The Kaiju Film: A Critical Study of Cinema's Biggest Monsters

by Jason Barr

The Kaiju (strange monster or strange beast) film genre has a number of themes that go well beyond the "big monsters stomping on cities" motif. Since the seminal King Kong 1933) and the archetypal Godzilla (1954), kaiju has mined the subject matter of science run amok, militarism, capitalism, colonialism, consumerism and pollution.

This critical examination of kaiju considers the entirety of the genre--the major franchises, along with less well known films like Kronos (1957), Monsters (2010) and Pacific Rim (2013). The author examines how kaiju has crossed cultures from its original folkloric inspirations in both the U.S. and Japan and how the genre continues to reflect national values to audiences.

Genres: Film, Science Fiction

213 pages, Kindle Edition

Published February 17, 2016

Reviews

[Brad · Rating 4 out of 5]

Barr does admirable work laying the foundation for a broader academic appreciation and analysis of the kaiju genre, which he accurately notes as too often being limited to Godzilla (1954) and King Kong (1933) by a critical community that too often derides the more frivolous entries. Most enriching is how he contextualizes classic kaiju films to postwar Japanese history and the realities of everyday life, from reconstruction pushing women into the workforce to the amphetamine addiction that swept the nation through the 1950s.

His ability to connect these anxieties -- in both Japan and America -- too the films is sharp and insightful, even if much of it is reliant on his own assumptions and personal analysis of the films. With the lack of scholarship out there he pulls together what sources exist rather nicely.

I do have to pick apart the closing pages of the book however. When he gets to discussing gender and kaiju, Barr seems out of his comfort zone and his analysis is shallow. He relies heavily on the Bechdel Test as his barometer for gender studies (while acknowledging it is highly flawed) and doesn't seem too adept in the field. This leads to his breakdown of women in the genre to be rather hollow and frequently focused on their absence rather than analyzing what roles they do provide. As well, he focuses almost wholly on the humans in this chapter with barely two paragraphs dedicated to female monsters such as Mothra and how the kaiju themselves are defined by gender traits. Hell, he doesn't even mention Mothra's fairies as representative female characters. Masculinity and kaiju is never discussed here and the chapter feels tacked on because it needed to be there not because Barr is particularly invested in gender studies.

This gives way to a rather useless chapter on nostalgia which feels more self serving. Throughout, Barr is too reliant on the opinions of kaiju fans and the fan community, which in my opinion is a separate discussion from the films themselves. He is perhaps prone to geeking out himself and gives himself away in the chapters closing statements:

"For example, is a sense of nostalgia the primary motivation for kaiju scholars, a sort of method of carving out an academic niche while also dwelling in the past? Or is nostalgic sentiment the primary engine for kaiju film studies and thus somehow more or less legitimate than other fields of study? Are most of the scholars who examine kaiju film enjoying a legitimized foray into childhood?" (175)

I dunno, Jason, you tell me.

But don't let my complaints ward you off. It's an excellent volume and fun to read, Barr is passionate and he covers a wide breadth of films from the heavy hitters like the Godzilla series and Gamera to more obscure entries like Varan, Daimajin, and Atragon. He's good on the history and context and delivers on subjects such as weapons of mass destruction, natural disasters and film production. A worthy intro to the world of kaiju.

[Mark NP · Rating 5 out of 5]

Apparently, Barr's work is among the first true academic critical examinations of the Kaiju (giant monster) film genre. This is surprising given the history of these kinds of movies, dating all the way back to King Kong (1933) and Godzilla (1954). Barr traces the Kaiju genre in Japan and the United States across various eras, explaining and exploring the roots and trajectories of the films all the way through Godzilla (2014). The breadth and depth of his knowledge is impressive, but written in a way that invites his audience's participation. There is no trace of exclusion or elitism in his tone.

I appreciate academic work written by passionate fans of any subject, but in particular when I am also interested in the subject of the work. As a beginning Kaiju fan, I found this book to be a spectacular look into the themes, motifs, and nuances of the genre. It was informative, engaging, and well-researched--all key aspects of any academic work I would consider to be "entertaining." Not only did it provide a great list of films to discover and watch, it gave me a framework and a critical lens to better understand and appreciate Kaiju movies. This, as opposed to the nostalgia, kitsch, and cheese that often occupies the popular imagination regarding the genre.

[Aaron Capes · Rating 3 out of 5]

I appreciate Barr's attempt at critically analyzing the kaiju genre, and there are some interesting points made. I wish there had been greater attention to some of the minor details that were mistated about the films and I think some broad generalizations were made that could have been fine-tuned.

