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In the anarchic world of international politics, it is better to be Godzilla than Bambi.
--
"China's Unpeaceful Rise", Current History (2006) vol. 105 (690) p. 162

 

John J. Mearsheimer

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The struggle for power is universal in time and space and is an undeniable fact of experience. It cannot be denied that throughout historic time, regardless of social, economic and political conditions, states have met each other in contests for power. Even though anthropologists have shown that certain primitive peoples seem to be free from the desire for power, nobody has yet shown how their state of mind can be re-created on a worldwide scale so as to eliminate the struggle for power from the international scene. … International politics, like all politics, is a struggle for power. Whatever the ultimate aims of international politics, power is always the immediate aim.

 

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There is a pressing need to integrate the study of international economics with the study of international politics to deepen our comprehension of the forces at work in the world.

 

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Godzilla is the ultimate culmination of the "who cares about plot" summer movie. A loose remake of the 1954 "classic" Japanese monster movie, Godzilla, King of the Monsters (which is itself pretty thin in the story department), Roland Emmerich and Dean Devlin's big-budget lizard-stomps-Manhattan disaster flick has been written with the brain dead in mind. The script isn't just "dumbed down," it's lobotomized. Godzilla lives and dies on special effects alone.

 

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International cooperation is required to prevent anarchic situations developing and the unmasking of ever-present brutality and injustice that results from fear for survival in such situations.

 

Nayef Al-Rodan

 

Going to see Godzilla at the Palais of the Cannes Film Festival is like attending a satanic ritual in St. Peter's Basilica. It's a rebuke to the faith that the building represents. Cannes touchingly adheres to a belief that film can be intelligent, moving and grand. Godzilla is a big, ugly, ungainly device to give teenagers the impression they are seeing a movie. It was the festival's closing film, coming at the end like the horses in a parade, perhaps for the same reason.

 

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