Cinematography in Godzilla (1954) as a Reflection of Post-World War II Japan

Horror in Western Cinema, CU Denver, Spring 2024

Professor Jake Sabot

Godzilla (Honda, 1954) depicts a prehistoric sea monster, the titular Godzilla (Haruo Nakajima), who has been awakened and empowered by nuclear radiation as he goes on a rampant attack of Tokyo that has devastating consequences. Through its lighting, camera work, and special effects, Godzilla successfully portrays the psychological impact of nuclear anxiety and the massive trauma that the atomic bombings of Hiroshima and Nagasaki inflicted upon Japan as a whole. The film critiques the destructive power of nuclear weapons and the dangers of unchecked experimentation and uses well-crafted cinematography to reveal a poignant reflection of the cultural context of nuclear weapons and the aftermath of World War II in Japan.

After World War II, Japan was faced with significant challenges in rebuilding its society after widespread devastation. The bombings on Hiroshima and Nagasaki left long-lasting scars on Japan. Not only did the immediate aftermath of the bombings see unimaginable human suffering as tens of thousands of people were killed instantly, many more died due to injuries in the following weeks. Survivors were left with their cities reduced to rubble, while simultaneously many people had to deal with radiation sickness and long-term health complications like cancer in the aftermath. All of this ingrained the devastation of nuclear warfare into Japan’s cultural consciousness (Lifton).

This post-war reconstruction was a complex process involving economic reforms, political restructuring, and financial assistance from the United States. Through all these complexities, Japan remarkably transformed and became one of the world’s economic powerhouses in only a few decades (Iriye). Despite these structural successes, however, the scale of psychological trauma in Japan was profound.

Nuclear anxiety in Japanese society arose following the bombings and was characterized by the fear of further nuclear attacks as well as deep concerns surrounding the long-term consequences of radiation exposure. The traumatic experiences of the atomic bombings heavily impacted the collective psyche of Japanese people, who had to grapple with an intense sense of vulnerability in the face of nuclear weapons. These fears during the Cold War era were deeply intertwined with broader political tensions, especially the arms race between the United States and the Soviet Union. As the two superpowers raced to expand their arsenals of nuclear weapons, Japan was caught in the crossfire of Cold War politics, which only increased the widespread feelings of insecurity in the region (Hood). The United States, as Japan’s ally and occupier, continued to maintain a significant military presence, which included storing nuclear weapons on Japanese soil (Fujishige). These circumstances shaped Japan’s stances on nuclear weapons, including its strong advocacy for nuclear disarmament and non-proliferation (Suzuki). All of this permeated Japanese popular culture, resulting in media that grapple with the existential threats, morality, and ethical dilemmas posed by nuclear warfare and the use of nuclear weapons.

In Godzilla, several cinematography techniques stand out in their contribution to the film’s themes and emotional depth. Using chiaroscuro, the film successfully evokes a deep sense of dread and uncertainty. This is captured particularly well when Godzilla emerges from Tokyo Bay, shrouded in darkness. Immediately afterwards, the heightened tension and fear the monster creates amongst the characters is shown as people close to the water race around in panic. The contrast of light and dark in the film becomes representative of the battle between hope and despair, exemplified best in Godzilla’s rampaging attack on Tokyo. Director Ishirō Honda juxtaposes shots of raging fires consuming large swathes of the city, especially residential areas, with the raging flames taking up nearly the whole screen, with shots of rescue workers racing through the streets in a desperate and ultimately futile attempt to save anyone they can. Additionally, camera angles and movement are crucial in amplifying Godzilla’s god-like presence and seeming indestructibility, as well as enhancing the emotional impact of the shots showing the destruction left in the monster’s wake. Low-angle shots show Godzilla as a colossal force, towering over buildings and leaving the frightened civilians looking like bugs in comparison, emphasizing the sheer helplessness of humanity in the face of such an overwhelming threat. Dynamic tracking shots reveal the scale of devastation Godzilla is causing as he slowly but inevitably lays waste to Tokyo, giving viewers the visceral experience of watching the chaos in real time as it is wrought upon the city. Meanwhile, shots of the hospital after the attack combine both aforementioned techniques, where a panning shot shows survivors dressed in white amidst a sea of black body bags.

While to a modern viewer the special effects of Godzilla appear analog, viewing the film within its historical context can show just how much the miniature sets and practical effects used add another layer of realism to the portrayal of the horrific ruin nuclear weapons can cause. Meticulously crafted, painstakingly detailed miniature sets create a hauntingly realistic depiction of Tokyo in the aftermath of Godzilla’s attack. Together, these techniques and special effects visually enhance the film’s exploration of the consequences of nuclear warfare and humanity’s ultimate resiliency in the face of overwhelming destruction.

Godzilla has cemented its place as a groundbreaking film that had a profound impact on popular culture in Japan. To this day, it deeply resonates with audiences as it grapples with the trauma of war and nuclear destruction. By effectively portraying the psychological impact of nuclear anxiety and the trauma inflicted by the bombings of Hiroshima and Nagasaki (Hood, Lifton) through its innovative use of special effects and carefully crafted lighting and camera work, Godzilla serves as a potent metaphor for Japan’s struggle with its history with nuclear weapons and subsequent position during the tension of the Cold War. The film’s delicately crafted miniatures and cinematography provide poignant visual callbacks to the enduring emotional and physical scars left by the bombings. Within the context of the Cold War, the narrative of Godzilla takes on additional significance, serving as a reflection of a still-healing Japan’s vulnerable position caught between the political and military might of the United States and the Soviet Union (Fujishige). The depiction of Godzilla’s devastation and the reactions of the characters explore the moral and ethical dilemmas brought about by nuclear warfare and reflect Japan’s continual endeavors to address its past. As a cultural phenomenon, it continues to resonate with audiences around the world, captivating them with its powerful narrative and striking imagery. Its influence extends far beyond when it was initially released; Godzilla has shaped popular culture and monster movies for generations. The film’s success has paved the way for a plethora of creature features and spawned an entire genre of monster films. Godzilla himself has become an iconic figure in cinema, inspiring countless imitations and adaptations across various mediums, from film and television to literature and video games. The enduring legacy of Godzilla is a testament to the film’s lasting impact on global entertainment and its status as a cultural icon revered by audiences of all ages. In the end, Godzilla transcends its status as a mere monster movie to become a profound and devastating metaphor for Japan’s tragic history with nuclear warfare and ultimately the resilience of humanity in the face of overwhelming adversity.

Works Cited

Fujishige, Hiromi. “The United States and the Reversion of Okinawa: From Unwilling Allies to Pacifist Partners.” The Journal of American-East Asian Relation, vol. 15, no. 3/4, 2008, pp.293-320.

Hood, Christopher P. “Nuclear Anxiety in Japan: The Beginning and the End?” The Nonproliferation Review, vol. 17, no. 2, 2010, pp. 259-280.

Honda, Ishirō, director. Godzilla. Toho Co.

Iriye, Akira. “Japan’s Postwar Economic Recovery and Anglo-American Economic Diplomacy in Asia, 1945-1952.” The Journal of American History, vol. 77, no. 3, 1990, pp. 823-844.

Lifton, Robert Jay. “The Aftermath of the Atomic Bombs in Hiroshima and Nagasaki. Foreign Affairs, 1982.

Suzuki, Tastujiro. “Japan’s Quest for Nuclear Energy and the Price it Paid: A Lesson for Other Nations.” The Nonproliferation Review, vol. 20, no. 2, 2013, pp. 293-313.