[Boyce McClain · Rating 5 out of 5]

King Kong and Godzilla-they are familiar names to lovers of monster films. They are classic characters.
But, there are far more strange monsters or strange beasts (Kaiju) in films from all around the globe.

Big monsters-what’s the attraction and who cares? An interesting question.

Kaiju are more that just rampaging monsters terrorizing humans and destroying cities. They are symbols and analogies.

Godzilla was a symbol of the nuclear destruction of two Japanese cities in World War II. King Kong examines the clash between primal and modern eras.

Other less known monsters represent all sorts of things from the industrial age, modernization, tradition versus change and so forth.

Author Jason Barr examines the many facets of Kaiju films in his new book: The Kaiju Film A Critical Study Of Cinema’s Biggest Monsters, published by McFarland & Company, Inc., Publishers.

Discover what happens when science runs amok, consumerism reigns, capitalism drives civilization and pollution ravages the earth.

Monsters? No, more like harbingers and prophets of the dangers of colonialism and militarism.

Who are the real monsters? Giant beasts or mankind?

"When I fall, I will arise; when I sit in darkness, the Lord will be a light to me." — Micah 7:8

[Audrey Stars in Her Eye · Rating 4 out of 5]

Jason Barr takes delves into the genre of Kaiju films and looks at why they resound with viewer both in the US and abroad.
This critical study looks at a variety of psychological and sociological explanation on why viewers are drawn to the films. Barr discusses political, cultural, and environmental influences with out becoming stiff. In other words, this is easy to read and not just made for scholars.
I grew up B movies and Kaiju films. I knew all of Godzilla's nemesis and allies by heart. So I enjoyed looking back on these films as well as discussion on modern films and how Hollywood continues to try and capitalize on the idea. The book is pretty up to date except for Kong: skull Island and a possible revival of the traditional kaiju film to American audiences.
A deep look at a genre that doesn't get a lot of main stream love, The Kaiju Film: A Critical Study of Cinema's Biggest Monsters is a nerd's dream look into the concepts of their favorite monsters.
I received an ARC from NetGalley; all opinions are my own.

[Untimely Gamer · Rating 3 out of 5]

This book has some decent insights but has some amateurish analysis that keeps it from being the definitive book about kaiju films. The chapter about America's relationship to kaiju films, in particular, suffers from extraordinarily broad generalizations about American society and culture. Also in this section Barr argues that the Abominable Snowman in Rudolph the Red-Nosed Reindeer is a kaiju, which makes me question his whole definition of a kaiju.

Still, despite its flaws, this book rises above much of the criticism penned by fans.

[David C Pettit · Rating 4 out of 5]

I loved it

I enjoyed the discussions of ideas behind some of the movies I remember growing up with. I have fond memories of giant monster movies, Gozilla in particular.

[Geoffrey Harden · Rating 5 out of 5]

Great introduction to social and cultural themes in kaiju cinema

[Richard · Rating 3 out of 5]

Kaiju fans may wonder what exactly they will find in this book, so let me give you an idea. First of all, there are no pictures (other than on the cover); no reviews, no making-of stories, no biographies of the filmmakers, no special-effects information . . . in short, none of the kinds of information one typically finds in a movie-monster book. This is a "critical study" of the genre. What does that mean? That means it looks at kaiju films as reflective of, and commenting on, societal concerns, such as pollution, terrorism, feminism, consumerism, and violence. Are you interested in knowing (for instance) whether or not kaiju films pass the Bechdel test? (Most do not: surprise!) Would you like to know how the films reflect Japanese attitudes toward America? That's the sort of thing you'll find here. Chapters focus on themes, then explore the various films--both good and bad--that illustrate those themes. Along the way you'll learn a bit of history too, as the book discusses the ways in which the movies reflect their times.

So if you are thinking about buying this book, you need to ask yourself if you are interested in this sort of thing. I found some of it pretty interesting, but some parts I just skipped past. I think it is a well-done book of its type, but I guess I'm not THAT interested in what it's talking about.

[J.D. DeHart · Rating 5 out of 5]

Jason Barr takes the reader through the history, development, and structure of Kaiju films. For those who do not know, these are the films that often feature creatures (characters?) like Godzilla. Modern examples include Pacific Rim and Cloverfield.

This book worked nostalgically for me as Barr elaborated on creatures featured in these films, with numerous examples and a look inside this world of fandom. The book also works for cinephiles, of which I count myself a member. The descriptions of various productions appeal in this way most of all.

I greatly enjoyed this book and I appreciate the level of detail and research Barr provided.