Batman Dead End

Batman Dead End
Worlds of Fiction Collide in Batman: Dead End
Adam New
In a short film made by fans, for fans, everyone's favorite masked vigilante faces perhaps his most fearsome foes yet.
Why do we love crossovers? What is it about the idea of characters from different franchises duking it out that makes fans go crazy? Why do debates
about "Who would win in a fight between...?" get so heated? Whatever the reason, crossovers are seen as great opportunities by both fans and writers.
Films like Freddy vs. Jason, King Kong vs. Godzilla, and Frankenstein Meets the Wolfman capitalized on people's desires to see inter–brand meetups.
This trend is also prevalent in video games, with the franchises of Kingdom Hearts, Marvel vs. Capcom, and Super Smash Bros. There ... Show more
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Now, the Caped Crusader is forced to fight for his life against two of the most dangerous species in the cosmos. As a fanfilm, Batman: Dead End was
not given a lot of money to work with. Consequently, the costumes do not look as good as they do in other media, particularly the Xenomorph and
the Predators. However, the film compensates for this with dark lighting. Not only does this help with masking the low production value, but it
also adds to the atmosphere of the short. The dank and dreary visuals evoke the same kinds of feelings would find watching a Batman, Alien, or
Predator movie. The makers of Batman: Dead Aim clearly have a love for their inspirations, as the look and score of the movie feel very
reminiscent of Tim Burton's Batman from 1989. This notion is further accentuated by the fight scenes that highlight the prowess of all three sides of
the skirmish. Their moves are not too flashy, but they get across the fighting styles of Batman and his adversaries. It is easy to see that a lot of heart
went into this short, and it resulted in something that aficionados of all three franchises can appreciate. All parties involved clearly had fun doing it,
and the actors really get into their roles. For anyone who is a fan of comic book action flicks or science fiction thrillers, Batman: Dead End is right up
your
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PG13: Intense Sequences
PG13: Intense Sequences of Sci–Fi Violence and Action, and For Brief Strong Language Warner Bros. Pictures, Legendary Pictures, Tencent
Pictures, 1 Hr and 58 Minutes Cast: Tom Hiddleston, Samuel L. Jackson, John Goodman, Brie Larson, Jing Tian, Toby Kebbell, John Ortiz, Corey
Hawkins, Jason Mitchell, Shea Whigham, Thomas Mann, Terry Notary, John C. Reilly REVIEW: I remember back to 2014 when San Diego
Comic Con announced the new reimagining of King Kong. Before the Deadpool test footage leaked that summer, that was the ultimate film I was
excited for. A NEW KING KONG MOVIE THAT TAKES PLACE ON THE ISLAND FINALLY? I'm exhausted of seeing Kong doing the same shit
film after film. You see one King Kong film you see them all. I wasn't even... Show more content on Helpwriting.net ...
Its humor is on par with Fonzie Bear telling a joke. He's only funny when he's not trying to be. What makes it a bit heartbreaking is seeing the
screenplay is written by Dan Gilroy who was nominated for in an Academy Award writing the 2014 film Nightcrawler (one of the best and most
underrated films of that year), but then he's not the only writer credited. Oh yes, this was written by Gilroy and Max Borenstein who wrote the 2014
Godzilla film and several episodes of the short–lived FOX Minority Report series. So you know which one probably messed up with the screenplay.
Because of this, the film's dialogue ranges from cool to incredibly cringe AND GOD is a lot of the dialogue cringe. It's not even subtle when it's
setting up its character types. You know the type of character Samuel L. Jackson is right when he's introduced due to the score being played so
ominously and loud. If every aggressive soldier stereotype was possessed into with Jackson you get a chilling antagonist who is given the best
dialogue in the entire film. It's like he and Reilly were the only characters with dialogue written by Gilroy and everyone else was written by

