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<P style="MARGIN: 0cm 0cm 6pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'">Dear
KineJapaners,<o:p></o:p></SPAN></P>
<P style="MARGIN: 0cm 0cm 6pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'">Many thanks for all your responses on
films depicting the occupation of Japan.<SPAN style="mso-spacerun: yes">
</SPAN>I'd still appreciate hearing from people who have grown up in Japan for
their perceptions.<SPAN style="mso-spacerun: yes"> </SPAN>In the meantime,
I chanced upon a left-field candidate for inclusion.<SPAN
style="mso-spacerun: yes"> </SPAN>At the BAJS conference this week,
Jonathan Bull of Hokkaido University gave a paper on Post-war repatriation from
Sakhalin to Hokkaido and mentioned a film that depicted the death of a group of
telephone workers, <I style="mso-bidi-font-style: normal">Karafuto 1945nen natsu
hyōsetsu no mon,</I> </SPAN><SPAN
style="FONT-FAMILY: 'PMingLiU','serif'; mso-ascii-font-family: Arial; mso-hansi-font-family: Arial; mso-bidi-font-family: Arial"
lang=ZH-TW>樺太１９４５年夏 氷雪の</SPAN><SPAN
style="FONT-FAMILY: MingLiU; mso-bidi-font-family: MingLiU"
lang=ZH-TW>門</SPAN><SPAN style="FONT-FAMILY: 'Arial','sans-serif'" lang=ZH-TW>
</SPAN><SPAN style="FONT-FAMILY: 'Arial','sans-serif'">by a director unknown to
me, MURAYAMA Mitsuo in 1974<o:p></o:p></SPAN></P>
<P style="MARGIN: 0cm 0cm 6pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'"><A
href="http://www.jmdb.ne.jp/1974/cx002070.htm"><FONT
color=#800080>http://www.jmdb.ne.jp/1974/cx002070.htm</FONT></A>
<o:p></o:p></SPAN></P>
<P style="MARGIN: 0cm 0cm 6pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'">as having prompted Soviet diplomatic
representations, objecting to its screening.<o:p></o:p></SPAN></P>
<P style="MARGIN: 0cm 0cm 6pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'">Perhaps this is more of a war film,
comparable to those set in Okinawa, except that I <U>think</U> this happened
after the Japanese surrender, so would be about the act of occupation, rather
than life under it.<SPAN style="mso-spacerun: yes"> </SPAN>But at the
least, it says something about who doesn't like films depicting
occupation.<o:p></o:p></SPAN></P>
<P style="MARGIN: 0cm 0cm 6pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'">Has anyone seen it?</SPAN></P>
<P style="MARGIN: 0cm 0cm 6pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'"><o:p>And, in relation to Quentin's
point about the filmic invisibility of BCOF forces, isn't that invisibility also
total in British and Australian films ?</o:p></SPAN></P>
<P style="MARGIN: 0cm 0cm 6pt" class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'">Roger<o:p></o:p></SPAN></P></DIV>
<BLOCKQUOTE
style="BORDER-LEFT: #000000 2px solid; PADDING-LEFT: 5px; PADDING-RIGHT: 0px; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="FONT: 10pt arial; BACKGROUND: #e4e4e4; font-color: black"><B>From:</B>
<A title=Quentin.Turnour@nfsa.gov.au
href="mailto:Quentin.Turnour@nfsa.gov.au">Quentin Turnour</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A
title=KineJapan@lists.acs.ohio-state.edu
href="mailto:KineJapan@lists.acs.ohio-state.edu">KineJapan@lists.acs.ohio-state.edu</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Cc:</B> <A
title=KineJapan@lists.acs.ohio-state.edu
href="mailto:KineJapan@lists.acs.ohio-state.edu">KineJapan@lists.acs.ohio-state.edu</A>
; <A title=owner-KineJapan@lists.acs.ohio-state.edu
href="mailto:owner-KineJapan@lists.acs.ohio-state.edu">owner-KineJapan@lists.acs.ohio-state.edu</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, September 08, 2010 12:17
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Films that depict the
occupation of Japan, made afterwards</DIV>
<DIV><BR></DIV><BR><FONT size=2 face=Arial>Might have mentioned this before,
but there's an intriguing extra layer of invisibility here: of non-US post-war
occupying forces. You might say that in Japanese cinema's representations of
the occupiers, every one was presumed to be one of MacArthur's
children.</FONT> <BR><BR><FONT size=2 face=Arial>The early films in Fukasaku's
JINGI NAKI TATAKAI series, especially in the original's opening scenes, have
US servicemen and MPs on the streets of late 1940s Kure and Hiroshima - when
this was one sector not occupied by the Americans. Rather, this was the
