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Pages in category "Japanese propaganda films" The following 7 pages are in this category, out of 7 total. This list may not reflect recent changes. 0–9.
Across the Equator (Japanese: 赤道越えて, Hepburn: Sekidō Koete) is a 1936 Japanese propaganda documentary film directed by Eiji Tsuburaya in his directorial debut. [3] Produced and distributed by Nikkatsu , [ 2 ] it was shot by Tsuburaya from February to August 1935, whom traveled across the Pacific on the cruiser Asama .
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. [3] Most of the materials being shown were war news reels, Japanese motion pictures, or propaganda shorts paired with traditional Chinese films. [3]
In Japan, like in most other countries, propaganda has been a significant phenomenon during the 20th century. [1] Propaganda activities in Japan have been discussed as far back as the Russo-Japanese War of the first decade of the 20th century. [2] Propaganda activities peaked during the period of the Second Sino-Japanese War and World War II.
1930: Aiyoku no ki: Heinosuke Gosho: Kinuyo Tanaka, Ichiro Yuki: The Army Advances: Kiyohiko Ushihara: Denmei Suzuki, Kinuyo Tanaka: War drama [1] Furusato: Kenji Mizoguchi: Yoshie Fujiwara Shizue Natsukawa: Japan's second feature-length talkie (after Taii no Musume (The Captain's Daughter)) Love Is Strength: Mikio Naruse: Hiroko Kawasaki ...
Although Japan's light industry had secured a share of the world market, Japan returned to debtor-nation status soon after the end of the war. The ease of Japan's victory, the negative impact of the Shōwa recession in 1926, and internal political instabilities helped contribute to the rise of Japanese militarism in the late 1920s to 1930s.
Walter Kaner (May 5, 1920 – June 26, 2005) was a journalist and radio personality who broadcast using the name Tokyo Mose during and after World War II. Kaner broadcast on U.S. Army Radio, at first to offer comic rejoinders to the propaganda broadcasts of Tokyo Rose and then as a parody to entertain U.S. troops abroad.
Both Kawakita and Osawa served Imperial Japan throughout the war, producing propaganda films in China and Japan, respectively. When Japan was defeated in 1945, the Supreme Commander for the Allied Powers (SCPA) designated both producers as Class B war criminals , barring them from the Japanese film industry until 1950.