Essay on Doppelganger and King Kong English Speech
Introduction:
"Good morning/afternoon class and *teacher*, today I will be speaking about how Michael Parker, the author of Doppelganger and Peter Jackson, the
director of the film King Kong, accurately portray the main concept of the Beast Within through the symbolism of masks and the notions of betrayal
and duplicity. I will be talking about Josh and Andrew from Doppelganger,Carl Denham and the people that he manipulated and affected through his
deception, from King Kong and explain their contributions to the main idea of the Beast Within, how they wear a mask and how they portray the
concepts of Duplicity and Betrayal."
Body Paragraph 1: (Doppelganger)
"In Parker's novel, Doppelganger, a key character, Josh, shows that he has a ... Show more content on Helpwriting.net ...
The fact that Josh gave Andrew the QZ45 meant that there is now a whole new series of events that affect the storyline; Andrew ends up killing
'boy' because the QZ45 has a mental and physical effect, where the taker feels 'ready to fight or kill'. In this case, boy makes Andrew angry, by
slashing him with a knife during the chase in the tunnels, and Andrew goes on a crazy rampage and kills boy. Andrew soon becomes very guilty
that he killed boy because he realises that in the normal Sydney 'boy' is a kid named Derek, who dies in a car crash, which makes Andrew logically
believe that if one person is killed in the Dystopic Sydney, this same happening will reflect in a slightly different manner, in the normal Sydney.
Josh also demonstrates the concept of the Beast Within through the plain evil of what he did to Andrew, the evil intentions of Josh were the reason
why he did it, it wasn't to save anyone's life, like Andrew ends up doing later on in the text, but it was all part of Josh's scheme to become the owner
of the metsin factory so that he could become the richest and most famous person in the Dystopic Sydney, he was willing to kill many people to get
his desire and he managed to get a whole gang of 'hallboys' to listen to him and do it.
Body Paragraph 2: (King Kong):
In the film, King Kong, Ann Darrow, a key character, is first seen as a nice girl who is

King Kong : Aspects Of A Hollywood Film
The old version of King Kong, created and distributed in 1933, has all the distinctive characteristics of a Hollywood film. Every aspect of the film is
a trademark of Hollywood film elements. Not only was this a pioneering film, but it also set a guide or standard for every one of the succeeding
horror, animation, and thriller genres that have been produced in Hollywood today. Aspects ofKing Kong are seen in many movies today. Theme
originality completely escapes the mind. Taken into consideration, the predominant technology available at the time of production was something of an
innovation. In this case, King Kong should be placed in the top of the special effects editing of the 1930s. Willis O'Brien's stop–motion animatronics
was a significant feat at the time. A few years earlier before King Kong, O'Brien worked as Special
Effects Animator in the film of Sir Arthur Conan Doyle's "The Lost World", which also utilized stop motion effects and saw dinosaurs on screen in a
naturalistic environment. Roger Ebert, a famous movie critic, once said "In recent years I have focused on the remarkable special effects, based by
Willis O'Brien and others on his f/x work in "The Lost World" (1925) but achieving a sophistication and beauty that eclipsed anything that went before".
Around this time in
Hollywood was a stage of technological emergence and adds more worth to O'Brien and his contributions. Although King Kong is viewed as an
innovative and groundbreaking film, it
invigorated

Music Analysis Of The Film Music Of King Kong 1933
Terrance Mesadieu
Music Analysis
King Kong 1933 King Kong is the perfect example of the early development of motion picture music in the twentieth century. The music was not only
essential to the film, but musical scores also made the film better for the audience. Clever composers created a true musical drama; Max Steiner was
known for his musical ability including films like Gone with the Wind. Steiner spent a lot of amount on the music of film King Kong 1933. The music
meant everything to that picture, and the picture meant everything to RKO, because it saved the studio from bankruptcy.... The impact ofKing Kong on
the movie–going public was astonishing. It emerged into a country frightened, impoverished, in the grip of the Great Depression. The main instrument
used in the film music was orchestra which was perfectly aligned with the theme of characters in the film at various points. Steiner developed the
music in the symphonic fashion which allowed the film to hit a high score musically and became a symphonic fashion. The usage of the cycle of
operas was brilliant with a soothing tune to the ears. The "Main Title" music opens with King Kong's three–note motive; heard throughout the entire
score in many sections and guises, but always identifying King Kong himself. The film has a fifty–foot giant that depicted a lot of terror to the
audience which was facilitated by music; the main title continues with the stolen love of the heroine of the movie. Ann Darrow played the heroine
who was saved dramatically by the king kong, and she fell in love with him. Her love for her lifesaver and her further development of the
relationship with the gorilla was the core of music and the film. The jungle dance was a faster tune with continuous rhythm, while after the jungle
dance, music became much softer, romantic and lush.The entrance of the Kong was a long sequence which was created by Steiner in an orchestral
tradition. Viola and Celesta players were given a few notes to play quickly along with some violence in some passages. The recording and the whole
thing had a great feeling about it; the natives there was a 2 phase theme which opened like an Indian descending line. Each of the themes including love

