Mamoru Oshii's Avalon qualifies because although it was filmed in Poland with a Polish cast, it was produced by a Japanese studio. Specifically, produced by a Japanese film company or with a Japanese director and crew. To prevent the site's content from spiraling out of control, I've instituted a set of rules to determine if a film should be included for display here: You could say that I was struck with a similar purpose in expanding the site to include more movies of a wider variety. If you've read Stuart Galbraith's fantastic book Monsters Are Attacking Tokyo! you know that the author gathered interviews from a wide variety of actors and directors from both inside and outside the kaiju genre in order to paint a more complete picture of the Japanese filmscape and how kaiju films fit into it. Well, anyone who's seen Death Note can attest to how great is is, and it led me to pursue more films released "post-Godzilla." I picked them up on a whim because I was a fan of Shusuke Kaneko's Gamera films and I was curious to see how these films played out. I was hesitant to branch out into other films until I watched the Death Note films for the first time. This is reflected in the name "The Godzilla Cineaste." When initially designing this site, I started with just the films in the Godzilla series, and then expanded it to include all of Toho's classic sci-fi films, especially those made by Ishiro Honda and Eiji Tsuburaya. My instinctive answer is, "I go for the films that interest me." If you're not satisfied by that answer, I'll try to lay down some guidelines that I've used in the past when obtaining/researching films.įor starters, this site has sprouted out of a childhood fascination in kaiju films, specifically the Godzilla series.
#Cinescope godzilla movie#
The cineaste works as a software developer and avid movie collector living in the greater Nashville area with his small (but growing) family.
#Cinescope godzilla code#
In summer of 2018 the cineaste embarked on version 2.0 of the site, which mainly entailed under-the-hood changes to the code coupled with some modest cosmetic improvements (especially on the mobile version of the site), and was published about a year later in spring of 2019.įor those that are curious and tech-savvy, this website uses the Phoenix framework and Elixir to serve content, and is hosted on Amazon LightSail via Docker.
This is the version of the site that relaunched in the fall of 2016, and although it was not complete by any means (there's a ton of information to collect and format for display), it looked pretty and it didn't have any holes or broken links like the last version did, and that suited the cineaste just fine. This was later swapped out wholesale for the Phoenix framework with a PostgreSQL backend because relational databases rock and so does Elixir (and also partly to spite certain reactive manifesto fanatics the cineaste happened to be working with at the time). Attempts were made to rewrite the page using Django and Rails but due to other demands on the cineaste's time (such as his real life grown up job and his then-girlfriend-now-spouse), these efforts never became fruitful.ĭevelopment of the current iteration of The Godzilla Cineaste began in earnest in 2016 using the Play framework with a Neo4j backend. The cineaste did not think much of this because the website was woefully incomplete when it was hosted anyway, but after 4 years of an "under construction" banner squatting on his landing page he began to feel pretty bad about it. Although when he did his little brain promptly exploded and the website (which had been renamed The Godzilla Cineaste to match the domain name his dad purchased) was taken down pending a rewrite.
Every individual page was hand-coded because the cineaste hadn't taught himself about web frameworks, databases or server-side processing yet.
The project was in development for roughly 2 years under the title Godzilla Universes before being hosted under the title The Godzilla Database.
#Cinescope godzilla series#
The website's purpose was to serve as a repository for all the useless information the cineaste had collected about the Godzilla film series over a lifetime of being an avid fan. The cineaste himself was in high school at the time and was teaching himself HTML and CSS on the fly. The Godzilla Cineaste began as a hobby project ca.
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