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However, as Tsutsui points out, this is hardly the first time that Japanese popular culture has made significant inroads into global consciousness. The release of Godzilla, King of the Monsters! (Honda and Morse Japan/US 1956) in the US, and its subsequent distribution around the world, marked the first time a Japanese popular culture product achieved international fame (or notoriety, perhaps, in this case). In the fifty years after that, twenty-eight more Godzilla films were made by Japan's Tôhô Studios, and one, in 1998, was even made by Tristar Studio in Hollywood. Most of these have promoted the image originally associated with the 1956 US film of a cheesy, campy, low-budget movie primarily for children; they are variations on the fan-favourite theme of 'monster on the loose'. One of the most useful aspects of this volume, therefore, is its close attention to the Ishirô Honda's original 1954 Japanese film, of which the [End Page 320] 1956 US version is a heavily and crudely edited adaptation, which, in addition to splicing in scenes of Raymond Burr, excised all of the original's references to politics. The 1954 Japanese film, titled simply Gojira (the Japanese name of the monster, rendered as Godzilla in English), was for its Japanese audience a serious commentary on Japan's role in World War II, on the atomic bombings of Hiroshima and Nagasaki and the continuing nuclear arms race between the US and the USSR, on science and morality, the growing environmental movement and other hot-button issues of the time. Many of the current global fans of manga, anime and Japanese horror have no idea that the weighty themes typically addressed therein can also be found in Gojira - and their ignorance is understandable since, as Joanne Bernardi points out in her essay, 'Teaching Godzilla: Classroom Encounters with a Cultural Icon', the original film was almost never screened outside Japan until 2004 (111).