King Kong Vs. Godzilla
Japan, 1954. As the audience finish trickling into their seats, the projector starts to run showing each individual film slide at 24 frames per second.
The theater begins to dim. Within the first few minutes of the film, a ship mysteriously disappears making the audience wonder what is to come.
Eventually, a vivid outline of what seems to be a tiny lizard from a distance proves to grow bigger and bigger as it gets closer to the city. It begins to
wreak havoc among the citizens, destroying everything and anything that it comes into contact. From this moment on, the moviegoers know that this
monster, Godzilla, is a force to be reckoned with. Decades later, Godzilla still seems to be a popular monster figure that constantly is reimagined in
many different forms battling other monstrous characters: King Kong vs. Godzilla (1962), Mothra vs Godzilla (1964), Godzilla vs. SpaceGodzilla
(1994). As of today, 29 different Godzilla movies have been produced with the most recent being the 2016 resurgence Shin Godzilla. Due to the
significant impact the Godzilla franchise was able to produce in the eyes of the audience, each rendition was able to be successful with its own
cinema twist; however, as a monster, the qualities that make Godzilla the monster we know and love has not changed from the original 1954 film to
the most recent 2016 release. Unlike most monsters on the big screen, the idea of Godzilla sprouted from the fear of recent historical events in Japan.
The second world war

Figure Of Speech : King Kong Vs. Godzilla
King Kong vs. Godzilla A metaphor, a figure of speech that gives symbolic meaning to an object, has been used many times throughout IshirЕЌ
Honda's 1962 movie King Kong vs. Godzilla. Utilizing two of the most iconic monsters in cinematic history, Honda integrated these monsters to
represent the cultural shift from their traditional society towards one derived more by technology. By highlighting certain characteristics shared
between the monster and the culture, Honda showed how King Kong was the embodiment of the modern culture, while Godzilla represented the
traditional culture.Furthermore, by observing key elements shown throughout the film, one will recognize the juxtaposition between each creature, the
culture it represents, and the gradual shift from one culture to the other. Depicting Godzilla as a physical embodiment of the traditional Japanese culture,
Honda displayed certain characteristics that were interchangeable between the two. When first introduced to Godzilla, the audience observed it
emerging from a frozen prison that housed it for thousands of years. Alluding to the age of both, Godzilla is a representation of ancient tradition and
how it can still be present in today's society. Moreover, when deconstructing the scenes in which Godzilla destroys parts of Japan, one can see that the
majority of the targets were objects that symbolized the height of Japanese technology, such as a military base and the bullet train. As a result of
attacking these objects,

Metaphor In King Kong Vs. Godzilla
Metaphor, the comparison of two entities, is quite evident throughout IshirЕЌ Honda 1962 movie King Kong vs. Godzilla. Incorporating two of the
most iconic monsters within cinematic history, Honda integrated these monsters to represent his message showing how Japan was shifting from their
traditional society towards a society that was technologically advanced. Furthermore, Honda was able to incorporate subliminal messages throughout
the film in order to highlight certain characteristics between Godzilla and King Kong that represented traditional and modern culture. By employing
metaphors, Honda was able to show how King Kong is a representation of Japan's technological advancements while Godzilla symbolizes traditional
Japanese culture. Emerging from its years of slumber within its frozen sarcophagus, Honda was able to depict Godzilla as a representation of
traditional Japan. When first introduced to Godzilla, the imagery of it breaking out of a iceberg can draw similarities to an ancient creatures that was
frozen in ice during the Ice Age. Utilizing this scene, Honda showed how Godzilla was a creature frozen from the past. While this does not accurately
represent the age of Godzilla, the parallelism between the prehistoric nature of Godzilla and the traditional customs that were upheld for generations,
can be clearly connected. Similarly, when observing Godzilla's destruction of Japan's most recent technological advancements, such as a military base
as well as the bullet

