代写论文：哥斯拉（1954）：一个批判性的分析
电影开始在震耳欲聋的可怕的音符，鼓声和奇怪的尖叫声刺破对恐慌的氛围下的空气。下一个场景带我们去快乐，轻松的光环，当时一艘渔船的甲板在太平洋地区，这样的欢乐是残忍地攻击为海洋改变颜色，变得和人的盲目，他们由世界最具毁灭性的核武器。刺眼的光的水手被目睹“pikadon”或“闪光的繁荣”（原子弹爆炸）的见证下，幸存者（兄弟，“日本的核噩梦：如何炸弹变成了一只野兽“哥斯拉”）。这就和我们在一个日本船员造成的新的攻击，幸运的龙5，于1954三月钓鱼，痛苦地觉醒的日本人民在战后核恐惧（Martin，“哥斯拉：为什么日本原来是没有笑话”）。虽然寓言的语境中，并没有骨头在广岛和长崎的核灾难，哥斯拉在保密和斗争的良心。内部冲突弥漫在一个孤独的科学家，无意中创造了一个灾难和怪物的杀伤性武器，和一个古生物学家用他的表面随意的客观性掩饰自己的好奇心的怪物的辐射抗性有关，是在原哥斯拉描述并行运行的秘密（布洛迪的秘密，”哥斯拉”）。
代写论文：哥斯拉（1954）：一个批判性的分析
The film opens on a deafening and frightening note, with drumbeats and bizarre shrieks piercing the air against the backdrop of a panic-stricken atmosphere. The next scenes take us to the happy, relaxed aura prevailing on a fishing boat’s deck in the Pacific Ocean, where such merriment is brutally attacked as the ocean changes colour, as men get blinded and terrorised by the most destructive nuclear weapon in the world. The blinding bright light witnessed by the sailors was the “pikadon” or the “flash-boom” (atomic explosion) witnessed by survivors (Brothers, “Japan’s Nuclear Nightmare: How the Bomb Became a Beast called Godzilla”). This drew parallels to the fresh attacks US had inflicted on the crew of a Japanese boat, Lucky Dragon 5, fishing in March of 1954, painfully awakening the post-war nuclear fears among the Japanese people (Martin, “Godzilla: why the Japanese original is no joke”). Though allegorical in context, and making no bones about the atomic disaster in Hiroshima and Nagasaki, Gojira runs on secrecy and a struggle against conscience. The internal conflict pervading in a lone scientist who, accidentally creates a weapon of catastrophe and a monster of destruction, and a palaeontologist who uses his surface casual objectivity to mask his real curiosity regarding the resistance of the monster to radiation, are the secrets running parallel in the depiction of the original Godzilla (Brody, “The Secrets of Godzilla”).
