During the 1950’s as the world’s scientist and superpowers worked feverishly to harness the power of nuclear fusion. People looked on in awe from Las Vegas hotels at the bright flash and resulting mushroom cloud signaling progress towards solving the world’s energy needs. Like the beautifully mesmerizing feathers of a peacock each test also demonstrated to the world the sheer power and might of the nation responsible for the explosion; the nuclear age had arrived amid excitement and the promise of a better life for all. While the rest of the world basked in the possibilities created by this advance in science, one nation remained immune to atomic fever. On March 14, 1954 the return of the unremarkable tuna trawler, Lucky Dragon No. 5, covered in atomic ash to its home port of Yaizu, after fishing in the safe zone during a secret atomic test conducted by the United States. With all 23 crew members suffering from radiation sickness; the Chief Radio Operator would later die, the Japanese people found themselves addressing the fears of the atomic age, these fears would soon be immortalized on film with the introduction of one of the most destructive monsters to ever terrorize the silver screen; Godzilla.
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Brothers begins to layout his support for his thesis by laying out a brief comparison between some of the more ardent scenes in the movie with the actual events of the war, “Godzilla is in fact a virtual recreation of the Japanese military and civilian experience during the final months of WWII” (Klosterman 53); this comparison that helps drive a sense of credibility to Brothers’
Brothers begins to layout his support for his thesis by laying out a brief comparison between some of the more ardent scenes in the movie with the actual events of the war, “Godzilla is in fact a virtual recreation of the Japanese military and civilian experience during the final months of WWII” (Klosterman 53); this comparison that helps drive a sense of credibility to Brothers’