WARNING! WE ARE GOING TO EAT YOU!

RAZORJACK #1

2012-01-16T19:32:00.000Z

Check out this example of test animation for a 'Razorjack' presentation I'm currently working on alongside John Higgins.

'Razorjack' is an independent comic book created, written and illustrated by John Higgins.

You can check out more of John Higgin's work here at Turmoil Colour Studios: http://www.turmoilcolour.com/

The presentation will be used to promote 'Razorjack' at upcoming conventions throughout the UK. More details to follow soon.

Attack From Planet B #2 - SHOCK WAVES (1977)

2012-01-15T20:12:00.000Z

For my second contribution to Attack From Planet B I have decided to focus on reviewing Ken Wiederhorn's atmospheric and highly underrated debut. I have included just a short excerpt below so please be sure to visit Attack From Planet B to read the full review.

SHOCK WAVES (1977)

(aka Almost Human or Death Corps)

"THE DEEP END OF HORROR!"

Ken Wiederhorn's atmospheric and genuinely eerie Shock Waves (1977) is an American cult horror film that kickstarted the 'Nazi-Zombie' sub-genre of exploitation films that soon followed.

"Shortly before the start of World War II the German High Command began a secret investigation into the powers of the supernatural. Ancient legend told of a race of warriors who used neither weapons nor shields, and who’s superhuman power came from within the earth itself. As Germany prepared for war, the SS secretly enlisted a group of scientists to create an invincible soldier. It is known that the bodies of soldiers killed in battle were returned to a secret laboratory near Kolblentz, where they were used in a variety of scientific experiments.

It was rumoured that towards the end of the war Allied Forces met German squads that fought without weapons, killing only with their bare hands. No one knows who they were or what became of them, but one thing is certain... Of all the SS units there was only one that the allies never captured a single member of.”

Severely sunburnt and unable to communicate after being stranded in a dinghy at sea, Rose (Brooke Adams) is discovered by a group of fishermen who quickly drag her onto their boat in an attempt to help her. Providing her with fresh drinking water to prevent further dehydration Rose begins to recount, in narrated flashback, how her island cruise with a group of holiday makers had turned into a Fulci-esque nightmare.

To read the full review please visit Attack From Planet B here.

The uncut UK DVD release from Vipco's Vault of Horror includes a picture gallery and theatrical trailers.

LINKIN PARK

2012-01-15T19:12:00.000Z

Sonisphere UK 1st August 2009 (HD)

LINKIN PARK
Live at the Sonisphere Festival
Knebworth, UK
01/08/09

http://www.linkinpark.com/
http://www.downloadfestival.co.uk/

Attack From Planet B #1 - BIG TITS ZOMBIE (2010)

2012-01-03T23:28:00.000Z

Attack From Planet B is a website devoted to all things B-Movie related, from Classic 50's Sci-fi to modern popcorn pulp. It's designed and run by Adam Akers, who also runs Brewery Lane, and he has been kind enough to allow me to contribute to the site. So for my first contribution I have decided to focus on reviewing a modern Japanese cult classic, further establishing myself as a classy guy with nothing but great cinematic taste. I have included just a short excerpt below so please be sure to visit Attack From Planet B to read the full review.

Kyonyū doragon: Onsen zonbi vs sutorippaa 5 (2010)
巨乳ドラゴン温泉ゾンビVSストリッパー5

(aka BIG TITS ZOMBIE)

この倒錯ゾンビ!

Adapted in 2010 from the manga Kyonyū Dragon by Rei Mikamoto, Takao Nakano's Kyonyū doragon: Onsen zonbi vs sutorippaa 5 (released as Big Tits Zombie internationally and literally translated as The Big Tits Dragon: Hot Spring Zombie vs Stripper 5) is an intentionally over the top comedic Japanese fantasy-horror film that is a satirical nod to Japanese pop culture.

With Big Tits Zombie Takao Nakano has created a extremely entertaining film despite it's extremely low budget and although Big Tits Zombie is definitely aimed at a certain demographic, it just oozes with self satire, allowing this film to become more than just a curiosity. But let's be honest it is the title that has your curiosity peaked. Who doesn't have an interest for zombies and boobs?

To read the full review please visit Attack From Planet B here.

The uncut UK DVD release from Terracotta Distribution includes Big Tits Zombie in 2D and anaglyph 3D plus two pairs of 3D glasses, the original Japanese audio with English subtitles, "The Making of Big Tits Zombie" featurette and theatrical trailers.

HATEBREED / GOD FORBID

2012-01-02T11:49:00.000Z

Download Festival 13th & 14th June 2009

HATEBREED
Live at the Download Festival
Donington Park, UK
13/06/09

GOD FORBID
Live at the Download Festival
Donington Park, UK
14/06/09

http://www.hatebreed.com/
http://godforbidmusic.ning.com
http://www.downloadfestival.co.uk/

KAIJU NEUTRAL ALIGNMENT

2011-12-10T14:54:00.000Z

Is the fascination in Japanese culture for science fiction Kaiju films and its symbolism born from the fears of nuclear war?

INTRODUCTION:

Is Godzilla truly the King of the Monsters?

Kaiju

- A Japanese word often translated in English as “monster” that specifically refers to a genre of tokusatsu entertainment, usually live-action film. The word literally means “strange beast”.

Tokusatsu
- A Japanese term that applies to any live-action production that makes considerable use of special effects.

After World War II Japan's economy made one of the most remarkable recoveries in the history of the modern world.

Arguably one of their most vital post war recoveries was that of their film industry and by 1953, the industry had entered its Golden Age. Names like Ozu Yasujiro and Kurosawa Akira stood above all and their films from this period remain among the greatest films ever made. By 1954 Godzilla was released into the theatres by the Toho Company and has been followed by an outstanding amount of Japanese science fiction to this day.

During this Golden Age of Japanese cinema a lot of films produced symbolised the effects of the WWII on Japanese society. Godzilla itself was one of the most influential because it didn't directly use the subject matter, instead using the themes of war and indeed nuclear war as subtext.

This study of Japanese culture looks at the fascination Japanese audiences have for the symbolism found in these science fiction Kaiju movies. Are they just presented as brainless entertainment or are they born from an ingrained fear that their could perhaps be another disaster like the nuclear bombing of Hiroshima and Nagasaki in the future?

To gain a much more informed understanding I have looked upon texts from an academic viewpoint and studied the general fandom of Godzilla, it's many sequels and their spin off's. I have made comparisons between the critical opinions of those interested in perhaps the Toho Company's most iconic film.

There is no doubt that the film has left a lasting impression upon those who have seen it, whether it's viewed in it's original release or the U.S. edited counterpart, but why have audiences embraced Godzilla and allowed the film to inspire it's own sub genre?

From both an eastern and western perspective I believe Godzilla is fear. It's a fear that has manifested itself into Godzilla by way of its symbolism.

The symbolism in Godzilla is both strong at times as it is subtle. I had picked up on certain signs and signifiers during my initial and subsequent viewing of Godzilla, whether they be intentional or accidental, and I wanted to explore those aspects further. But first I needed to know what the general opinion of the film was... Did anyone else pick up on Godzilla's strong symbolism? Did you either find the film itself to be nothing more than low budget science fiction B-Movie fare, or did you see it as a historical landmark in Japanese cinema?