Figure Of Speech : King Kong Vs. Godzilla
A metaphor, a figure of speech that gives symbolic meaning to an object, has been quite evident throughout IshirЕЌ Honda 1962 movie King Kong vs.
Godzilla. By utilizing two iconic monsters in cinematic history, Honda was able to integrate subliminal messages using the actions of these two
monsters to show the internal conflicts that arose between traditional culture and modern culture. Furthermore, Honda was able to utilize their flaws
and strengths to make distinct connections to show how one could be a metaphor for one of the cultures. Honda was able to showcase the conflicts
between two cultures by using King Kong as a metaphor for modern culture while Godzilla was used to represent traditional culture. Honda, by the use
of metaphors, was able to depict Godzilla as a representation of traditional Japanese culture. When the audience was first exposed to Godzilla, the
scene showed it emerging from its frozen sarcophagus. By introducing Godzilla in this fashion, Honda was able to allude to the idea of connecting
tradition with Godzilla's prehistoric background as one connecting factor in symbolizing traditional culture. Furthermore, when Dr. Johnson was
describing size different between Godzilla's and King Kong's brain, the idea that Godzilla had a brain the size of a walnut can mirror the mentality of
traditional Japanese culture. When observing traditional Japanese culture, one can say that they were narrow mind in regards to change as they stuck
to a certain cultural

Comparing Hulk with King Kong, A Paragraph
Hulk:
Who's green and large and gets stronger if he gets madder. He has a multitude of powers, far more than King Kong Bing Bong. Ol' Hulk Can do just
about anything you can think of. From unbelieveable strength, his incredible jumping ability, to accelerated healing.
King Kong:
Destroying houses with a single step, who clocked in at 145 feet tall in his fight vs Godzilla. He weighs 60,000 pounds and having to take in about
7,500 pounds of food each day. Can you imagine how much protein is in all that food?
King Kong is one giant ape.
Hulk:
We all know one of Hulks main powers is his incredible strength. Except for his grey incarnation, TheHulk can lift 100 tons when calm. In this case,
the madder The Hulk gets, the stronger he gets caused by an extra surge. Do to his strength he is able to be resistant to other objects such as extreme
heat and cold, bullets, fire, grenades, artillery shells, concussive forces & such. During times of high stress or anger, an increase in adrenaline causes
the Hulk's strength to increase dramatically. There has never been a limit shown as to the highest strength the Hulk can reach thus it is assumed it is
limitless. King Kong:
King Kong is a great fighter once he gets close, using his large arms, powerful muscles, and mighty fists to strike fear and pain to his opponent. King
Kong cannot be harmed by electrical currents, and instead, feeds on their power in order to awaken him from a state of unconsciousness

Pepsico Essay
Pepsico was chosen as our Fortune 500 company because it has been something we have ate since we were kids, it's a global company that nearly
every country works with and is our personal favorite producer of snacks. Pepsico is one of the largest soft drink/snack food producer on the planet. It
is a global chief in the "Beverage Food Industry". Many companies below it looks to it as a leader for a successful company. As it supplies countries
with a wide variety of products like Lay's Potato Chips, Doritos, Gatorade, Quaker Oats, Starbucks "Ready–To–Drink" Beverages, Mountain Dew,
Aquafina, Cheetos & quite a few more. Indra Nooyi has been the CEO of Pepsico since 2006. In 2014 Pepsico's sales revenue was at 66.68B, Just like
the 5 years before it. 2014 also had a net income of 6.51B. But 2015 had a minor downturn in numbers. 2015 ended with a sales revenue of 63.05B
and a net income of 5.45B instead of the recent 6B. A good way to show just how triumphant Pepsico is, is their target market. Pepsico has a product,
whether it's a ... Show more content on Helpwriting.net ...
Indra Nooyi is the CEO of Pepsico and Pepsico employs 263 thousand people every year. Pepsico is a global leader in international operations.
Pepsico has their products being sold in over 200 countries like the US, Canada, Argentina, Mexico, China, Japan, Australia, France, Italy, Germany,
Russia Etc. All of these are important companions to Pepsico. Pepsico sells it's products by vending machine, gas station, grocery store or little
shops in all of these countries. They sell online also, where you can buy bulk of their products. The current stock price for Pepsico is 102.38$ with
the closing date of 11/29/16. Pepsico has a main competitor with who they have been clashing head to head with for decades now. Coca–Cola and
Pepsi is like King Kong Vs. Godzilla, Red vs. Blue or "The Macho–Man" Randy Savage Vs. Jimmy "SuperFly" Snuka at Wrestlemania

