{"product_id":"godzilla-vs-gigan-ゴジラ対ガイガン-地球攻撃命令-original-release-japanese-kaiju-poster-1972-very-rare-stb-tatekan-size-c-51-145-cm-j97-copy","title":"“Gamera vs. Jiger” (ガメラ対大魔獣ジャイガー), Original First-Release Japanese Movie Poster 1970, Very Rare, STB \/ Tatekan Size (c. 51 × 145 cm) M147","description":"\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003e“Gamera vs. Jiger”, Original First-Release Japanese STB \/ Tatekan Poster, 1970\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJapanese title:\u003c\/strong\u003e 「ガメラ対大魔獣ジャイガー」 (\u003cem\u003eGamera tai Daimajū Jaigā\u003c\/em\u003e)\u003cbr\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e \u003cstrong\u003eSTB \/ Tatekan — approximately 20 × 57 inches (51 × 145 cm)\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCountry \/ studio:\u003c\/strong\u003e \u003cstrong\u003eJapan \/ Daiei\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDirector:\u003c\/strong\u003e \u003cstrong\u003eNoriaki Yuasa\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eScreenplay:\u003c\/strong\u003e \u003cstrong\u003eNiisan Takahashi\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMusic:\u003c\/strong\u003e \u003cstrong\u003eShunsuke Kikuchi\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFirst Japanese theatrical release:\u003c\/strong\u003e \u003cstrong\u003e21 March 1970\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e \u003cstrong\u003eComplete in two original, separate sheets, unbacked, with the overlap margin retained\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e \u003cstrong\u003eExcellent+ \/ approaching Near Mint; unused example\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAn exceptional large-format survivor\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAn \u003cstrong\u003eoriginal first-release Japanese STB \/ tatekan\u003c\/strong\u003e for \u003cem\u003eGamera vs. Jiger\u003c\/em\u003e, the \u003cstrong\u003esixth film in Daiei’s original Gamera series\u003c\/strong\u003e, preserved in \u003cstrong\u003eExcellent+ condition, approaching Near Mint in overall presentation\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAlmost five feet tall, this spectacular composition combines \u003cstrong\u003eenormous monster imagery, the futuristic setting of Osaka’s Expo ’70, dramatically coloured Japanese lettering and three captioned action vignettes\u003c\/strong\u003e. The result is an exceptionally effective piece of Japanese monster-movie advertising: expansive, energetic and designed to make an immediate impression outside a cinema.\u003c\/p\u003e\n\u003cp\u003eIts appeal is strengthened considerably by its preservation. This is an \u003cstrong\u003eunused example retaining both original sheets separately\u003c\/strong\u003e, rather than a theatre-worn display subsequently removed from a board. For collectors of classic kaiju cinema, the combination of \u003cstrong\u003efirst-release Japanese paper, the scarce STB format, a distinctive Expo ’70 connection and outstanding display condition\u003c\/strong\u003e makes this a particularly compelling survivor.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe film\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eReleased in Japan on \u003cstrong\u003e21 March 1970\u003c\/strong\u003e, \u003cem\u003eGamera vs. Jiger\u003c\/em\u003e brings together several defining elements of the original series: \u003cstrong\u003ean extraordinary new adversary, inventive special-effects action, a contemporary Japanese setting and children whose courage becomes essential to Gamera’s survival\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThe story begins with the removal of an ancient stone monument known as the \u003cstrong\u003e“Devil’s Whistle”\u003c\/strong\u003e from \u003cstrong\u003eWester Island\u003c\/strong\u003e for exhibition at the Osaka World Expo. Disturbing the monument awakens \u003cstrong\u003eJiger\u003c\/strong\u003e, a powerful, horned monster that subsequently reaches Japan. Gamera attempts to intervene, but the confrontation leaves him incapacitated, with Jiger’s parasitic offspring inside his body.\u003c\/p\u003e\n\u003cp\u003eThe film then takes one of its most memorable turns: \u003cstrong\u003etwo boys undertake a rescue mission inside Gamera in a small submarine\u003c\/strong\u003e. Rather than merely watching the adults or waiting for their monster protector to recover, the children become active participants in saving him. This reversal—\u003cstrong\u003ethe children rescuing the creature that protects them\u003c\/strong\u003e—gives the adventure its particular character.\u003c\/p\u003e\n\u003cp\u003eDirector \u003cstrong\u003eNoriaki Yuasa\u003c\/strong\u003e and screenwriter \u003cstrong\u003eNiisan Takahashi\u003c\/strong\u003e had been central to Gamera’s development since the original \u003cstrong\u003e1965 film\u003c\/strong\u003e. Here, their mixture of imaginative danger, children’s adventure and elaborate monster combat is especially evident. The picture moves from ancient mystery to urban spectacle and then into the extraordinary territory of a journey inside a giant creature, all within its \u003cstrong\u003e83-minute running time\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGamera and the history of kaiju cinema\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe modern Japanese giant-monster film took its defining form with \u003cstrong\u003eGodzilla in 1954\u003c\/strong\u003e. Directed by \u003cstrong\u003eIshirō Honda\u003c\/strong\u003e, with special effects by \u003cstrong\u003eEiji Tsuburaya\u003c\/strong\u003e, that film transformed the destruction of a city into an expression of nuclear anxiety and established a powerful new direction for post-war Japanese cinema.