occupation zone controlled by the British Commonwealth Occupation Force
(BCOF), which operated out of the former (and later) Kure naval base. In real
life the troops on the street of Kure and Hiroshima were Australian, Indians
and some Brits. </FONT><BR><BR><FONT size=2 face=Arial>It's odder here in the
context of post-war Hiroshima black markets. BCOF's troops discipline was
notoriously bad. Many (most?) were supplementing army pay by funnelling tones
of military supplies to the local black market gangs.</FONT> <BR><BR><FONT
size=2 face=Arial>But to be fair, few modern residence of Hiroshima - or Japan
- have any collective memory of BCOF... I've not read Iboshi Kōichi</FONT><A
href="http://en.wikipedia.org/wiki/Help:Installing_Japanese_character_sets"></A><FONT
size=2 face=Arial> 's original books, but it wouldn't surprise me they don't
differentiate this, either.</FONT> <BR><BR><FONT size=2 face=Arial>However,
some of the later JINGI NAKI TATAKAI film inadvertently make amends for this
error. There are a number of shots of motorcades of large black American
limousines transporting Yakuza bosses between meetings. Seems the production
designers wanted to save automobile wrangling costs, so use the then much
cheaper big black Australian-made Fords and Holdens that were being imported
into Japan in the early 70s rather than sourcing Cadillacs or German luxury
cars. As a result there is one delicious travelling shot in PROXY WARS (if I
remember) that looks more like a scene from MAD MAX than a Yakuza
movie.</FONT> <BR><BR><FONT size=2 face=sans-serif>Quentin Turnour,
Programmer, <BR>Access, Research and Development<BR>National Film and Sound
Archive, Australia<BR>McCoy Circuit, Acton, <BR>ACT, 2601 AUSTRALIA<BR>phone:
+61 2 6248 2054 | fax: + 61 2 6249
8159<BR>www.nfsa.gov.au<BR><BR>The National Film and Sound Archive collects,
preserves and provides access to Australia's historic and contemporary moving
image and recorded sound culture. <BR><BR><BR></FONT><BR><BR><BR>
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<TD width="40%"><FONT size=1 face=sans-serif><B>Aaron Gerow
<aaron.gerow@yale.edu></B> </FONT><BR><FONT size=1
face=sans-serif>Sent by: owner-KineJapan@lists.acs.ohio-state.edu</FONT>
<P><FONT size=1 face=sans-serif>08/09/2010 05:28 AM</FONT>
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<DIV align=center><FONT size=1 face=sans-serif>Please respond
to<BR>KineJapan@lists.acs.ohio-state.edu</FONT></DIV></TD></TR></TBODY></TABLE><BR></P>
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<TD>
<DIV align=right><FONT size=1 face=sans-serif>To</FONT></DIV>
<TD><FONT size=1
face=sans-serif>KineJapan@lists.acs.ohio-state.edu</FONT>
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<TD>
<DIV align=right><FONT size=1 face=sans-serif>cc</FONT></DIV>
<TD>
<TR vAlign=top>
<TD>
<DIV align=right><FONT size=1 face=sans-serif>Subject</FONT></DIV>
<TD><FONT size=1 face=sans-serif>Re: Films that depict the
occupation of Japan, made
afterwards</FONT></TD></TR></TBODY></TABLE><BR>
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<TD></TD></TR></TBODY></TABLE><BR></TD></TR></TBODY></TABLE><BR><BR><BR><TT><FONT
size=2>Kinoshita Keisuke's Nihon no higeki, which was made right after the
<BR>Occupation in 1953, concertedly places its hahamono story in history
<BR>and uses lots of newsreel footage, as well as "flashbacks" of
<BR>Occupation hardships, to do that. In the newsreel-like footage,
there <BR>are shots of American soldiers, including a pretty powerful
one of <BR>American soldiers cavorting with "panpan" girls. I haven't
seen many <BR>images like that in 1950s cinema.<BR><BR>Kobayashi
Masaki's Kuroi kawa from 1956 has many images of American <BR>soldiers,
though I don't recall if any of them were specifically set <BR>in the
Occupation.<BR><BR>I think a lot of films in the yakuza or action genres,
especially <BR>ones with a historical bent like Fukasaku's Jinginaki
tatakai, will <BR>depict aspects of the Occupation, including American
soldiers.<BR><BR><BR>Aaron Gerow<BR>KineJapan owner<BR><BR>Assistant
Professor<BR>Film Studies Program/East Asian Languages and Literatures<BR>Yale
University<BR><BR>For list commands, send "information kinejapan"
to<BR>listserver@lists.acs.ohio-state.edu<BR>Kinema Club:
http://pears.lib.ohio-state.edu/Markus/Welcome.html<BR><BR><BR><BR><BR></FONT></TT><BR></BLOCKQUOTE></BODY></HTML>