During the 2004 North American re-release of Godzilla film critic Roger Ebert had wrote in the Chicago Sun-Times: "Godzilla at times looks uncannily like a man in a lizard suit, stomping on cardboard sets, as indeed he was, and did", but it's more than just a tale of science fiction... Godzilla is a byproduct of the atomic age and for all it's reptile slapping and city stomping ways the film does in fact have some kind of subtext that goes beyond the bad acting associated with the science fiction films of that era and if Godzilla was stripped of all it's flaws the film would be a complete image of the frame of mind Japan had taken on post WWII. A mind subconsciously full of fear.

“In the guise of a typical Hollywood style monster movie, they made Japan, and ultimately the world, experience the bombings of Hiroshima and Nagasaki all over again.” (John Rocco Roberto, 1997)

During the first film in the series Godzilla was the ultimate threat to Japan, “a bipedal atomic warhead with a score to settle and not an iota of compassion or mercy”, but to fully understand Godzilla in this light you need to know the history behind the atomic bombings of Hiroshima and Nagasaki.

THE ATOMIC BOMBINGS OF HIROSHIMA AND NAGASAKI:

"This is our cry. This is our prayer. Peace on Earth."

On July 26th 1945 a statement entitled the Potsdam Declaration was issued for the surrender of the Japanese Empire by United Kingdom Prime Minister Winston Churchill, United States President Harry S. Truman and the President of the Republic of China Chiang Kai-shek. The terms agreed upon at the Potsdam Conference warned that if Japan did not surrender then it would face “prompt and utter destruction”.

Rather than surrender Japan had instead chose to treat the Potsdam Declaration with silent contempt...

By order of the U.S. President, the United States launched a nuclear attack on the city of Hiroshima and Nagasaki. Known as “Little Boy” the nuclear weapon was dropped on the city of Hiroshima on August 6th followed by the dropping of the “Fat Man” atomic bomb over Nagasaki on August 9th.

On August 15th Japan announced it's surrender officially ending the Pacific War and World War II.

By the end of 1945 as many as 140,000 people had died in Hiroshima and 80,000 in Nagasaki as a result of the atomic bombing. These to date have been the only attacks to use nuclear warfare in the history of humanity to such a extent. These bombings led post-war Japan to adopt Three Non-Nuclear Principles, forbidding the Japanese nation from nuclear armament.

GODZILLA:

An embodyment of the tokusatsu genre.

Gojira (or Godzilla) was directed and co-written by Ishiro Honda and produced and distributed by the Toho Company Ltd and sets a grim tone throughout it's 98 minute running time. Without a doubt the most important line in the film comes at the end as Dr. Yamane (portrayed by Takashi Shimura) ponders “If we keep on conducting nuclear tests, it's possible that Godzilla might appear somewhere in the world, again”.

Godzilla eventually found it's way into the hearts of the western world in 1956 when it was re-edited for American audiences by Jewell Enterprises under the new title Godzilla, King of the Monsters! This new edit of the film consisted of new scenes featuring Raymond Burr inserted into an edited version of the Japanese original. Careful attention was paid in the creation of the new scenes to match the visual tone of the original but while much of the plot and symbolism remained true to it's Japanese counterpart it seemed something was lost in the American adaptation. This is true of the new edit's closing line “The menace was gone, so was a great man. But the whole world could wake up and live again”.

GAMERA:

A giant, flying turtle...

Gamera is a 1965 daikaiju eiga about a giant turtle awakened by the accidental detonation of an atomic bomb and is similar in nature to the more popular Godzilla series. One notable difference however occurs during the film when Gamera saves a boy from death after destroying a lighthouse. From this the boy realises that Gamera is not really destructive, but is a misunderstood creature out of place in our world. This concept would eventually be repeated in many kaiju films (including Godzilla) in the years that followed. The film also received similar treatment to that of Godzilla when in 1966 it was heavily re-edited from it's original Japanese release for American audiences with the new title Gammera, The Invincible!

Gamera doesn't have the same underlying fears that Godzilla contained and although the film features the accidental detonation of an atomic bomb, no real connection is provided other than merely awakening the beast, leaving the film without the same impact that Godzilla had 11 years before.

FANDOM FROM AN ACADEMIC VIEWPOINT:
Subculture organised!

Fandom

- A term used to refer to a subculture composed of people who share a common interest.

William Tsutsui is an Associate Professor of History at the University of Kansas, an author of many books on Japanese history and a life-long fan of the mutant lizard having authored “Godzilla on My Mind: Fifty Years of the King of Monsters” (First published by Palgrave Macmillan in 2004).

Published to coincide with the 50th anniversary of Godzilla “Godzilla on My Mind: Fifty Years of the King of Monsters” discusses how it grew into a global phenomenon thus exploring the monster's lasting cultural impact on Japan, the United States and the rest of the world whilst a video entitled “Godzilla and Post-War Japan” uploaded onto the web for UCTV (University of California Television) presented Professor William Tsutsui arguing that the evolution of Godzilla, throughout it's many films, reflects the social and political changes of post-war Japan and Godzilla's lasting cultural impact on the world.

The video was presented by the Center for Japanese Studies, the Asia Institute and the UCLA International Institute displaying not only the passion Godzilla has had on Japanese, American and the worldwide public but also the negative attitude surrounding the film. At one point William states that "critics have judged the Godzilla films to be artistically lacking, intellectually unchallenging, and ideologically hollow", an attitude shared by many unfortunately.

However it was “Mythologies”, a collection of short essays by Roland Barthes, that helped me to understand and demystify both the symbolism and mythology inherent within the subject of Godzilla. Although the book does not directly look at the tokusatsu genre Roland investigates popular culture, which he refers to as “petit-bourgeois culture,” unmasking and demystifying symbolism and messages from which western culture generally sells itself upon. In the final chapter entitled “Myth Today” Roland begins by asking this question:

“What is a myth, today? I shall give at the outset a first, very simple answer, which is perfectly consistent with etymology: myth is a type of speech.”

A system of communication... Let's look upon Kaiju as an example of mythology, a fantasy with the presence of certain historical elements presented as a subtext. Godzilla does not expect you to turn to the skies and keep watch for the next mutated giant reptilian threat. Let's remember that it is at it's core a form of entertainment, but in the myth, the historical subtext suggests that we should never allow another nuclear disaster to occur again.

The article “Godzilla and the Second World War: A Study of the Allegorical Meaning in Godzilla and Godzilla Raids Again” by John Rocco Roberto (originally published in KAIJU-FAN Issue #5 Spring 1995) discussed in detail how one could argue that the ideas behind the 1954 film were born not from Japan's Toho Motion Picture Company, nor from Godzilla producer Tomoyuki Tanaka. Godzilla was born the day the United States dropped the atomic bomb on Hiroshima, August 6th 1945. The Japanese reaction to their defeat in WWII is evident in their present anti-nuclear policies, furthered by the adoption of the Three Non-Nuclear Principles in the late 1960's, but their feelings have never really been understood. John believes however that at least a partial understanding can be achieved by studying Gojira and it's first sequel Gojira no Gyakushu.

Unfortunately John almost implies that Godzilla was the only film to allow the west to experience a deeper understanding of Japan's feelings towards the atomic bombings of Hiroshima and Nagasaki and therefore John is undermining the work of other post-war Japanese films to deal with the issues. For example Black Rain, a 1989 film by director Shohei Imamura (based on the novel of the same name by Ibuse Masuji), is centered on the aftermath of the atomic bombing of Hiroshima for a small Japanese family.

In “Struggling With Godzilla: Unravelling the Symbolism in Toho's Sci/Fi Films” by Tom Miller (originally published in KAIJU-FAN Issue #10 Winter 1999), Tom agrees in general with John Rocco Roberto's opinions but believes there is much more symbolic meaning to the Godzilla series than those addressed in the previous article. Tom believed Godzilla represented much more than the atomic bomb, promising that his article will examine the symbolic nature of not only Godzilla, but other kaiju as they have developed over time.