\u003c\/p\u003e\n\u003cp\u003eDuring the following decade, the genre expanded into increasingly varied forms of spectacle. \u003cstrong\u003eCreature performances, miniature environments, optical effects and imaginative physical staging\u003c\/strong\u003e became part of a distinctive filmmaking tradition, allowing impossible events to unfold against recognisable Japanese landscapes.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGamera entered this world in 1965\u003c\/strong\u003e, when Daiei released \u003cem\u003eGamera, the Giant Monster\u003c\/em\u003e. The enormous turtle—with its tusks, armoured shell, fire-breathing abilities and extraordinary flight—offered a immediately distinctive alternative to other screen monsters. Although initially destructive, Gamera increasingly developed an identity as a \u003cstrong\u003eprotector of children and a defender against other creatures\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eBy \u003cem\u003eGamera vs. Jiger\u003c\/em\u003e, this relationship with younger audiences had become fundamental to the series. Its world combines genuine peril with an underlying belief in \u003cstrong\u003efriendship, ingenuity and the importance of listening to children\u003c\/strong\u003e. The monsters could be frightening and their battles surprisingly fierce, but the emotional allegiance was clear: \u003cstrong\u003eGamera was the creature audiences wanted to see survive\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis poster captures that particular phase of Japanese popular cinema beautifully. The monsters dominate the composition, while the children and adult cast appear below, connecting the immense spectacle to the human adventure.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Expo ’70 connection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003eOsaka World Expo of 1970\u003c\/strong\u003e is central to the film’s identity, not simply a decorative background. The removal of an object for exhibition sets the story in motion, and the threat to the exposition gives the monster conflict a distinctly contemporary setting.\u003c\/p\u003e\n\u003cp\u003eThat connection is made emphatic in the poster. Beneath the towering creatures, a panoramic view of the \u003cstrong\u003eExpo grounds, exhibition structures, striking pavilion roofs and elevated railway\u003c\/strong\u003e fills much of the lower sheet. The setting supplies an unusually specific sense of place: this is not an anonymous cityscape but a recognisable image of Japan’s great international exposition.\u003c\/p\u003e\n\u003cp\u003eThe red promotional text at upper right announces:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e「万国博に大魔獣ジャイガーが暴れ込む！」\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e“The giant demon beast Jiger rampages into the World Expo!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe accompanying appeal, **「たのむぞガメラ！」—“We’re counting on you, Gamera!”—**speaks directly to the audience’s allegiance.\u003c\/p\u003e\n\u003cp\u003eFor collectors, this gives the poster an additional dimension. It belongs simultaneously to the history of \u003cstrong\u003eJapanese monster cinema, Daiei’s theatrical publicity and the popular imagery surrounding Expo ’70\u003c\/strong\u003e. The contrast between ancient creatures and futuristic architecture is one of the design’s most effective features.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe composition makes exceptional use of the \u003cstrong\u003eSTB’s long vertical proportions\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAn immense \u003cstrong\u003eGamera rises across the upper sheet\u003c\/strong\u003e, its dark shell and outstretched limbs set against a pale blue-grey sky. Below, the \u003cstrong\u003eorange-brown, horned Jiger\u003c\/strong\u003e twists through the centre of the image. Long streaks of movement connect the figures to the ground beneath them, intensifying the sense of height and violent motion.\u003c\/p\u003e\n\u003cp\u003eThe small aircraft are particularly effective. \u003cstrong\u003eJets at upper left and a helicopter beside the monsters\u003c\/strong\u003e provide immediate scale, making the creatures appear enormous before the eye reaches the buildings below. The contrast between Gamera’s dark, heavily textured body and Jiger’s warmer colouring also keeps the two silhouettes distinct within a densely composed scene.\u003c\/p\u003e\n\u003cp\u003eThe Japanese title is treated with equal force. \u003cstrong\u003e「ガメラ」 appears in red, 「対」 in blue and 「ジャイガー」 in deep green\u003c\/strong\u003e, all boldly outlined against the background. The separate \u003cstrong\u003eyellow-on-black 「大魔獣」\u003c\/strong\u003e element adds another emphatic accent. Rather than sitting beneath the artwork as conventional billing, the lettering descends through the left side and helps unite the two sheets.\u003c\/p\u003e\n\u003cp\u003eAcross the lower section, the exposition grounds create a richly detailed setting beneath the monsters. Their architectural forms provide a striking counterpoint to the rough creature textures, while the railway and small human figures reinforce the scale of the confrontation.