Conversely, King Kong was a monster-as-movie to be captured by colonialist filmmakers, with all the racial and sexual politics that came with it. Originally, of course, Godzilla was an allegory for nuclear weapons. It begins promisingly enough, switching back and forth between the film proper and the TV program within the film, as well as the film as seen through TV and the behind-the-scenes of the TV program-to the point that the distinction between the two mediums is rather confused. The third of Toho Studios' Godzilla films, which although I understand they made some other monster movies in the meantime, marks a steep decline from the original "Gojira" (1954) and even its significantly-lesser sequel "Godzilla Raids Again" (1955).
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