![]() ![]() In 1937, Tsuburaya was employed by Toho and established the company's effects department. ![]() His first majorly successful film in effects, The Daughter of the Samurai (1937), remarkably featured the first full-scale rear projection. ![]() After filming his directorial debut on the cruiser Asama in the Pacific Ocean, he worked on Princess Kaguya (1935), one of Japan's first major films to incorporate special effects. Tsuburaya completed the first iron shooting crane in October 1934, and an adaptation of the crane is still in use across the globe today. At the age of thirty-two, Tsuburaya watched King Kong, which greatly influenced him to work in special effects. Thereafter, he worked as an assistant cinematographer on several films, including Teinosuke Kinugasa's A Page of Madness (1926). During his five-decade career, Tsuburaya worked on approximately 250 films and earned six Japan Technical Awards.įollowing a brief stint as an inventor, Tsuburaya was employed by Japanese cinema pioneer Yoshirō Edamasa in 1919 and began his career working as an assistant cinematographer on Edamasa's A Tune of Pity. Known as the "Father of Tokusatsu", he pioneered Japan's special effects industry, introducing several technological developments in film productions. He is regarded as one of the most influential figures in the history of Japanese cinema and a creator of the Godzilla and Ultraman franchises. Eiji Tsuburaya ( Japanese: 円谷 英二, Hepburn: Tsuburaya Eiji, J – January 25, 1970) was a Japanese special effects director, filmmaker and inventor. ![]()
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