King Kong Vs Godzilla Analysis
Symbolism, the representation of an object, mark, or word to signify a hidden meaning, has been incorporated in a multitude of occasions throughout
IshirЕЌ Honda's 1962 film King Kong vs. Godzilla. Utilizing two of the most iconic monsters in cinematic history, Honda integrated these creatures to
represent different cultures and the battle that ensued as one culture shifted to another. By highlighting certain characteristics shared between one
monster and culture, Honda showed how King Kong was the embodiment of the modern Japanese culture, while Godzilla represented the traditional
Japanese culture. However, when comparing these two behemoths, one must first look at their origins from Merian Coopers's 1933 film King Kong and
IshirЕЌ ... Show more content on Helpwriting.net ...
As a result of attacking these objects, Honda was able to expose Godzilla's weakness to electricity. By exposing his weakness to electricity, Honda
was able to imply that the source of energy for technology, could eventually lead to the extinction of both. Considering traditional culture has an
adverse opinion regarding technology as well as being a potential downfall, one can see why Godzilla attacked those particular objects.
Furthermore, the scene in which Dr. Johnson described Godzilla's brain is smaller than King Kong's can be identified as a metaphor regarding the
mentality that encompassed traditional Japanese thinking as those who followed it were reluctant to change. Therefore, by mirroring shared
characteristics between the two, Honda was able to illustrate Godzilla as the embodiment of traditional Japanese culture. While Godzilla can be
seen to share similar meanings, the depiction of King Kong in Merian Coopers's 1933 film King Kong, there is quite a drastic change between the
1933 version and the 1962 version. When depicted in the 1933 version of King Kong, Kong was a symbol of the United States progressive movement
and how they exploited resources for financial gain. The idea that Kong was taken from his home and put on display for others to observe shows a
parallelism between that of colonialism. In contrast, the Kong in the 1962

King Kong Vs. Godzilla
Japan, 1954. As the audience finishes trickling into their seats, the projector starts to run showing each individual film slide at 24 frames per second.
The theater begins to dim. Within the first few minutes of the film, a ship mysteriously disappears which hooks the audience into wondering what is to
come. Eventually, a vivid outline of what seems to be a tiny lizard from a distance grows bigger and bigger as it gets closer to the city. It begins to
wreak havoc among the citizens, destroying everything and anything that it comes into contact. From this moment on, the moviegoers know that this
monster, Godzilla, is a force to be reckoned with. Decades later, Godzilla still seems to be a popular monster figure that is reimagined constantly in
many different forms battling other monstrous characters: King Kong vs. Godzilla (1962), Mothra vs Godzilla (1964), Godzilla vs. SpaceGodzilla
(1994). As of today, 29 different Godzilla movies have been produced with the most recent being the 2016 resurgence Shin Godzilla. While each film
has its own cinematic twist, each shares the same inspiration and qualities that the original Godzilla provided. News sources and media outlets
repeatedly share news about nuclear wars and destructive weaponry, creating fear in the eyes of the audience; as a result, the inspiration behind the
monster, Godzilla, has not changed over the years. Unlike most monsters on the big screen, the idea of Godzilla sprouted from the fear of recent
historical