The representation of Japan's relationship with the United States is featured heavily in Tom Miller's article. For example at one point he describes the first Godzilla film as being a stark re-enactment of the Second World War, backing it up by using the connection that three of the men central to the films creation had each been involved in the war. Tom also points out a number of interesting shifts with Godzilla's symbolic role as the monster himself begins to change over time, taking on a more heroic personality and representing much different perspectives which he would keep for the remainder of the series.

Tom also attempts to cover the symbolic meaning in films such as Mothra (1961) and King Kong vs. Godzilla (1963) but, although he does make a few coherent connections, I've found that a lot of his article is based on opinion and speculation. To quote from Tsutsui's “Godzilla on My Mind: Fifty Years of the King of Monsters”:

“In the first Godzilla film, I think Godzilla himself is used symbolically. He represents death. But in the Godzilla films that were produced in the 1960's and certainly during the 1970's, is there much you can read into that, is there some sort of subtext? No. Not at all.”

The same can be said of the majority of Kaiju science fiction films that followed. They were produced merely as entertainment and to follow up on the success of Godzilla. Even Godzilla itself was produced due to the sheer popularity of the American monster movies at that time. King Kong (1933) had just been re-released to even greater acclaim than it received during it's initial run and The Beast from 20,000 Fathoms (1953) success had opened the floodgates for an entire genre of 'giant monster' movies.

To conclude Tom Miller's article touches on a lot of the strong concerns and fear found within the symbolism of kaiju eiga in a culture that produces these fascinating films. Films such as Godzilla are often ignored or ridiculed by critics for their B-Movie status and low production values however it is in these films that we can find significant cultural symbolism. Godzilla takes this fear and dissects it in front of the audience within it's 96 minute running time. As Tom mentions: “No one in Japan was ever worried about an attack by a giant mutated Tyrannosaurus Rex, but the concerns about defeat in war and nuclear attack were all too real.”

“Understanding Media” by Marshall McLuhan (Published in a 2nd Edition by Routledge in 2001) introduced the world to the idea of Medium as a Message when first published in 1964. “In a culture like ours, long accustomed to splitting and dividing all things as a means of control, it is sometimes a bit of a shock to be reminded that, in operational and practical fact, the medium is the message.” By thinking in terms in what way the medium itself, such as film, helps to get across the message it wants to convey we can look deeper into how the visual symbolism of Kaiju, most notably Godzilla, effects it's audiences.

“If it is asked, 'What is the content of speech?', it is necessary to say, 'It is an actual process of thought, which is in itself non-verbal.'” (McLuhan, 1964)

Why is it believed that Godzilla represents the atomic bombings of Hiroshima and Nagasaki? At no point in the film does anyone verbally hint at the notion that this could be the true meaning of Godzilla. It's only through subtext, semiology and the films strong visual message that allows the audience to come to their own shared conclusion to the true meaning of Godzilla. The medium is the message and it gives a strong insight into the minds of it's creators.

I also briefly looked at “A Hundred Years of Japanese Films: A Concise History” by Donald Richie (Published in a revised and updated edition by Kodansha International Ltd in 2005). It is an in-depth look into Japanese cinema, but more importantly at every opportunity Donald talks a great deal about the Western perspective on the cinematic development in Japan. There is a chapter dedicated to Western influences in Japanese cinema, most of which developed during the Japanese post-war economic miracle, a name given to the period of Japan's economic growth following World War II.

Other secondary source material included web articles on both the symbolism of Godzilla and the atomic bombings of Hiroshima and Nagasaki including World War II reference material and a book entitled “Prompt and Utter Destruction: President Truman and the Use of Atomic Bombs Against Japan” by J. Samuel Walker detailing why America used atomic bombs against Japan in 1945.

METHODOLOGY:
Looking upon an entire empire...

When writing this article I needed to review what problems I would need to consider when tackling the subject at hand. A lot of what has been wrote based on the Godzilla series, and Kaiju in general, is very opinionated and although it's all been based on well researched and documented facts, those facts tend to become hidden under the individuals love for their favorite Japanese mutant. So what approach would I need to use in conducting my research?

In this methodology I have attempted to provide a thorough description of what action I have taken to collect the necessary research, facts and opinions, and the analytical procedure I have taken to obtain the answers I'm looking for based on the information I have found. First I had to determine the question I was attempting to answer: Is the fascination in Japanese culture for science fiction Kaiju films and its symbolism born from the fears of nuclear war? Next I needed to determine the problems that I would face in finding the answers I required.

Beginning with my initial research, right through to my investigation of the literature, I began to take away effective methods of research that authors, such as William Tsutsui, had displayed in their writing and adapt them efficiently for the focus of this study. The symbolism of Kaiju eiga, or more importantly Godzilla, has been interpreted differently by fans, critics and scholars throughout it's 54 years in existence so I had to effectively locate the one opinion that is shared by the majority of Godzilla's fans and/or detractors. To uncover the fascination in Japanese culture for science fiction Kaiju films, the symbolism behind those films, and how I believe it could be the result of the atomic bombings of Hiroshima and Nagasaki.

How can we understand Japan's mindset after World War II? How did they really feel after the atomic bombings and their subsequent defeat? Was any blame placed upon a particular nation, including their own, for how the war ended? By utilising Ishirō Honda's Godzilla as my main starting point and focus I broke down my research by asking subquestions that related to this study:

Is there a link between the atomic bombings of Hiroshima and Nagasaki, and the film Godzilla?
What symbolism is inherent in the first of the Godzilla series?
Why had Godzilla continued to be so popular throughout the world?
Has Japanese culture been affected by the success of Godzilla?

In answering these subquestions I had gained a better understanding of the subject and could discuss my findings in relation to my main focus.

To conclude, this study followed analytical research methods. I had asked myself the questions and I had researched articles and books to gain the answers I required. My research findings, reported in the next chapter, are a result of that data analysis.

RESULTS:
"You have your fear, which might become reality; and you have Godzilla, which is reality!"

How did the Japanese nation really feel after the atomic bombings of Hiroshima and Nagasaki, and their subsequent World War II defeat?

"The Second World War was less than ten years ended and the Japanese were still laboring under the consequences of their failure and defeat. America had influenced the rebuilding and restructuring of Japan, affecting everything from industry to the political structure. Around Japan the Cold War expanded and nuclear test[s] took place, adding to Japan's fears for its people, country, and for the world." (John Rocco Roberto, 1997)

Japan had suffered greatly both emotionally and economically after WWII. As many as 220,000 people were dead by 1945 as a consequence to the atomic bombing leaving Hiroshima and Nagasaki in devastation and the nation in shock. Thus began, what has been dubbed as, the Japanese post-war economic miracle. This historical record period of economic growth was aided partly by an investment from the United States but mainly by the Japanese government's economic intervention. The United States occupation of Japan between 1945 and 1952 also resulted in the democratization of Japan. Today the economy of Japan is now the second largest in the world after the United States.

“Japanese nationalism and the closely intertwined issue of Japan's relationship with the United States have been major themes in the Godzilla films, much discussed by fans, critics and scholars. Expressions of nationalism--and indeed, the very sentiment of patriotism--have been troubling, controversial and often stigmatized in post war Japan, which has struggled to address it's history of expansionist ultranationalism and the complex domestic and international legacies of World War II.” (William Tsutsui, 2004)

Although the reaction Japan has displayed to the atomic attacks on Hiroshima and Nagasaki, not to mention their WWII defeat, is evident in their adoption of the Three Non-Nuclear Principles and newly adopted anti-nuclear policies, their feelings as a nation are difficult to understand. As is their relationship with the United States. Only through memoirs, interviews, books and film can we even begin to realise the impact this has had on the Japanese public.