\u003c\/p\u003e\n\u003cp\u003eAt lower right, \u003cstrong\u003ethree captioned action images\u003c\/strong\u003e turn the poster into a compact preview of the film’s attractions. The upper vignette shows \u003cstrong\u003ethe stricken Gamera and the small yellow rescue submarine\u003c\/strong\u003e, promoting the boys’ journey into his body. The next presents an \u003cstrong\u003eaerial spinning attack\u003c\/strong\u003e, while the final image shows \u003cstrong\u003ea steel framework being used against Jiger’s jaws\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThese are narrative scenes, rather than a diagram of Jiger’s anatomy. Their captions emphasise the creatures’ attacks, Gamera’s predicament and the ingenuity required to overcome his opponent—an approach perfectly suited to the film’s adventurous spirit.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003ecast montage, Daiei studio emblem, production credits and Daiei Records promotion\u003c\/strong\u003e complete the design. Its visual strength comes from the combination of \u003cstrong\u003ephotographic montage, dramatic movement effects, bold colour and oversized typography\u003c\/strong\u003e, rather than any need for a restrained or minimalist approach. At full STB scale, the abundance of imagery becomes part of its appeal.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe rarity of the STB \/ tatekan format\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJapanese \u003cstrong\u003eSTB \/ tatekan posters\u003c\/strong\u003e were made for tall standing displays associated with cinemas, including entrance areas, ticket booths and exterior signboards. The completed format typically measures approximately \u003cstrong\u003e51 × 145 cm\u003c\/strong\u003e, formed from \u003cstrong\u003etwo B2-sized sheets arranged vertically with an overlap\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThese were practical theatrical advertisements, not prints intended for collectors. Their specialised display role meant they were produced in smaller quantities than regular B2 posters, while mounting, handling, exposure and disposal all worked against their long-term preservation.\u003c\/p\u003e\n\u003cp\u003eThe two-sheet construction introduced another vulnerability: \u003cstrong\u003eboth sections had to survive together\u003c\/strong\u003e. A missing upper or lower panel leaves an incomplete composition, and removal from a pasted display can result in tears, thinning or losses.\u003c\/p\u003e\n\u003cp\u003eThis example is particularly appealing because it retains \u003cstrong\u003eboth original sheets separately, with the white overlap margin on the lower sheet still present\u003c\/strong\u003e. The full design can be appreciated without concealing its original construction beneath a backing.\u003c\/p\u003e\n\u003cp\u003eFor collectors of Gamera and classic Japanese monster cinema, a complete first-release STB offers a substantially more unusual display format than a conventional B2. \u003cstrong\u003eAn unused example approaching Near Mint in presentation is more exceptional still.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExcellent+ \/ close to Near Mint in overall presentation. An unused, unbacked example preserved in its two original, separate sheets.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe printed fronts retain \u003cstrong\u003estrong colour and excellent visual clarity\u003c\/strong\u003e. The red and green title lettering, yellow accents, blue-grey sky and warm colouring of Jiger remain particularly attractive, while the creature imagery and detailed Expo panorama retain impressive definition.\u003c\/p\u003e\n\u003cp\u003eThe \u003cstrong\u003ewhite overlap margin is an original part of the two-sheet format\u003c\/strong\u003e, intended to sit beneath the upper section when assembled. Its presence is not an area of missing artwork. The supplied photographs show the complete composition as well as the individual sheets and their reverses.\u003c\/p\u003e\n\u003cp\u003eMost importantly, the features that give this design its impact—\u003cstrong\u003ethe enormous monsters, multicoloured Japanese title, Expo ’70 setting and captioned action vignettes—remain beautifully preserved\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003ePlease review the photographs carefully, as they show the \u003cstrong\u003eexact poster offered for sale\u003c\/strong\u003e. \u003cstrong\u003eOnce framed as a complete STB, it will make an outstanding centrepiece.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAuthentication\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuaranteed original Japanese first-release theatrical poster for \u003cem\u003eGamera vs. Jiger\u003c\/em\u003e, 1970.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eComplete in \u003cstrong\u003etwo original STB \/ tatekan sheets\u003c\/strong\u003e, retaining the period Daiei branding, Japanese production and cast credits, Expo-related campaign copy and original overlap margin.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNot a reproduction, modern reprint or later commemorative poster.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA remarkably well-preserved piece of original Shōwa-era kaiju cinema: a spectacular Japanese first-release composition, an evocative record of Expo ’70 and a rare opportunity to acquire this imposing format in unused, Excellent+ condition.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57268665188730,"sku":null,"price":1350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-standing-in-front-of-gallery-wall_2dfb29f6-1b62-454f-868d-b5a763371684.jpg?v=1789424295","url":"https:\/\/japanposter.co.uk\/products\/godzilla-vs-gigan-%e3%82%b4%e3%82%b8%e3%83%a9%e5%af%be%e3%82%ac%e3%82%a4%e3%82%ac%e3%83%b3-%e5%9c%b0%e7%90%83%e6%94%bb%e6%92%83%e5%91%bd%e4%bb%a4-original-release-japanese-kaiju-poster-1972-very-rare-stb-tatekan-size-c-51-145-cm-j97-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}