Savagery And Civilization In King Kong
Savagery and Civilization: Not A Love Story Within society, we see a constant struggle between savagery and civilization, whether that battle is fought
within oneself or among others, it exists nonetheless. This very struggle is a consistent underlying theme throughout the 1933 film, King Kong. In the
film, this battle between two forces will be seen in Carl Denham's struggle with his persistent need to make art and money versus the consequences his
obsession might bring, in Kong's attempt to resist the malignant "temptations" of beauty and finally, in the portrayal of African–Americans as savages
and white people as educated civilians. In this essay, we will further delve into the struggle between savagery and civilization, the characters... Show
more content on Helpwriting.net ...
In this interpretation, the role of the "beauty" is played by the young and beautiful, not to mention white, Ann Darrow, and the role of the savage
"beast" is unsurprisingly represented by the legendary god, Kong. One way in which King Kong displays his own struggle between savagery and
civilization, is in his lust for Ann. Although, Kong is surely well aware of the barriers he will encounter by pursuing his desire for Ann, he is unable
to resist the temptations of her beauty. Thus, in spite of his raw animal instincts, he continues to pursue an unrealistic relationship with Ann, proving
that even a beast like himself can recognize and appreciate genuine beauty. We can again see Kong's battle between savagery and civilization when
he is forcibly taken to New York as the "eighth wonder of the world" but promptly escapes to find Ann, the beautiful woman whom he loves dearly.
However, instead of simply finding Ann, his innate savagery gets the better of him and he ends up destroying an entire city and harming innocent
civilians. The final instance in which we see the struggle between savagery and civilization in Kong himself, is in the final scene of the film, where
Kong attempts to save his beloved Ann from the top of the Empire State Building. Despite his best efforts to stay atop the building and rescue the
damsel in distress, he can only be seen as a threat through the eyes of those piloting the planes, thus, he is shot, causing him to fall to his death. In this
final scene we hear Carl Denham say, "Oh no, it wasn't the airplanes. It was beauty killed the beast.", which in my opinion, implies that it was in fact
civilization that triumphed over savagery. Though,King Kong unfortunately met his end, it wasn't beauty that killed him, it was his own struggle
between choosing civilization over his inherent

How Does One Rebuild a Failed Movie
Today, a brief one. Just how does one rebuild a failed movie in such a way as to make it an enjoyable experience for the viewer? Case in point: Drive
Angry. Here's what my favorite place says about this motion picture: Drive Angry is a 2011 American action film starring Nicolas Cage and Amber
Heard, and directed by Patrick Lussier. It was released on February 25, 2011. Shot in 3–D, the film was met with a mixed reception and grossed almost
$30 million....The film has received mixed reviews from critics. It currently holds a 45% rating on Rotten Tomatoes, based on 111 reviews, and an
average rating of 5.3/10. James Kendrick said it was 'loud, vicious, tasteless and inane'. He then went on to say 'it thunders at you from every
direction with a wild abandon that is more irritating and desperate than enlivening'. Mark Jenkins from the Washington Post commented that 'Even at
its most lurid, though, the movie is a little dull. It only gets less compelling as the back story fills in.' Thomas Layer from the Toronto Telegraph said
the film was an "abysmal nightmare" and that this film was "more evidence that Nicolas Cage is a monotone, uninspiring thespian whose films
should be avoided at all costs". On the other hand, Elizabeth Weitzman from the New York Daily News wrote, "Drive Angry is pure grindhouse, so
committed to its own junkiness that it is, in its way, a pleasure to behold." The Evening Standard film critic Stewart Pulsey praised the film for its
"resilient desire to unmask

King Kong Comparison
The original King Kong (1933) was fairly different from the new 2005 version. In the new version, Kong was much more humanized. For example,
in the end when Kong falls off of the building and dies, it is heartbreaking. But in the original, there is a sense of relief when Kong finally dies, after
terrorizing New York City and especially Ann. Kong and Ann share a more profound bond in the newerfilm. That is shown when Kong is finished
fighting the three Tyrannosaurus Rex, she willfully goes with him, after he saves her. Also, towards the end you see Kong and Ann having fun playing
on the ice back in New York. Ann wasn't afraid of Kong in the remake. One of the biggest differences between the 2005 and the 1933 versions were the
characters. Ann, in the newer King Kong movie, had much more character. We were able to see the back story of her dancing career and how talented
she was. Also, Carl Denham was vastly different. In the original movie he was depicted as this great movie maker, but in the newer movie he is
characterized as a sleazy guy; overall, he isn't a very good person. For example, he trapped Driscoll on the boat after he refused to write the rest of the
script before they left. Jack Driscoll, in the 2005 rendition is no ... Show more content on Helpwriting.net ...
In both movies Kong had to save Ann from dinosaurs. It showed that in both of the films, he cared about her enough to get hurt by the dinosaurs.
Also, in both the 1933 and the 2005 versions Kong snaps a Tyrannosaurus Rex's jaw and opens and closes it to make sure it's dead. One of the
biggest similarities were the scenes at the very end when Kong was on the top of the Empire State Building. It had the point of view from the planes.
And, after he was shot and fell off people gathered around his corpse. Reporters were taking pictures and Carl Denham shows up. Someone said that it
was the airplanes that killed Kong, but Denham said: "Oh, no, it wasn't the airplanes. It was beauty killed the