Is there a link between the atomic bombings of Japan and the films such as Godzilla?

“Takeo Murata and Ishiro Honda's screenplay is a subtle retelling of the Second World War through the eyes of Japan.” (John Rocco Roberto, 1997)

As mentioned previously, one of Japan's most vital industries during the Japanese post-war economic miracle was their film industry, strengthened by a number of major production companies, including Toho, responsible for the original Godzilla movie. These major studios had kept themselves sustained throughout WWII by producing a number of war propaganda films and by 1954 studios like the Toho company was thriving financially. With recent successes behind them Toho had given long time producer Tomoyuki Tanaka the budget for a war film. When the plans to create the conventional war film titled In The Shadow of Glory fell through Tomoyuki Tanaka needed to come up with a new idea fast or lose face in the eyes of the company. During this time Japan had suffered again at the hands of another nuclear disaster. In March of 1954 a fishing ship known as the Fukuryu Maru6 had accidentally sailed into an American nuclear testing site eventually contaminating the entire crew. Straight away the Japanese press pointed the finger towards the irresponsibility the United States had taken. It was however this situation that had inspired Tanaka's idea to replace In The Shadow of Glory with “a monster that invades Tokyo the way King Kong attacked New York” and the same situation that had influenced Toho's decision to make it's first truly epic monster movie.

In Ian Friedman's article “Symbolism in Gojira” he indicates that the symbolism used during the very first scene, after the credits have rolled, is Ishiro Honda's way of bringing the film's most prevalent theme, of radiation associated with nuclear weapons, to light. Ian mentions in his article that you don't actually see Godzilla in this scene. If you didn't know you were watching Godzilla you could be mistaken in thinking that the first of Godzilla's attacks were the result of a nuclear explosion. Looking further into the symbolism he also mentions: “The analysis of the opening scene helps to display what I believe was Ishiro Honda using Godzilla as a visual metaphor to recreate the first two atomic bombings on Hiroshima and Nagasaki; he uses the two fishing boats as stand-ins for the cities and the people who lived there.”

Ian has made a very valid point but in my opinion I don't think it was the filmmakers intention to use the two boats as a visual metaphor. That scene always reminded me of the Fukuryu Maru fishing ship that sailed unknowingly into contaminated water. Regardless of whether Godzilla may or may not directly be the link between the atomic bombings of Japan and Kaiju eiga, it is a film that was subconsciously made to explain why the nuclear disaster should never happen again to anyone. It's also a film documenting Japan's change in culture and social traditions at a time when they needed to rabidly move ahead to survive as a nation.

“Gojira also can be seen not as merely an anti-war or anti-atomic bomb film, but a film on the changing 1950s Japanese culture, right alongside the great later films of Yasujiro Ozu. In those films, as well as Gojira, there are always young Japanese challenging seemingly silly social traditions, such as Emiko daring to not marry her arranged husband, Serizawa.” (Dan Schneider, 2006)

Coherent fears and fantasies of mass destruction are found in all cultures...

“These primeval fears, multiplied million-fold by modern technology, have yielded new monsters, new mythical demons to take the place of the devils of old. These new creatures of death and darkness swarm not the uncharted oceans, but the uncharted subconscious of modern civilization.” (Jon Inouye, 1979)

Every culture has it's fears... Godzilla itself is a creation born from the fears of another future nuclear disaster. Modern technology of the time created nuclear weapons and from these nuclear weapons came Godzilla! Tom Miller believes however that through the film's inherent symbolism Godzilla represents more than just the atomic bombing of Japan. In his article “Struggling With Godzilla: Unraveling the Symbolism in Toho's Sci/Fi Films” Tom states: “In the movie they made, Godzilla represents more than the A-Bomb; Godzilla is the United States itself”, but didn't the United States have a motive for the atomic bombings? Godzilla needed no motive... Just the animalistic desire to survive.

“Gojira is explicitly anti-war and anti-atomic bomb, not anti-American. When speaking of nuclear technology and consequences, mankind is always referred to as the cause, in general, not any specific nation. This is a central point many critics have missed. Gojira, the monster, is also not so much a metaphor for the bomb, but a variant of it incarnate — thus, it lacks a motive, such as King Kong’s lust for human females or the Rhedosaurus’ hunger.” (Dan Schneider, 2006)

A personal Godzilla...

Throughout my research I had tried to look upon Godzilla, Kaiju eiga and the fears of nuclear attack through a Japanese perspective. Never would I have realised, no matter how unintentional, that an understanding of recent western fears, could be obtained from the same Kaiju eiga years later.

“As I watched the World Trade towers collapse on September 11, I felt guilty. The scene looked similar to those that had entertained me in many Godzilla... films. But it wasn't a fantasy, the people were real, and their fear and suffering were heartbreaking.”

Was this the same reaction the Japanese had felt after watching Godzilla during it's initial theatrical run?! Did Godzilla bring back memories of WWII and the devastation it left behind?

“For the first time in my life, Godzilla was the last thing I wanted to see... It's no longer cool when the Kaiju topple those skyscrapers, and I can now appreciate the absolute terror of the screaming, fleeing crowds.”

Godzilla was always going to be a difficult film to categorize. Opinion on the subject is almost always divided between those who think the Godzilla movies are silly and juvenile, forgettable science fiction targeted towards children and those who believe that the first Godzilla is the most important film to deal with the post-war feelings of the Japanese nation. To quote from Tsutsui's “Godzilla on My Mind: Fifty Years of the King of Monsters”:

“The very fact that Godzilla defies easy categorization, that a man in a latex suit can simultaneously critique authority, stoke Japanese nationalism, be a therapeutic balm for tortured adolescents, and signify a wrestling, fire-belching phallus (Eeewww!), may just be the reason we can all love him so much.”

One thing we can all agree on however is that Godzilla and the Kaiju eiga it had spawned has made for great entertainment. That is the reason for it's undying popularity. Whether you watch Godzilla for it's inescapable subtext and its strong symbolism or for it's unintentional humour derived from the dated special effects you will always walk away entertained. Godzilla is just as much educational as it is escapism. That's why we love Godzilla!

“So what does Godzilla mean? He means everything and nothing, he means what you want him to and what I want him to, and oh, lest we forget in all this serious cogitating, Godzilla means fun.” (William Tsutsui, 1997)

DISCUSSION:
"Godzilla should not be destroyed... HE SHOULD BE STUDIED!"

Over the years Godzilla has changed roles significantly from once being the ultimate threat to Japan, to now being Japan's protector. One could believe that this change was made to make the monster appeal to a broader audience resulting in much larger profits for the studio or perhaps it is the result of the fears Japan once had post-war becoming less and less significant?

“Kaiju eiga, like their giant monster brethren from Hollywood, reflected fears of technology out of control, of poorly understood science in an age of rapid change, of dehumanization in a managed, top-down society, of a rapidly escalating Cold War, of retribution—perhaps divine, perhaps monstrous—for humankind's tampering with the forces of nature.” (William Tsutsui, 1997)

Science fiction Kaiju eiga may have been born from the fears of nuclear war but that did not mean that the films following Godzilla had to use the same theme or structure. One theme that has been constant throughout Kaiju eiga however is the theme of irresponsibility. Most of these mutations have been a result of humankind's irresponsibility with technology or the constant tampering of nature. The misuse of science...

