Reading Response: William Tsuitsui

‘Gojia’ is a film that Japanese film about those monsters. These monster is create by nuclear experiment. However, those film is not just an monster destroying building in the city, but it is related to the situation in Japan after the world war. Those disaster cause by nuclear war is a traumatic event for Japanese people. This related to this film, which creation of modern world became threat to the society. Japan trying to hide, but this film shows about destruction and show negative part of modern invention. It is different from monster movie of other countries becuase they didn’t

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[Reading Response: Carl Abbot]

There is much imagination about what the cities will look like in the future. Different science fiction authors give their projections. In Migratory Cities, Abbot offers several types of cities that can move, depicted in popular fictions, as examples. The form of these cities is generally called Walker city or Okie city. Under normal circumstances, a municipality is a permanent place where has a physical boundary which distinguishes it from others, a geographical concept. However, there are walker cities which are different from the norm and break the traditional definition. As Abbot mentions, the shared reason is often the enormous

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Reading Response: Carl Abbot

The beginning of Carl Abbott’s reading inspired me to reflect on the function and purpose of scientific and futuristic films. Since there are indeed not many limitations and boundaries for creating this genre of movie. Hence, despite fulfilling the audience’s excitement and curiosity, it warns and alarms human beings about environmental, health and technological issues in the future. Besides, I agree with the writer’s idea that plenties of cities have already died on the ground where they were born and disappeared into history. Places in every single corner of the world keep demolishing and replacing due to numerous reasons. Seemingly

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[Reading Response: William Tsuitsui]

This article reflected on the relationship between post-war Japan and annihilation fantasy entertainment. I agree that the popularity of apocalyptic fantasies is partly due to Japan’s long history of destruction and the effect of the atomic bombs. Firstly, perhaps due to the number of natural or man-made disasters Japan has endured or simply because of the nature of Japanese people, they are very resilient. Even after being occupied by the US in the post-war period, they managed to rebuild the country. No doubt that their strength against disasters is a reason they could enjoy such genre. Secondly, the new weapon

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[READING RESPONSE: WILLIAM TSUITSUI]

The reading showed Tsuitsui reflected on Japan’s past. Japan is a place near the pacific volcano ring of fire, there are lots of active and inactive volcanoes in Japan, accompany with other natural disasters such as earthquake, tsunami and human-made disasters like atomic bombing in WW2.  The most recent disaster in Japan was the earthquake in 2011, a magnitude 9.0 earthquake with tsunami and nuclear threat from the power station. I still remember Japanese were patient enough to line up  for public telephone after mobile phone network fail after earthquake. It shows the quality of Japanese and how they calmly

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[READING RESPONSE: WILLIAM TSUITSUI]

Japanese is an interesting nation, I used to read a book named The Chrysanthemum and the Sword which is focus to analysing the personality traits of Japanese. This article is to analyse how the historical affect the pop culture of Japan. Although this article is focused on Japan, it can also show historical is a factor to influence a country. Vietnam and Hong Kong will be examples. The article pointed out an idea which is “The more complicated a civilisation becomes, the more fun it is to imagine the whole works going up in flames.” From my point of view,

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[Reading Response: William Tsuitsui]

This essay discussed the positivity of monster film in Japan which is interesting and insightful as a disaster film appears mostly to be negative. However, in my opinion, as the monster film becomes popular and most of them are of a similar formula that humans can survive in the end, what destroyed will be rebuilt, these films are lossing its social significance. Although it is always important to have hope in the disasters, it is also crucial for a film to reflect on reality. There is an increase in humanitarian disasters and slowing destroying the planet that we are living

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[Reading Response: William Tsuitsui]

William’s text about recreational apocalypse pointed out that these Japanese genre is mainly affected by the ‘postwar inevitability of growth and change’. Although the point was well backed and convincing, I also want to add another possible reason why recreational apocalyptic genre thrived in Japan, even until today, and it is from a geographical point of view. Japan located on several islands, and they were volcanic as they were situated and produced by plate boundaries. As result, Japan always encounter gigantic natural disasters throughout their history, from Earthquakes to Tsunami, these countless disasters always damage Japanese cities very severely, hence

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[READING RESPONSE: WILLIAM TSUITSUI]

This reading has shown how deeply Tsuitsui  reflected on how Japan viewed their past and portrayed into their film and other forms of arts. Atomic bombing and natural disasters; tsunami and earthquake had continuously happened within Japan, which did not even allowed the people to have time to go through their hardships. As written in the reading, the filmmakers attempted to overcome the issue by using the so called ‘monsters’ as a protagonist to materialize the reality of Japan into film and overcome by ending with a happy ending. Tsuitsui had comprehended such materialization as an attempt to beautify or

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[Reading Response: Carl Abbot]

Carl Abbott represented three different types of migratory cities, namely hunter-gatherers, cities riding the rails, and distributed cities. Hunter gatherer, taking the walking city in Ron Herron’s book as an example, is a huge self-contained min-city that looks like a combination of giant building cranes, robots, and praying mantis, with the core features of flexibility ad motion. Cities riding the rails, often taking train or spaceship as a carrier to realize the movement of the city along rails. But it is questionably a city because it has no hinterland, no trade, no interactions with a large world. Distributed city, such

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