著者

中川 拓哉 Nakagawa Takuya

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.97-111, 2020-03-31

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The term “Kokusai Eiga” (International Film) emerged in some film magazines around 1936. It first referred to films produced to introduce “correct” images of Japan and the Japanese to Western countries, instead of images that were often exaggerated to portray an exotic and strange land. They also sought critical acclaim. The best-known international film was Atarashiki Tsuchi (New Earth), a Japanese-German co-production in 1937. Nevertheless, after opening to the public, it was criticized intensely for two reasons. First, “Japan” in the film was just as exoticized as it had been in the usual newsreels, which was exactly what Kokusai Eiga had sought to overcome. Second, Atarashiki Tsuchi was criticized for the ways in which it alluded to the 1936 Anti-Comintern Pact. The German director Arnold Funk depicted the similarity of the Japanese national character to the Nazi ideology to stress the friendly relationship between both countries. The failure of Atarashiki Tsuchi disappointed the critics, and they began to wonder if only the Japanese could understand Japan. After the start of the Second Sino-Japanese War in July 1937, the Japan government attempted to use film for propaganda purpose and asked filmmakers to express “Kokumin Seishin” (the national mind) in film. The 1938 film, Kokumin no Chikai (Holy Purpose), was a Kokusai Eiga, and may be considered a successor of Atarashiki Tsuchi. Kokumin no Chikai was an answer to the criticism of Atarashiki Tsuchi but also to the requests of the government concerning the expression of “Kokumin Seishin.” The people in the film devote themselves to their nation, suppressing their personal feelings and circumstances. This film depicted images of a loyal “nation” but at the same time missed the original purpose of Kokusai Eiga, which was to introduce characteristic images of the “Japanese” to other countries.