“So in the Godzilla films, the answer to that fundamental concern of science fiction-can one really trust those people with specialist knowledge and broad institutional responsibility to be contempt, honest, humble and cautious?-is a resounding maybe.” (William Tsutsui, 1997)

The debate rages on even today regarding the United States decision to launch two nuclear attacks against Japan. With opinion divided between how irresponsible the U.S were to not allow Japan more time to consider the Potsdam Declaration or how necessary it was to end the Second World War and prevent further casualties. One thing is for sure, it's never a specific nation that is in the wrong... It's always down to the stupidity of humankind vs the intelligence of humankind. We have the power to both save us and destroy us. These themes are deep set into the structure of Kaiju eiga. We are either all to blame or non of us are to blame.

“...one doubts that audiences either Japanese or American felt too much remorse about the atomic bombings and the harnessing of nuclear power. Anxiety, yes; anger, perhaps; personal culpability, no.” (William Tsutsui, 2004)

It is true that all Kaiju eiga, including Godzilla, had reached unspeakable levels of popularity around the world, especially with the younger viewers. What made Godzilla or Mothra so appealing to the younger generation? Many have stated that it's been a result of the studio induced “dumbing down” of the genre to make it more accessible to a broader audience but then why is the original Godzilla movie, and it's sequel Godzilla Raids Again, still the most popular with the younger generation. These are both serious films and at one time Godzilla could have been called a horror film. William Tsutsui suggests “The basic framework the films establish may explain why these films have been so popular among younger viewers. The monster can be seen to symbolize the viewer-child's conscious and unconscious antisocial impulses, which are simultaneously acted out in grand spectacle while being redirected toward the good of society by the filmic-child which whom the viewer identifies. The films resolve or alleviate the contradictions inherent in childhood and puberty. Thus Godzilla joins the ranks of teenage werewolves and other archetypal monsters in expressing anxieties about the uncontrollable changes of puberty.” Regardless of age, there is no doubting the popularity of Kaiju eiga around the world. For me the films not only represent a historical significance unmatched in this genre, but also a sense of nostalgia. It's this nostalgia that keeps the fans, critics and scholars watching and questioning the films.

“While most of Godzilla's installments after the 1950s did become increasingly juvenile and silly, the first two films (in their original Japanese presentations) are serious films which explore the effects on the Japanese psyche of being the only nation to suffer from nuclear bombing. And that is a fact no critic or skeptic can diminish.” (John Rocco Roberto, 1997)

CONCLUSION:
Godzilla, it turns out, is one complicated guy...

“His thundering footsteps can be heard throughout the great city, sounding hauntingly similar to the American bombs which exploded in the city ten years before.” (John Rocco Roberto, 1997)

Godzilla continues to provide many questions, with just as many answers to accompany them. This is what has kept Godzilla fascinating. Not only is Godzilla a great movie but it can also provide you with some tough questions. William Tsutsui was shocked when presented with this question during a middle-school presentation on Godzilla:

“...the eleven-year-old shyly posed a single question. “When watching the old Godzilla movies,” he innocently asked, “did Americans enjoy seeing all those Japanese people die?” I was taken aback and was, for one of the few times in my life, completely speechless.”

“Not once had that thought ever crossed my mind, no matter how obvious, how plausible—and how chilling—it may indeed be.”

Godzilla has proven to be much more than just a representation of the atomic bomb for a culture still in fear that a disaster like Hiroshima or Nagasaki could happen again in the future and Godzilla's creation was certainly born from the fears still inherent within the filmmakers at the time. You only have to watch the film to discover just how much depth the destructive mutated lizard truly has. It presents a strong symbolic message.

“The film has revealing qualities when seen today, qualities lacking in later efforts...” (Jon Inouye , 1979)

It is truly the exploitation of public fears that drive this film. So yes the fascination in Japanese culture for science fiction Kaiju films is partly born from the fears of nuclear war, but the fascination for films like Godzilla doesn't just derive from those fears. What makes Kaiju eiga fascinating, not just in Japanese culture but around the world, is that anyone can take something away from their experience. Overall enjoyment, unanswered questions, utter bewilderment... It doesn't matter. No one leaves the cinema without thoughts left by what they have just seen, be it praise or criticism.

“Just because Godzilla seems a simple, straightforward monster doesn't mean he can be reduced to a simple, straightforward theory.” (William Tsutsui, 2004)

I still have many more unanswered questions regarding both Godzilla, Kaiju eiga, and their American counterparts that far outreach the scope of this study. Godzilla is one hell of an experience and never has a film left such an impact on my life...a statement I believe that is shared by millions.

“Never, I think, in the history of childhood has such blatant self interest been rewarded so generously. Thank you Godzilla.” (William Tsutsui, 2004)

The Stonewall Silence "Do Unto Others" Music Video

2011-11-27T18:31:00.000Z

The Stonewall Silence have only one simple objective, to be whatever it can be.

With an appreciation for many other forms and styles of music the aim is to work around and upon a framework, not within it. Why adhere to simple convention when you can break it! However there is only one thing needed in order for this to be achieved and like so may other aspects in life that thing is time.

With The Stonewall Silence still in its infancy, they will embark upon a musical journey, one that will continually see the landscape of the project evolve, develop and mature. As together their understanding grows, those newly developed skills will be honed and refined. So you see this is their memorandum, a statement of intent, but not one that necessarily reflects what they currently are but more one of what they hope to become and the journey they intend to make.

As we all know every Journey begins with that first tentative step, so with that said The Stonewall Silence are proud to introduce their first foray into the musical wilderness with their debut EP... “Divide to Conquer”

www.thestonewallsilence.co.uk
www.myspace.com/thestonewallsilence
https://twitter.com/Stonewall_Band

"Do Unto Others" Music Video directed and animated by Ken Wynne.
http://kpwninja.blogspot.com/
https://twitter.com/KPWNINJA

The Stonewall Silence EP "Divide to Conquer" will be released on the 28th November and is available on iTunes, Amazon, Spotify and Nokia.

THE EVIL DEAD (1981)

2011-11-12T20:57:00.000Z

(aka Book of the Dead)

In 1981, Sam Raimi's ultimate low-budget experience in gruelling horror was released onto the unsuspecting public. Controversial for it's extremely graphic violence Raimi's feature length debut was initially turned down by almost all U.S. Film distributors. When the movie was finally picked up by Irvin Shapiro in 1982 and given a foreign release, followed by a domestic release shortly afterwards, it was savaged by the hands of the censors and was even banned outright in certain countries...

But nothing could stop the talent of the small cast and crew from creating such an ambitious movie that, despite it's 'shoe-sting' budget, would capture the imagination of its audience and grow to become the cult phenomenon that is THE EVIL DEAD.

When a group of five Michigan State students decide to spend the weekend at an isolated cabin, hidden deep within the woods of the Tennessee mountains, they discover 'Morturom Demonto' an ancient Sumerian text, otherwise known as 'The Book of the Dead'.

Curiously the book is also accompanied by a tape recording believed to be a translation of the demonic incantations featured within the text. Ash (Bruce Campbell) and Scotty (Hal Delrich) decide to playback the recording, unknowingly and unwittingly unleashing a hoard of Kandarian demonic spirits unto the world of the living.

It is not long until Ash’s younger sister Cheryl (Ellen Sandweiss) becomes host to a Kandarian demon and attacks Linda (Betsy Baker), Ash’s girlfriend, before being beaten, thrown down, and locked into the cellar by Scotty. Distraught and visibly upset Shelly (Theresa Tilly), a friend of the group, takes refuge in her room only to become the second host to a Kandarian demon. Now possessed Shelly becomes psychotic and attacks Scotty...

