In the reading Oh No, There Goes Tokyo， we get to know that why Japanese people are really keen on creating films that having giant monsters such as Godzilla or King kong destroying the city or featured architecture of the city, for example the Tokyo Tower. And in the second reading Technology and (Chinese) Ethnicity, the reason for them to make anime is quite similar. We all know that Japan is a country that has miserable history, as typical example: the earthquake, nuclear boom. All of these disasters gave unimaginable damage to Japan, not only to people, also the government, architecture and so on. So that in these monsters’ film, maybe it is the director that make these difficulties tangible, at the end of monster films, although they are strong, they are finally beat down, that is the spirit the films want to send out, whatever what we are facing together, we can win at the end. It is similar in anime, directors make these films with their hope, aspirations and signals to let the audience inspired.
Zhekai Zhang 3035952484
I appreciate your attempt to draw the connection between the two readings, but more clarification is required. Can you clarify how you gathered from Davis’ piece that anime is intended to be inspiring by its directors?