monsters Conclusion: The Limiting Imagination of Transnational Monsters References Index