Fearing now that the only way to stop those possessed by the spirits of the book is through the act of bodily dismemberment Scotty grabs an axe whilst Ash looks on in terror... But what about Linda?

I can honestly say without a shadow of a doubt that Sam Raimi's THE EVIL DEAD is my all time favourite horror movie, not only because it has all the elements it needs to keep it's audience at the edge of their seat, but because it has a great sense of humour rarely seen in this genre.

THE EVIL DEAD is a relentless, grotesque masterpiece that succeeds because of it's unique and imaginative slapstick style that can be credited to Sam Raimi's directional technique, Tom Sullivan's outlandish make up, props and special effects and the superb cast and crew that put everything into making this film something truly special.

The Evil Dead, the ultimate experience in gruelling horror, was filmed in Morristown, Tennessee, and in Detroit, U.S.A.

The uncut and remastered R1 release from Anchor Bay presents the film in both anamorphic 1.85:1 widescreen and in it's original aspect ratio of 1.33:1 full screen, audio commentaries with Sam Raimi, Rob Tapert and Bruce Campbell, "Life After Death: The Ladies of The Evil Dead" documentary, multiple featurettes, deleted scenes, theatrical trailers and TV spots.

NAPALM DEATH / CANCER BATS

2011-11-02T23:01:00.000Z

Download Festival 12th & 13th June 2010 (HD)

NAPALM DEATH
Live at the Download Festival
Donington Park, UK
13/06/10

CANCER BATS
Live at the Download Festival
Donington Park, UK
12/06/10

http://www.napalmdeath.org/
http://www.cancerbats.com/
http://www.downloadfestival.co.uk/

DEF LEPPARD / ZZ TOP

2011-10-29T17:35:00.000+01:00

Download Festival 14th June 2009

DEF LEPPARD
Live at the Download Festival
Donington Park, UK
14/06/09

ZZ TOP
Live at the Download Festival
Donington Park, UK
14/06/09

http://www.defleppard.com/
http://www.zztop.com/
http://www.downloadfestival.co.uk/

THE INCREDIBLE MELTING MAN (1977)

2011-10-23T19:24:00.000+01:00

(aka Der Planet Saturn lässt schön grüßen)

William Sachs' THE INCREDIBLE MELTING MAN is an American science fiction horror hybrid about astronaut Steven West (Alex Rebar) who is exposed to radiation during a space flight to Saturn and gradually begins to melt...

A word of warning to any aspiring astronauts:
Never look directly at the Sun through the rings of Saturn!

Upon regaining consciousness West finds himself hospitalised, learns that his flesh is slowly liquefying and becomes enraged. Hysterical, he chases a nurse (Bonnie Inch) through the hospital in a frenzied panic, ultimately killing her and devouring her flesh before escaping. Dr. Theodore Nelson (Burr DeBenning), a scientist and friend of Steven West, meets with Dr. Loring (Lisle Wilson) at the hospital to examine the nurse's remains and upon discovering that the corpse is emitting radiation they come to the conclusion that West's body has become radioactive.

Nelson, now believing that West has become insane due to radiation poisoning, contacts General Michael Perry (Myron Healey), a United States Air Force officer familiar with West's unfortunate accident, to inform him of his escape and to plan his immediate capture.

“He's gonna need human cells to live on, and his instinct will tell him to kill.”

For me, director William Sachs' homage to the 1950's era of science fiction horror is a guilty pleasure. Originally intended as a parody of horror films American International Pictures decided during production that a straight horror film would be more financially successful, a decision that the director William claims hurt THE INCREDIBLE MELTING MAN significantly. Despite this THE INCREDIBLE MELTING MAN still contains a number of comedic elements that can sometimes defy belief. To quote William Sachs: "How can a serious horror movie end with the monster being shovelled into a garbage can?"

It is ultimately through the use of grotesque and gory makeup effects however that THE INCREDIBLE MELTING MAN truly succeeds. Special makeup effects artist Rick Baker designed the monster's gradual deterioration through the use of facial appliances and liquid substances that simulated melting flesh falling to the ground, creating the appearance that West's body was falling apart. Even despite actor Alex Rebar's reluctance to wear all the facial appliances Baker had designed, the effects are undeniably effective.

"In space, no one can hear you... melt!?"

THE INCREDIBLE MELTING MAN is an incredible experience. Imagine Val Guest's THE QUATERMASS XPERIMENT (1955) but exploited for 1970's American drive-in audiences. Even despite the film's lack of focus and a few obvious missed opportunities William Sachs' grisly humour and Rick Baker's gory and truly repulsive special effects will satisfy the hunger of those, like me, who love 1950's science fiction cinema and 1970's exploitation.

The uncut German DVD release from CMV Laservision is presented in a steelbook limited to 1000 copies and features the original English audio and German audio, a photo gallery and a theatrical trailer.

RAGE AGAINST THE MACHINE

2011-10-23T10:30:00.000+01:00

Download Festival 12th June 2010 (HD)

RAGE AGAINST THE MACHINE
Live at the Download Festival
Donington Park, UK
12/06/10

http://www.ratm.com/
http://www.downloadfestival.co.uk/

TAPESTRY (タペストリー)

2011-10-20T22:57:00.000+01:00

Tapestry is a mixed media project produced as part of my BA (Hons) Animation coursework at Edge Hill University. The aim was to create an experimental animated film no longer than 10 minutes in length incorporating many different animation styles. Production and post-production involved the use of many different software packages due to the range of mixed media involved allowing me to develop various different skills. The project, influenced by the visual style of video games and Japanese manga, achieved desired results and was successfully screened at the Ellensburg Film Festival in October 2009 to a receptive crowd along with Brian Wimer’s feature film Mantra.

For more information on Edge Hill University check out:
http://www.edgehill.ac.uk/

For more information on the Ellensburg Film Festival check out:
http://www.ellensburgfilmfestival.com/

"Tapestry is very bold, making use of a lot of graphic imagery mixed with origami and video game style set to driving beats. There were freaky, techno, meowing cats that looked even more frightening. The film evoked some laughter and chatter after and was thought of as amusing and fun by many of those in attendance." Amy Davison

For Amy Davison's full review on Tapestry and Brian Wimer’s Mantra check out the official Ellensburg Film Festival blog: http://ellensburgfilmfestival.wordpress.com/2009/10/06/mantra-not-for-the-faint-of-heart/

"After spending the last eight minutes and fifty-three seconds in dumbfounded awe of this beautifully visceral piece of YouTube meat, I found myself overwhelmed by the compulsion to share it with cat fanciers... Admittedly, it was the collection of sinister pussycats which completely sold me on this stunning example of video art." Kitty LeClaw

For Kitty LeClaw's full blog post on Tapestry check out her fantastic blog Killer Kittens From Beyond The Grave: http://killer--kittens.blogspot.com/2009/08/tapestry.html

"Nice work d00d! Congrats on getting it done! Love the mixed mediaGE...lookin forward to seeing your next work ^ ^" M dot Strange

This film is in memory of Sadako Sasaki and to all those who, like her, endured the unendurable.

Alucard

2011-10-18T17:56:00.000+01:00

(Click to Enlarge)

Alucard is a fictional character and the protagonist in the Hellsing manga and anime series created by Kouta Hirano.