Symbolism In The Film King Kong Vs. Godzilla
Symbolism, or the representation of an object or word to signify a hidden meaning, is an inherent theme in IshirЕЌ Honda's 1962 film King Kong vs.
Godzilla. By utilizing two of the most iconic monsters in cinematic history, Kong and Godzilla, Honda depicts the shift from one culture to another and
the battle that ensued. Honda also shows the different cultures that King Kong and Godzilla represent; Kong is the embodiment of modern Japanese
culture, while Godzilla represents the traditional Japanese culture. However, when comparing these two creatures, one must first look at their origins
from two other supplemental sources: Merian Coopers's 1933 film King Kong and IshirЕЌ Honda's 1954 film Godzilla. These films clearly reveal how
each entity differs from IshirЕЌ Honda's 1962 film King Kong vs. Godzilla. Furthermore, by observing key elements shown throughout the movie,
one will recognize the differences between the originals and the 1962 rendition. Created in 1954, Godzilla is depicted as a symbol of Japanese
resilience by undergoing multiple trials and tribulations. The connection between Godzilla and Japan stems from Godzilla's birth and is made more
evident as they are both reborn from the ashes of a radiated wasteland caused by the United States. Though the the original movie depicts Godzilla as
a symbol of Japan, Honda's 1962 film portrays Godzilla as as the physical embodiment of the traditional Japanese culture. The 1962 film begins with
Godzilla's entrance from a

King Kong Vs Godzilla Analysis
Symbolism is an inherent literary device used throughout IshirЕЌ Honda's 1962 film King Kong vs. Godzilla. By utilizing two of the most iconic
monsters in cinematic history, King Kong and Godzilla, Honda depicts the shift from one culture to another and the battle that ensued. Honda also
shows the different cultures that King Kong and Godzilla represent: Kong as the embodiment of modern Japanese culture, while Godzilla represents the
traditional Japanese culture. However, when comparing these two creatures, one must first look at their origins from two other supplemental sources:
Merian Cooper's 1933 film King Kong and IshirЕЌ Honda's 1954 film Godzilla. These films reveal how each entity differs from IshirЕЌ Honda's 1962
film King Kong vs. ... Show more content on Helpwriting.net ...
During its attack, Godzilla exposes its weakness to electricity, thus implying that the source of energy for technology can eventually lead to the
extinction of both. Utilizing this scene, Honda was able to insinuate that the progression of modern and traditional culture are inversely proportional.
This idea shows how increasing the use of electricity and technology will lead to the decline of traditional culture. Similarly, it shows how
advancements in technology are regarded as the downfall of traditional culture and eventually the inception of modern culture. Therefore, it is evident
that Godzilla's attacks are representations of old culture attacking new culture. Furthermore, Dr. Johnson's statement that Godzilla's brain was smaller
than Kong's can be a symbol of the mentality that encompassed traditional Japanese thinking. One can see how this is a metaphor showing how
traditional Japanese culture is narrow–minded and reluctant to change. Consequently, by mirroring shared characteristics between the two, Honda is
able to illustrate Godzilla as the embodiment of traditional Japanese culture, while still sharing some similarities to the original. Although there are
several shared meanings between the two Godzilla movies, the depiction of King Kong in the 1933 and the 1962 versions have some differences and
similarities. When depicted in the 1933

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