Atomic Bombings of Hiroshima and Nagasaki and Science Fiction

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Argumentative Synthesis Between Ryfle and Sontag
Many differences can be seen between Steve Ryfle’s article “Godzilla’s Footprint” and Susan Sontag’s well known 1965 article “Imagination of Disaster” as Ryfle talks about the Japanese’s imagination perspective while Sontag talks about the American imagination perspective of there view points on science fiction films. Furthermore, Ryfle takes an intensive approach toward Godzilla has he provides evidence that advances his argument with the help of Susan Napier’s article “Panic Sites” where she demonstrated key points toward Japanese science fiction films and relate to Ryfle’s point of view. Whereas the famous Feminist write of the 1950’s and 60’s, Sontag disagrees with Ryfle on his idea and leans toward the more extensive way of thinking has she portrays to argue that science fiction films are nothing but extensive dramatics and to support her argument Susan Napier in her “Panic Sites” article partially agrees with Sontag with certain points that are relevant to Sontag’s argument as well has Sontag enhances the evidence of what real intensive factors portray to be when the discussion of the movie Grave of the Fireflies occurs which is a 1988 Japanese animated anti war tragedy of two orphans who struggle to survive. Although Sontag’s argument is correct for most science fiction films, especially American films, Ryfle’s article provides evidence contradictory to Sontag’s argument. In Ryfle’s article “Godzilla’s Footprint,” he talks about the Japanese movie “Godzilla,” directed by Ishirō Honda. To Honda, this movie had a serious meaning because it was about the atomic bombings that demolished Nagasaki and Hiroshima. It was made to make the audience understand what the Japanese people went through at a time when no one knew what type of damage resulted from the bombings. Susan Napier suggests that the ideological change in terms of both presentations of disaster and the attitudes inscribed toward disaster derive from either the negative portrayal of disaster or the virtual celebration of disaster (Napier 330). Naiper supports Ryfle by stating in her article, “Panic Sites,” that “Godzilla has moral certainties” (Napier 331). As for Honda, he was inspired to make the movie “Godzilla” after flying over the Pacific Ocean— where he remembered the American bombing on Japan. Furthermore, he saw Hiroshima transformed into ashes: little left of the once bustling city. For Japanese viewers, they did not find Godzilla to be a monster movie that was only about destruction, but more of a movie that had intensive factors that reminded them about the tragic incidents that traumatized them. Susan Sontag, however, would disagree with Ryfle because she talks about the American imagination of disaster and the American perspectives of science fiction movies, whereas for American viewers thought it was extensive and enjoyed the destruction imagery. Napier supports Sontag by stating that “western science is on the whole less nihilistic than Japanese counterpart” (Napier 330). American films can be classified as a part of the postmodern genre with a fast-paced episodic narrative structure, often organized around intense violence scene. Fascinated with arresting imagery rather than character development, American films almost lack a moral core (Napier 340). Thus the conclusion can be made that the perspectives in which the movie is viewed is crucial to the way the movie is interpreted. In Steve Ryfle’s article “Godzilla’s Footprint,” Ryfle demonstrates the original 1954 Godzilla’s as known as Gojira debut on November 3, 1984 as a serious, yet epic, post war tragedy with a grave warning about the foolishness of nuclear testing. He also states that Godzilla has intensive factors, illustrated by a scene from the movie where a mother holds her two children, telling them that they will soon be close to their father as Godzilla nears them. Although the Japanese critics thought it was to soon to talk about...
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