DIR EN GREY / STAIND

2011-10-17T22:29:00.000+01:00

Download Festival 12th June 2009

DIR EN GREY
Live at the Download Festival
Donington Park, UK
12/06/09

STAIND
Live at the Download Festival
Donington Park, UK
12/06/09

http://www.direngrey.co.jp/
http://www.staind.com/
http://www.downloadfestival.co.uk/

Berlin, Germany 15/10/11

2011-10-17T21:37:00.000+01:00

The Memorial to the Murdered Jews of Europe

Checkpoint Charlie

Checkpoint Charlie, Soviet Soldier

"YOU ARE LEAVING THE AMERICAN SECTOR"

Cobblestone and a plaque to signify where the Berlin Wall once stood.

Remains of the Berlin Wall adjacent to the Topography of Terror.

The Brandenburg Gate

"WE ARE THE 99%"

A peaceful 'Occupy' protest outside the Reichstag.

Photography by Katy Kelly and Ken Wynne

"DON'T MESS WITH MICHAEL IRONSIDE"

2011-10-13T21:18:00.000+01:00

A rotoscoped tribute to the legend that is Michael Ironside, David Cronenberg and the 1981 film SCANNERS!

AEROSMITH

2011-10-10T20:27:00.000+01:00

Download Festival 13th June 2010 (HD)

AEROSMITH
Live at the Download Festival
Donington Park, UK
13/06/10

http://www.aerosmith.com/
http://www.downloadfestival.co.uk/

JAPANESE ANIMATION: A GLOBAL WORLDWIDE CULTURE

2011-10-09T21:59:00.000+01:00

AN INTRODUCTION TO JAPANESE ANIMATION AND IT'S IMPORTANCE WITHIN VISUAL CULTURE.

Anime (AH-nee-may or AN-nee-may)
- Short for “Animation”. Anime refers to “Japanese Animation” and is seen as the Japanese abbreviation of the English word.

Japanese anime has become a worldwide culture for many reasons. Becoming popular in Japan after the second world war, anime provided an alternative format for storytelling. The common misconception in the west is that animation is primarily aimed towards the children, a subject we shall look into further, but this is not the case in Japan. Just about every genre imaginable is represented in anime ranging across all age groups, each product appealing to a different audience.

When Japanese animation began its export into western countries in large quantities during the 1970's many people who had watched these programs at that time may not have known that they were watching anime. This is because once it was dubbed into English the American distributors and voice actors would often take credit over the original Japanese creators. Adults today would have probably seen anime as children perhaps without even realizing that it was from Japan. The 1990's saw great international success with the likes of 'Pokemon' and 'Dragon Ball'. Children from all over the world were after the very latest in Pokemon merchandising. It wasn't until 'Akira' in 1988 that most other adult orientated animation became popular, particularly 'Ghost in the Shell' in 1995 helping to popularize anime and establishing it's legitimacy as an art form in its own right.

Akira became both a critical and cult hit and in many ways can be seen as the film that started the anime boom in the West. The films adult themes of dystopia and apocalypse and its superbly detailed, viscerally exciting animated style amazed Western audiences.

As a result of this rise in popularity, many earlier anime and manga (comic books) only available in Japan has been sought out, translated and distributed worldwide.

OVERVIEW OF THE ANIME INDUSTRY AND FORM OF CULTURAL PRODUCTION.

Japanimation (jap-A-neh-MAY-shun)
n. - A combination of the words “Japanese” and “Animation”, used to refer animation from Japan and the industry as a whole. Some fans consider this term outdated (preferring instead to use the word “anime”) since This term was more widely used around the 80's when anime began to become more popular in other western and international countries.

Up to and during the second world war the presence of western animators such as the Fleischer Brothers and Walt Disney dominated the early 20th century animation industry, setting the standards for animated motion picture for years to come. The Japanese during this time however were hardly mentioned due to their slow approach and any comparisons made were completely one-sided in favour with the west‘s revolutionary animation.

After the Second World War had passed Japanese economy had fell into a state of disaster making it impossible to support the vast industry of film. This meant that many people had to express themselves through other medium, most notably by drawing manga. Manga itself was influenced by the western comic books that had made it’s way to Japan after the war. But as Japan began to recover and it’s film industry began to grow it was only a matter of time before the deep and compelling storytelling found in most manga would crossover to film. However instead of the use of live action to recreate these stories the focus on Japanese film making was to animate them thus keeping the overall feel of the original manga intact. Even today this focus on filmmaking is unchanged in Japan and anime continues to play an important part in Japanese entertainment but how much of this has made an impact on the western side of the world?

Osamu Tezuka, a factory worker during the war, had created the first manga to reach the United States in 1952. This manga was named ‘Astro-Boy’ and curiously instead of developing the unique characteristics of Japanese physical traits Osamu Tezuka mimicked that of the west creating characters with disney-like characteristics such as their large innocent eyes. This was quickly followed up by an animated series based on 'Astro Boy' in 1963 which also became the first anime series to be broadcast outside of Japan. Tezuka became a pioneer to the growing Japanese manga and anime industry, drawing on the influences of western cartoons he had seen as a child. A style that had quickly caught on resulting in most manga and anime not bearing the characteristics distinct to the Japanese public. Historians even believe that Osamu Tezuka was the precursor to not just anime but manga as well. He was first to come out with a full length graphic novel titled ‘Shintakarajima’ (translated ‘New Treasure Island’) in 1947 before producing ‘Astro Boy’.

As time went on however the Japanese animation industry began to see changes that diverted from the previous western influences and highlighted many techniques and trends that would go on to become what is now known as the uniqueness of Japanese anime. The most obvious of these trends was the giant robot sub-genre of anime known as ‘mecha’ in the 1970‘s. The earliest ‘mecha’ anime was known to be ‘Mazinger Z’ created by artist Go Nagai who then went on to create another highly influential trend in anime years later known as ‘Devilman’ that ignored the ‘good vs. bad’ storytelling of old and created an ‘anti-hero’. Go Nagai now considers ’Devilman’ his life’s work. Western culture however really began to appreciate anime after the release of ‘Akira’ in 1989 with it’s very complex animation and compelling science fiction storytelling making it a success and allowing anime to leave Japan and enter the rest of the world for all fans to consume.

Today anime continues to develop and evolve with new series being shown on Japanese TV networks almost everyday despite Japan’s economic hardship. Internationally an increasing fan base has helped to bring Japanese animation across the world in both it’s original Japanese and in dubbed format and as anime expands, the cycle of cultural influence extends into the USA and European markets with western work such as ‘Perfect Hair Forever’ and ‘The Animatrix‘ taking much influence from the Japanese.

IDENTIFICATION OF MAJOR ACADEMIC TEXTS ON ANIME AND THE MAIN IDEAS, THEMES AND THEORIES WITHIN THEM.

Otaku (oh-TAH-kuu)
- From the Japanese, literally meaning “house”. In Japan, the term refers to someone with a heavy interest in something. In the Japanese culture it also carries a derogatory meaning, in the context of being someone with no real social or personal life outside of the object of their obsession.

Napier, Susan J. Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation, 2002.

Napier explores Japanese Animation in such great detail as she breaks down and analyses the many different genres of anime. Both the differences and the similarities in these genres are explained. Napier also demonstrates how anime often portrays important social and cultural themes in a sophisticated yet entertaining way and how many of theses similarities fit into those themes. Further into the book we discover how Identity appears in all sorts of genre, from hentai to horror, within anime. 'Anime from Akira to Princess Mononoke' also explains that some films deal with themes that challenge the modern day Japanese society.

Kelts, Roland. Japanamerica: How Japanese Pop Culture has invaded the U.S, 2007.

