According to legend, Tsuburaya's work on The War at Sea. Those include Kōdō Nippon (The Imperial Way of Japan) (1938), Kaigun Bakugeki-tai (Naval Bomber Squadron) (1940), The Burning Sky (Moyuru ōzora) (1940), Hawai Mare oki kaisen (The War at Sea from Hawaii to Malaya) (1942), Decisive Battle in the Skies (Kessen-no Ōzara-e) (1943) and Kato hayabusa sento-tai (1944). He expanded his technique greatly during this period and earned several awards, but did not stay long at Toho.ĭuring the war years (the Second Sino-Japanese war and World War II) he directed a number of propaganda films and produced their special effects for Toho's Educational Film Research Division created by decree of the imperial government. In 1938 he became head of Special Visual Techniques at Toho Tokyo Studios, setting up an independent special effects department in 1939. I thought to myself, I will someday make a monster movie like that." After his international success with Godzilla in 1954, he said, " When I worked for Nikkatsu Studios, King Kong came to Kyoto and I never forgot that movie. It was during this period that he saw a film that would point towards his future career. During the 1930s, he moved between a number of studios and became known for his meticulous work. Hajime, the first of their three sons, was born a year later. Thus began the work for which he would become known-special visual effects.ġ930 was also the year of his marriage to Masano Araki. In the 1930 film Chohichiro Matsudaira, he created a film illusion by super-imposition. He began using and creating innovative filming techniques during this period, including the first use of a camera crane in Japanese film. He joined Shochiku Kyoto Studios in 1926 and became full-time cameraman there in 1927. He was head cameraman on Hunchback of Enmeiin (Enmeiin no Semushiotoko), and served as assistant cameraman on Teinosuke Kinugasa's ground-breaking 1925 film, Kurutta Ippeiji (A Page of Madness). After serving as a member of the correspondence staff to the military from 1921 to 1923, he joined Ogasaware Productions. In 1919, his first job in the film industry was as an assistant cinematographer at the Nippon Katsudou Shashin Kabushiki-kaisha (Nippon Cinematograph Company or Kokkatsu for short) in Kyoto, which later became better known as Nikkatsu. While the Tsuburaya family's traditional religion was Nichiren Buddhism, Tsuburaya converted to Roman Catholicism in his later years (his wife had already been a practicing Roman Catholic). He became quite successful in the research and development department of the Utsumi toy company, but a chance meeting at a company party in 1919, set the course for his destiny-he was offered a job by director Yoshiro Edamasa, a job that would train him to be a motion picture cameraman. After the school was closed on account of the accidental death of its founder, Seitaro Tamai, in 1917, Tsuburaya attended trade school. In 1915, at the age of 14, he graduated the equivalent of High School, and begged his family to let him enroll in the Nippon Flying school at Haneda. He attended elementary school at the Sukagawa Choritsu Dai'ichi Jinjo Koutou Shogakko beginning in 1908, and two years later, he took up the hobby of building model airplanes, due to the sensational success of Japanese aviators, an interest he would retain for the rest of his life. Eiji was raised by his barely older uncle, Ichiro, and his paternal grandmother, Natsu. His mother died when he was only three and his father moved to China for the family business. He was the first son of Isamu Shiraishi and Sei Tsuburaya, with a large extended family. Tsuburaya described his childhood as filled with "mixed emotions." Eiji was born in Sukugawa, Fukushima on July 7th, which coincidentally fell on the same day of the Japanese holiday, Tanabata.
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