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Propaganda in Japan during the Second Sino-Japanese War and World War II

Propaganda in the Empire of Japan (1937–1945)

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Through World War II, Nationalism and Polity

Films

The Film Law of 1939 decreed a "healthy development of the industry" which abolished sexually frivolous films and social issues. Oftentimes, these films aided national consciousness, present the national and international situation appropriately, and otherwise aid the "public welfare."

The use of propaganda in World War II was extensive, and film was an effective form applied by the Japanese government. Japanese films were produced for a far wider range of audiences than American films of the same period. From the 1920s onward, Japanese film studios produced films legitimizing the colonial project that were set in its colonies of Taiwan, Korea, and on the Chinese mainland. By 1945 propaganda film production under the Japanese had expanded throughout the majority of their empire including Manchuria, Shanghai, Korea, Taiwan, Singapore, Malaysia, the Philippines, and Indonesia.

In China, Japan's use of propaganda films was extensive. After Japan's invasion of China, movie houses were among the first establishments to be reopened. Most of the materials being shown were war news reels, Japanese motion pictures, or propaganda shorts paired with traditional Chinese films. Movies were also used in other conquered Asian countries usually with the theme of Japan as Asia's savior against the Western tyrants or spoke of the history of friendly relations between the countries with films such as, The Japan You Don't Know.

China's rich history and exotic locations made it a favorite topic of Japanese film makers for over a decade before the outbreak of the second Sino-Japanese War (1937–1945). Of particular note were a popular trio of "continental goodwill films" (大陸親善映画) set throughout the Chinese continent and starring Hasegawa Kazuo as the Japanese male romantic lead with Ri Kōran (Yoshiko Yamaguchi) as his Chinese love interest. Among these films, Song of the White Orchid (1939, 白蘭の歌), China Nights (1940, 支那の夜), and Vow in the Desert (1940, 熱砂の誓い) mixed romantic melodrama with propaganda in order to represent a figurative and literal blending of the two cultures onscreen.

‘National policy films’ or propaganda pictures used in World War II included combat films such as Mud and Soldiers (1939, 土と兵隊) and Five Scouts (1938, 五人の斥候兵), spy films such as The Spy isn't Dead (1942, 間諜未だ死せず) and They're After You (1942, あなたは狙われている) and lavish period pictures such as The Monkey King (1940, 孫悟空) and Genghis Khan (1943, 成吉斯汗). In the early stages of the war with China, so-called "Humanistic war films" such as The Five Scouts attempted to depict the war without nationalism. But with Pearl Harbor, the Home Ministry demanded more patriotism and "national polity themes" – or war themes. Japanese directors of war films set in China had to refrain from explicit anti-Chinese rhetoric, as the risk of alienating the same cultures that the Japanese ostensibly were "liberating" from the yoke of Western colonial oppression was a powerful deterrent, in addition to government pressure. Even so, as the war in China worsened for Japan, action films such as The Tiger of Malay (1943, マライの虎) and espionage dramas like The Man From Chungking (1943, 重慶から来た男) more overtly criminalized China as an enemy of the Empire. In contrast to its representations of China as antiquated and inflexible, Western nations were often portrayed as overindulgent and decadent. Such negative stereotypes had to be adjusted when Japanese film makers were asked to collaborate with Nazi film crews on a number of Axis co-productions that followed the conclusion of the Tripartite Pact.

As Westerners increasingly fought in the Pacific Theater, the Japanese directed their prejudices towards them as well. In Fire on That Flag! (1944, あの旗を撃て!) the cowardice of the fleeing American military is juxtaposed with the moral supremacy of the imperial Japanese army during the occupation of the Philippines. Japan's first full-length animated feature film Momotarō: Divine Soldiers of the Sea (1945, 桃太郎海の神兵) similarly portrays the Americans and British in Singapore as morally decadent and physically weak "devils". A sub-category of the costume picture is the samurai movie. Themes used within these films include self-sacrifice and honor to the emperor. Japanese films often did not shy away from the use of suffering, often portraying its troops as the underdog. This had the effect of making Japan look as though it was the victim inciting greater sympathy from its audience. The propaganda pieces also often illustrated the Japanese people as pure and virtuous, depicting them as both racially and morally superior. The war is portrayed as continuous and is usually not adequately explained.

Some other examples of propaganda films include Momotarō no Umiwashi and The Most Beautiful.

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