Kelts takes a look at both Western and Eastern film production. He mentions that while Hollywood struggles to fill seats, animation releases in Japan are increasingly out pacing American movies in sheer numbers and, more importantly, in the devotion they inspire in their fans. He also makes comparison to our very own 'Harry Potter' series and how despite it being a very 'English' release it is loved worldwide in all formats. Much like the way Anime is also deeply Japanese, making its popularity in the rest of the world surprising. 'Japanamerica' covers everything from the family orientated Hayao Miyazaki's epics to the burgeoning world of hentai, or violent pornographic anime. His insight regarding both nations highlights the shared conflicts as American and Japanese pop cultures dramatically intersect, a view similar to Susan Napier.

For most Japanese consumers of anime, their culture is no longer a purely Japanese one (and indeed it probably hasn't been for over a century and a half). At least in terms of entertainment, they are as equally interested by Western cultural influences as they are by specifically Japanese ones. (Napier, 2002)

SEMIOTIC ANALYSIS OF JAPANESE ANIMATION.

Original Video Animation (OVA)
- A term used for Japanese animation titles that are released direct-to-video, without prior showings on TV or in cinemas. OVA is sometimes used to refer to any short anime series or special regardless of its release format.

Japanese animation is thought to be related to extreme violence and explicit sexuality, and this is no less true than in the great OVA series 'Devilman'. This analysis will observe the cultural meanings of Anime and it's relationships specifically within in the films 'Devilman: The Birth' and 'Devilman: The Demon Bird'. Both 'Devilman' OVA's are effectively remakes of the original 'Devilman' manga and 1970's TV series. The series has since spawned a third OVA, a TV series set in an alternative universe, a live action film and a multitude of different spinoffs in both film and manga.

Symbolism within Japanese animation, as with all cinematic work, references certain situations and/or emotions displaying them in simplified (and even iconic) terms. Our hero (or rather anti-hero) Akira can be found in many of these compromising situations where normally one would feel nervous or scared but instead of conveying these feelings through dialog or facial expression, the emotions are simplified and conveyed as a symbol or icon. For example Akira awakes from a hideous dream which has since made made him nervous. This is conveyed by simple beads of sweat down his forehead.

Anime often rejects basic symbolism and creates new symbolism. The most recognized of the new could be the over sized eyes. These signify the emotions of the character we are watching and there innocence within the plot. You will notice that in 'Devilman: The Birth' Akira has quite large rounded eyes to begin but by the end of the film and throughout 'Devilman: The Demon Bird' his eyes have became much smaller and bolder. This conveys Akira's loss of innocence throughout the two films due to his transformation into Devilman.

CONCLUSION.

The symbolism found in Japanese animation creates such a complex sign to communicate situation and emotion that it makes anime one of the most important cinematic symbols not just for Japanese culture, but for worldwide culture as a whole.

STEEL PANTHER

2011-09-27T23:18:00.000+01:00

Ozzfest UK 18th September 2010 (HD)

STEEL PANTHER
Live at Ozzfest UK
The O2 Arena, London, UK
18/09/10

http://www.steelpantherrocks.com/
http://www.ozzfest.com/
http://www.theo2.co.uk/

ROB ZOMBIE

2011-09-18T13:00:00.000+01:00

O2 Apollo Manchester 17th February 2011 (HD)

ROB ZOMBIE
Live at the O2 Apollo
Manchester, UK
10/06/11

SOLD OUT!!!

http://www.robzombie.com/
http://www.o2apollomanchester.co.uk/

SPLATTERHOUSE (1988, 1990) TurboGrafx-16

2011-09-10T23:06:00.000+01:00

1 Player Only

Developed by Namco specifically for the arcade in 1988, SPLATTERHOUSE is a lot like traditional beat-em-ups from the same era, except, it's dripping with atmosphere, extreme graphic violence and, with it's foot firmly placed in the horror genre, the game leaves you with a feeling of dread after experiencing your first playthrough.

The game begins with two college students, Rick Taylor and Jennifer Willis who decide to take refuge from a storm in West Mansion, the former home of parapsychologist Dr. West. The mansion has became a local landmark known as the "Splatterhouse" thanks to rumours, further fuelled by the disappearance of Dr. West, of hideous experiments purportedly conducted there by the doctor.

Once inside Rick and Jennifer are attacked leaving Rick fatally wounded, fighting for his life before eventually losing consciousness as Jennifer is dragged away screaming ...

In the dungeon of West Mansion Rick awakens to discover that he is still alive, his face fused with an ancient Mayan artifact known as the "Terror Mask", capable of sentient thought. This fusion had transformed him into something not quite human and with the mask's encouragement Rick rampages violently throughout the "Splatterhouse".

Unfortunately Namco's SPLATTERHOUSE was rarely seen in arcades outside of Japan and thus western gamers did not get to experience the game's intensity until SPLATTERHOUSE was eventually ported and released in 1990 for the NEC TurboGrafx-16 (aka the PC Engine in Japan).

Despite the consoles limitations, and a few small cuts to content, SPLATTERHOUSE remained faithful to the arcade original and retained much of the graphic violence, prompting the NEC Corporation to include a warning label on the game's box art. There are also a few differences between the Japanese and North American release that are worth noting. One example in particular is the mask's difference in appearance between the two versions. Originally the "Terror Mask" was fashioned after a hockey mask and had retained it's look in the Japanese PC Engine port. However, possibly due to the similarity between the character of Jason Voorhees in the Friday the 13th series, the mask was altered into a red mask with black accents for the North American TurboGrafx-16 port.

In SPLATTERHOUSE you take control of Rick (under the influence and encouragement of the "Terror Mask") and like many beat-em-ups released around the same time you move throughout each level on a two dimensional plane. There are a total of seven stages featuring various hideous enemies to tear apart and a multitude of weapons Rick can pick up and use at his disposal. What makes the game so unique however is the amount of gore that drenches the screen. Hit a mutated creature with some 2x4 and watch in disgust as it's torso hits the wall beside you in an explosion of blood! SPLATTERHOUSE also had one of the most eerie soundtracks ever presented in an arcade beat-em-up, surpassed only by it's sequel, that adds to the sense of isolation and despair that the game befalls upon the gamer.

Namco's SPLATTERHOUSE is gaming's first true horror classic. While it may lack in innovation by not changing the foundations laid down by past arcade beat-em-ups, it excels in the sheer grotesque keeping the game fresh! There is enough here to satisfy any horror enthusiast and could well be one of the most important titles in the TurboGrafx-16's brief history.

HEAVEN & HELL / SAXON

2011-09-10T16:06:00.000+01:00

Sonisphere UK 1st & 2nd August 2009 (HD)

RIP Ronnie James Dio (July 10, 1942 - May 16, 2010)

HEAVEN & HELL
Live at the Sonisphere Festival
Knebworth, UK
01/08/09

SAXON
Live at the Sonisphere Festival
Knebworth, UK
02/08/09

http://www.heavenandhelllive.com/
http://www.saxon747.com/
http://www.sonispherefestivals.com/

MENTALLICA (Europe's #1 tribute to METALLICA)

2011-09-08T18:24:00.001+01:00

O2 Academy Liverpool 27th November 2010 (HD)

MENTALLICA (Europe's #1 tribute to METALLICA)
Live at the O2 Academy
Liverpool, UK
27/11/10

http://www.mentallica.net/
http://www.o2academyliverpool.co.uk/

SHATTERED ALLIANCE 'Your Saviour is Late' EP

2011-09-08T18:05:00.000+01:00

Satan's Fish Tank Magazine
"...a band that hark back to the days when heavy metal meant heavy metal..."

(Click to Enlarge)