Abstract
In 1995, director Shusuke Kaneko and screenwriter Kazunori Ito rebooted Daiei Studios’ flying turtle kaiju with Gamera: Guardian of the Universe. Gamera 2: Attack of Legion followed in 1996, and the trilogy was capped off with 1999’s Gamera 3: Revenge of Iris. Kaneko and Ito reconceived Gamera for an older audience, turning the turtle into Earth’s protector, fighting both alien and man-made threats.
Gamera 3 is the most emotionally and philosophically complex of the trilogy. It is centered around Ayana Hirasaka, a young girl in rural Japan. She was relocated after her parents were killed as part of the collateral damage of Gamera’s battle in Tokyo in the 1995 film. Unlike other children, Ayana does not see Gamera as a hero but blames the kaiju for the destruction of her family. In a forbidden shrine hidden away in the mountains, Ayana discovers the juvenile form of a creature she
names Iris. Ayana forms a maternal/parasitic bond with Iris, who she believes shares her desire for revenge on the heroic turtle. Ayana and Iris begin to merge, with horrific consequences and it is ultimately unclear which entity’s animus is in control.
Through Ayana, the film interrogates the relationship between humanity and kaiju. The positioning of a young girl as the human driven by grief to seek vengeance differs from other films in the genre which situate a masculine hero/villain in that role. Ayana’s connection with Iris mirrors the psychic connection which Gamera has had with children throughout the franchise. The climax of the film raises the question of whether Ayana can forgive Gamera, a god-like figure who destroyed her
family inadvertently. Gamera is positioned as both saviour and destroyer, highlighting the connection between the kaiju genre and Japanese spiritual thought. Who needs absolution from the other – the girl/human or the god/kaiju?
Gamera 3 is the most emotionally and philosophically complex of the trilogy. It is centered around Ayana Hirasaka, a young girl in rural Japan. She was relocated after her parents were killed as part of the collateral damage of Gamera’s battle in Tokyo in the 1995 film. Unlike other children, Ayana does not see Gamera as a hero but blames the kaiju for the destruction of her family. In a forbidden shrine hidden away in the mountains, Ayana discovers the juvenile form of a creature she
names Iris. Ayana forms a maternal/parasitic bond with Iris, who she believes shares her desire for revenge on the heroic turtle. Ayana and Iris begin to merge, with horrific consequences and it is ultimately unclear which entity’s animus is in control.
Through Ayana, the film interrogates the relationship between humanity and kaiju. The positioning of a young girl as the human driven by grief to seek vengeance differs from other films in the genre which situate a masculine hero/villain in that role. Ayana’s connection with Iris mirrors the psychic connection which Gamera has had with children throughout the franchise. The climax of the film raises the question of whether Ayana can forgive Gamera, a god-like figure who destroyed her
family inadvertently. Gamera is positioned as both saviour and destroyer, highlighting the connection between the kaiju genre and Japanese spiritual thought. Who needs absolution from the other – the girl/human or the god/kaiju?
| Original language | English |
|---|---|
| Publication status | Unpublished - 2 Jul 2025 |
| Event | Revelation Perth International Film Festival Academic Conference 2025 - SAE University College, Perth, Australia Duration: 1 Jul 2025 → 2 Jul 2025 https://forms.revelationfilmfest.org/academic-conference/ |
Conference
| Conference | Revelation Perth International Film Festival Academic Conference 2025 |
|---|---|
| Country/Territory | Australia |
| City | Perth |
| Period | 1/07/25 → 2/07/25 |
| Internet address |