Eiji Tsuburaya in the context of "None but the Brave"

Tokusatsu (特撮（とくさつ）; lit. 'special filming') is a Japanese term for live-action films or television programs that make heavy use of practical special effects. Credited to special effects director Eiji Tsuburaya, tokusatsu mainly refers to science fiction, superhero, fantasy, or horror media featuring such technology but is also occasionally dubbed a genre itself. Its contemporary use originated in the Japanese mass media around 1958 to explain special effects in an easy-to-understand manner and was popularized during the "first monster boom" (1966–1968). Prior to the monster boom, it was known in Japan as tokushu gijutsu (特殊技術; lit. 'special technology') or shortened tokugi (特技; lit. 'special technique').

Subgenres of tokusatsu include kaiju such as the Godzilla and Gamera series; superhero such as the Kamen Rider and Metal Hero series; Kyodai Hero like Ultraman and Denkou Choujin Gridman; and mecha like Giant Robo and Super Robot Red Baron. Some tokusatsu television programs combine several of these subgenres, for example, the Super Sentai series.

War film is a film genre concerned with warfare, typically about naval, air, or land battles, with combat scenes central to the drama. It has been strongly associated with the 20th century. The fateful nature of battle scenes means that war films often end with them. Themes explored include combat, survival and escape, camaraderie between soldiers, sacrifice, the futility and inhumanity of battle, the effects of war on society, and the moral and human issues raised by war. War films are often categorized by their milieu, such as the Korean War; the most popular subjects are the Second World War and the American Civil War. The stories told may be fiction, historical drama, or biographical. Critics have noted similarities between the Western and the war film.

Nations such as China, Indonesia, Japan, and Russia have their own traditions of war film, centred on their own revolutionary wars but taking varied forms, from action and historical drama to wartime romance.

The cinema of Japan (日本映画, Nihon eiga), also known domestically as hōga (邦画; "Japanese cinema"), began in the late 1890s. Japan has one of the oldest and largest film industries in the world; as of 2022, it was the fourth largest by number of feature films produced (634) and the third largest in terms of box office revenue ($1.5 billion).

During the 1950s, a period dubbed the "Golden Age of Japanese cinema", the jidaigeki films of Akira Kurosawa and the sci-fi films of Ishirō Honda and Eiji Tsuburaya gained Japanese cinema international praise and made these directors universally renowned and highly influential. Some Japanese films of this period are now considered some of the greatest of all time: in 2012, Yasujirō Ozu's film Tokyo Story (1953) was placed at No. 3 on Sight & Sound's 100 greatest films of all time and dethroned Citizen Kane (1941) atop the Sight & Sound directors' poll of the top 50 greatest films of all time, while Kurosawa's film Seven Samurai (1954) topped the BBC's 2018 survey of the 100 Greatest Foreign-Language Films. Japan has also won the Academy Award for Best International Feature Film five times, more than any other Asian country.

Kaiju (Japanese: 怪獣（かいじゅう）, Hepburn: kaijū; lit. 'strange beast'; Japanese pronunciation: [kai(d)ʑɯː]) is a Japanese term that is commonly associated with media involving giant monsters. A subgenre of science-fiction, more precisely monster films, its widespread contemporary use is credited to tokusatsu (special effects) director Eiji Tsuburaya and filmmaker Ishirō Honda, who popularized the kaiju film genre by creating the Godzilla franchise and its spin-offs. The term can also refer to the monsters themselves, which are usually depicted attacking major cities, and battling either the military or other creatures.

Godzilla (1954) is often regarded as the first kaiju movie. When developing it, Honda and Tsuburaya drew inspiration from the character of King Kong, both in its influential 1933 film and in the conception of a giant monster, establishing it as a pivotal precursor in the evolution of the genre. During their formative years, kaiju movies were generally neglected by Japanese critics, who regarded them as "juvenile gimmick", according to authors Steve Ryfle and Ed Godziszewski.

Godzilla (Japanese: ゴジラ, Hepburn: Gojira) is a Japanese giant monster, or kaiju, franchise centering on the titular character, a prehistoric reptilian monster awakened and powered by nuclear radiation. The films series are recognized by the Guinness World Records as the "longest continuously running film series", having been in ongoing production since 1954, with several hiatuses of varying lengths. There are 38 Godzilla films: 33 Japanese films produced and distributed by Toho Co., Ltd., and five American films; one by TriStar Pictures and four films (part of the Monsterverse franchise) by Legendary Pictures.

The original film, Godzilla, was directed by and co-written by Ishirō Honda and released by Toho in 1954. It became an influential classic of the genre. It featured political and social undertones relevant to Japan at the time. The 1954 film and its special effects director Eiji Tsuburaya are largely credited for establishing the template for tokusatsu, a technique of practical special effects filmmaking that would become essential in Japan's film industry since the release of Godzilla (1954). For its North American release, the film was localized in 1956 as Godzilla, King of the Monsters! and featured new footage with Raymond Burr edited together with the original Japanese footage.