Ahen sensô (The Opium War, 1943) was produced as one of the wartime propaganda films justifying Japan’s war for the purpose of “liberating asia,” simultaneously agitating the audience’s hostility toward Western colonial powers by telling a story about Britain’s brutal invasion of China. More intriguing, however, is the fact that cinematically Ahen sensô is heavily influenced by Hollywood, particularly in its consisted adaptations from several Hollywood films. In my essay I will focus on how Ahen sensô adapted the Hollywood historical disaster films in order to create its anti-Western propaganda. In the last sequence of Ahen sensô, for instance, British warships burn Canton city to ashes. The sequence offered an unprecedented scale of Hollywood-style spectacle in Japanese cinema, one that relied heavily on cribbed footage from In Old Chicago (1937).

While Ahen sensô tried to represent “universal” entertainment for “the Greater East Asian” audience by combining a spectacle of catastrophe with melodrama, Hollywood disaster films were adopted as the proper model. But Ahen sensô’s climactic catastrophe sequence differs significantly from Hollywood’s historical disaster films in that it lacks a cathartic moment where the catastrophe turns into a happy ending and the evil old metropolis is replaced by the new utopia. This does not mean, however, that Ahen sensô lacks a utopian vision. Under the wartime Japanese propaganda code, the plight of Asia under Western colonialism could only be rescured by the Japanese imperial military. In the film Ahen sensô, the Chinese people could not be saved from catastrophe because this film lacks a Japanese protagonist, and the cathartic moment is transformed to the real world where the Japanese military would “liberate” these victims by defeating the Western colonial powers and constructing “the Greater East Asian Co-Prosperity Sphere” in the future.

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『桃太郎　海の神兵』（1945）の映像実験について検証する。おもに影絵アニメーション、ミュージカル映画、ドキュメンタリー映画、プレスコと透過光の採用に着目して映像テクスト分析を行う。同時に、物語映画の話法が適宜用いられることによって、多様なイメージが拡散することなくストーリー（日本の勝利）へ収束され、観客を吸引しうる作品となるさまを分析する。そして、日本のアニメーションでは描かれてこなかった本格的な「死」の表象が、『海の神兵』に現れている可能性について論じる。そのうえで、『海の神兵』がプロパガンダ映画であるとともに、殺人を正当化する戦争の根本的な矛盾を問いかけるような両義的な作品である可能性を示す。本論文では、瀬尾光世がプロキノ時代から培ってきた宣伝力と、たしかな演出力にもとづく映像実験によって、『海の神兵』が映像史上において稀有であり、かつ今日的な意義を有する作品であることを明らかにする。

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During World War II Japan occupied most part of Southeast Asia, advocating for “liberation of Asia” from western colonialism. Her hidden aim was, however, to exploit natural resources as well as human power of those areas, which were to be mobilized for her continuous and ambitious fighting. In order to achieve those purposes, Japan had to acquire cooperation of the population in the occupied areas. Therefore, propaganda activities were one of the most important tasks of Japanese military administration in Southeast Asia. Among various propaganda media movies were particularly promoted, since they were effective in the society where illiteracy rate was high and written media had limited effects. This paper will analyse Japanese film propaganda during World War II, taking the case in Java.
As soon as Japanese seized power in Java, they confiscated all Dutch facilities and materials for film making and ordered a Japanese movie production company, Nippon Eigasha, to engage in production of news, culture, and feature films in Jakarta. Many distinguished staff were sent from Japan for this purpose. The theme of those films were closely connected with policies of military government. Among the films were those designed to impress people with Japanese military power, to inspire people's consciousness in defense of fatherland, and to encourage production and other labor activities. There were also many “educational” films to teach certain practical technique, scientific knowledge, Japanese songs, and Japanese value concepts. Writer had chance to see some of those films and her impression was that the artistic quality of those films was not bad and the contents were quite attractive.
Under the Japanese rule kind of films shown in Java entirely changed owing to the prohibition of western movies, which by then had occupied about 85% of the total number of movies shown in Indonesia. Consequently those vacancy was filled by Japanese films, both locally made ones and those imported from Japan. Japanese encouraged movie watching among Indonesian people by reducing fare. But since the number of movie theaters were very small and they were mostly located only in cities, Japanese propaganda bureau organized moving theater teams and frequently carried out outdoor projection in villages. Those movies were free and open to everybody, and usually enjoyed a big audience. Big audience, however, does not necessarily mean positive acceptance of Japanese ideas. People, in many cases, simply came because there was scarcely any other amusement in those days. For most of the audience it was their first experience of movie watching, and impacts of the films were quite strong. Although Japanese propaganda was not successful in making Indonesian people accept Japanese idea for Greater East Asian Co-prosperity Sphere and moulding them into Japanese way of thinking, at least it had certain effects in alleviating people's unsatisfaction and anger towards Japanese and in preventing them from going into large-scale anti-Japanese resistance even in the highest tension brought by harsh economic policies. In that sense Japanese propaganda policies can be considered effective.

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【要旨】
 1943年に公開された『桃太郎の海鷲』は、海軍省が後援となり真珠湾攻撃をモチーフとして制作された国策アニメーションである。演出は、当時代表的なアニメーターのひとりと見なされていた瀬尾光世が務めた。同じ瀬尾による1945年公開の『桃太郎 海の神兵』は長らく幻の作品とされていたが、1984年に倉庫から発見され話題を呼んだ。近年、この作品の研究が進み、アニメの「ルーツ」として重要な作品と見なされるようになっている。一方、『桃太郎の海鷲』については比較的に研究が進んでいない。しかしながら、『桃太郎 海の神兵』は明らかに『桃太郎の海鷲』の延長線上に作られた作品である。日本アニメーション史において『桃太郎の海鷲』はどう位置づけられるだろうか。
 本稿では、瀬尾の「桃太郎」作品が当時の「漫画映画」という概念を拡張しようとする一貫した試みであったと主張する。まず『桃太郎の海鷲』では、「文化映画」の要素が取り入れられた。報道写真やニュース映像などが参考にされ、兵士たちの日常に焦点が合わされ、映画的手法も用いられている。このことは、漫画映画がどのようなものであるべきかという評者それぞれの意見の相違を顕在化させた。さらに『海の神兵』では、漫画の滑稽さとは相反する暴力描写や悲劇が導入されている。瀬尾は、それまでの漫画映画ではほとんど用いられなかった非漫画的な要素を取り入れることで、漫画映画という概念を拡張しようとしたのだ。

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本論は、地域社会における戦死者慰霊施設を、地域の担い手の管理活動から捉える試みである。先行研究においては、管理主体は死者への思いをもった人々であるという観点から論じられてきたこともあり、地域の複数の管理主体が、地域的文脈の中でそれぞれいかなる固有の関心をもち、具体的にどのような管理活動を行っているかについては十分に検討されてこなかった。これに対して本論は、茨城県阿見町における予科練慰霊施設の事例研究を行い、特に自衛隊武器学校と婦人会という二つの地域の管理主体の関心と管理への関与を分析した。その結果、管理活動には、先行研究が主に論じてきた、現状を保持しようとする〈維持〉の側面だけではなく、慰霊施設をとりまく時代状況に応じて臨機応変に対応する〈経営〉の側面があることを示し、後者については、地域の諸主体ごとの関心の違いに応じて、その対応の仕方には競合する場合があることを明らかにした。

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