崩壞後的復興：哥吉拉的現代性寓言

Reborn City: Godzilla as the Myth of Modernity

陳志軒(Chih-Hsiuan Chen)

《國立台灣大學建築與城鄉研究學報》 Issue 23 (2021/12) Pp. 1-21

https://doi.org/10.6154/JBP.2021.23.001

Abstracts

二戰東京空襲的歷史影響了日本現代性的發展敘事，建構怪獸電影特有的破壞美學。本文以《哥吉拉vs王者基多拉》為例，討論其中的「破壞美學」如何回應城市現代性的焦慮，以及將現實歷史轉換成虛擬的怪獸的過程中，如何與伴隨而來的現實問題進行協商。對核子科技的批判及對軍國主義的質疑，使日本無法透過英勇的武力壓制怪獸，展示現代性的自信，只能透過挪用科技與性別部署進行協商。而哥吉拉既是日本的象徵又是要超越的對象，透過在影像中各種與城市共構的視覺關係中轉換其象徵，得以建構出強化現代性自信的獨特敘事。而怪獸就如同永遠存在那被懷舊的歷史鬼魂般，是日本慾望又恐懼的對象。

Keywords

現代性 ； 破壞美學 ； 城市再現 ； 東京

Parallel abstracts

Narratives of modernity of Japan and the unique aesthetics of destruction of ＂Kaiju＂ movies is rooted in the history of Doolittle Raid in World War II.I use ＂Godzilla vs King Ghidorah＂ to discuss how the ＂aesthetics of destruction＂ responds to the anxiety of modernity, and the problem caused by the history of World War II when transforming the history issues into a virtual ＂Kaiju＂.Godzilla is both a symbol of Japanese self and the other having to surpass. By transforming its relationships with city in movie, a unique narrative that improves Japanese's confidence in modernity can be constructed.The ＂Kaiju＂ as the ghost rooted in history that is nostalgic forever, is also what Japanese desire and fear for.

Parallel keywords

modernity ； destructive aesthetic ； representation of the city ； Tokyo

References

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Cholodenko, A. (2018). Apocalyptic animation: In the wake of Hiroshima, Nagasaki, Godzilla and Baudrillard. In A. Freedman & T. Slade (Eds.), Introducing Japanese popular culture. Routledge.

Inubiko, Y. (2007). The menace from the south seas: Honda Ishiro’s Godzilla(1954). In A. Phillips & J. Stringer (Eds.), Japanese cinema: Texts and contexts (pp. 102-111). Routledge.

Kalat, D. (2017). A critical history and filmography of Toho’s Godzilla® series (2 ed.). McFarland.