264:
documentaries. Man'ei also expanded its film production across
Japanese-occupied East Asia and exported these productions to Axis countries to achieve the goal of making Manchukuo a "Dream Land of Film Making". The company established relations with Japanese-controlled distribution networks and film studios. In 1939, Man'ei built a new studio with cutting-edge equipment; it also ran film schools from 1937 to 1944 which produced hundreds of alumni. The company’s size grew from employing 900 people in December 1940 to 1,800 by November 1944.
300:. Unlike Japan's film markets in Taiwan and Korea, Man'ei was promoted as being a Japanese-run Chinese film studio from its start. Man'ei grew out of the Southern Manchurian Railway's Photographic Division, which was initially charged with producing industrial and educational films about Manchukuo for Japanese audiences. Promotional materials from the studios boasted that Man'ei had the most state-of-the art facilities in all of Asia at that time. Negishi Kan'ichi was recruited from
315:, head of Manchukuo's Ministry of Civil Affairs, to replace Negishi. Amakasu effectively used his status as a film industry outsider, as well as his notoriety as the murderer of Osugi Sakae and family to maintain the Man'ei's independence from the mainland Japanese film industry. Amakasu was frequently critical and sometimes hostile to Japanese perceptions of Man'ei. As a result of a 1936 tour of Nazi Germany and Fascist Italy, Amakasu was able to see visit the studios
431:
28:
20:
352:
Man'ei distinguished itself from other
Japanese colonial film studios. Amakasu maintained that his primary audience was not Japanese, but Manchurian. In a 1942 article entitled "Making Films for the Manchurians," Amakasu stated: "There is absolutely no need to make films that exoticize Manchukuo for
416:
also published film criticism, although domestic scholars always complained about the quality of Man'ei's production. However, Amakasu responded, "the films of are primarily targeted at the uncultured masses... We must treat and educate them like children, and explain things to them slowly and in
263:
in the occupied northeast part of China in 1937. Man'ei controlled the entire process of film production, as well as release and international distribution of
Manchurian films. With its large-scale investment and capital, Man'ei mainly focused on producing political films, dramas, propaganda, and
395:
According to a 1939 survey of educated
Manchurian viewers, Man'ei films were found to be dull and implausible, reflecting little knowledge of real life in Manchukuo. In response, Man'ei strived to produce high-quality dramas. Educational films continued to occupy a large proportion of Man’ei's
391:
Modernization was the central theme of both educational and entertainment films. Although most of Man'ei's films were destroyed on the orders of the
Japanese military, the American military managed to retrieve a number of them. They stored these documents in the National Archive and Records
514:
ownership of any of the former works of
Manchukuo, and the films were reproduced without China's consent. Japan agreed to give some works back as compensation. Some are preserved today in China's National Film Archives, others are preserved in the Changchun Film Studio.
323:. After taking up his post at Man’ei, Amakasu was determined to reform the studio's production system after UFA's in order to compete with both Hollywood and the Japanese film industry. This included using staff from the Towa Company to assist him in procuring the latest
353:
Japan. Japan will probably make their own films that get it wrong anyhow, vulgarizing the unusual aspects of
Manchuria. We must not forget that our focus is the Manchurians and, after we make headway, nothing should keep us from producing films for Japan."
247:, the Soviet Red Army facilitated the transfer of Man-ei's assets and equipment to the Chinese communists. This became the basis for the Communist Party of China's first full function film studio, the
376:
was its party secretary. Northeastern Film Studio began production in early 1947, focusing on news and documentary films, as well as some fiction, educational film for children, and animation.
792:
Li, Jie. “A National Cinema for a Puppet State: The
Manchurian Motion Picture Association.” In Oxford Handbook Online, edited by Carlos Rojas, 5. Oxford: Oxford University Press, 2013.
688:
Jie Li, “A National Cinema for a Puppet State: The
Manchurian Motion Picture Association,” in Oxford Handbook Online, ed. Carlos Rojas (Oxford: Oxford University Press, 2013), pp.5.
396:
productions. Later, the company decided to utilize a new method, which combined familiar elements of life with an imperial ideology in order to reach a propagandistic goal.
697:
Markus Nornes and
Fukushima Yukio, The Japan/Ameriaca Film Wars: World War II Propaganda and Its Cultural Contexts (Langhorne, PA: Harwood Academic Publishers, 1994), pp.85.
883:
506:. In May 1995, Japan repurchased the films that were in the lost segment. Initially a Japanese company packaged the films in 30 episodes to be sold in Japan at 300,000
334:. Although Amakasu was considered right-wing, he hired many left-wing and Communist sympathizers at a time when they were being purged from the Japanese film industry.
801:
Nornes, Markus, and Fukushima Yukio. The Japan/Ameriaca Film Wars: World War II Propaganda and Its Cultural Contexts. Langhorne, PA: Harwood Academic Publishers, 1994.
412:, and its first publication was in December 1937, in Japanese and Chinese versions. These included serialized novelizations of Man'ei films and entertainment news.
330:
and production techniques. Amakasu also hosted notables from the Japanese film industry including movie stars, directors, and orchestral conductors such as
893:
510:. The Chinese government lodged an official complaint about the legitimacy of the matter, since the government of the People's Republic of China claims
888:
296:. The original studios were located at a former wool goods factory, with the offices at the former Kitsurin Architectural Institute (吉林省建築設計院) in
384:
At its peak, Man'ei became the largest and most technologically advanced film studio in Asia. Various features were made and released to the
452:
385:
878:
873:
819:
Ella Shohat, and Robert Stam. Unthinking Eurocentrism : Multiculturalism and the Media. Vol. Second edition, Routledge, 2014.
726:
579:
903:
863:
858:
679:
Yomota Inuhiko, What Is Japanese Cinema? A History, Ed. Philip Kaffen (New York: Columbia University Press, 2019), pp.91.
764:
745:
664:
478:
460:
293:
783:
Inuhiko, Yomota. What Is Japanese Cinema? A History, Ed. Philip Kaffen. New York: Columbia University Press, 2019.
898:
853:
868:
848:
718:
571:
456:
222:
61:
843:
75:
244:
656:
441:
165:
445:
360:
helped the Chinese communists to take over Man'ei. The former colonial studio was relocated to
346:
365:
248:
341:. Chinese audiences regarded her as a Chinese girl, as she spoke fluent Mandarin. After the
502:
About half of the Association's film archives were lost to the Soviets in the aftermath of
8:
27:
760:
741:
722:
660:
575:
338:
19:
312:
98:
712:
565:
529:
524:
492:
331:
230:
33:
308:
119:
837:
373:
337:
Amakasu is also credited with launching the career of the actress and singer
289:
260:
503:
327:
105:
320:
342:
233:
38:
496:
369:
272:
Man'ei was established on August 14, 1937, as a national policy company
757:
Japan's Total Empire: Manchuria and the Culture of Wartime Imperialism
653:
Revolutionary Becomings: Documentary Media in Twentieth-Century China
511:
237:
828:
Loomba, A. (2015). Colonialism/Postcolonialism (3rd ed.). Routledge.
430:
714:
The Attractive Empire: Transnational Film Culture in Imperial Japan
567:
The Attractive Empire: Transnational Film Culture in Imperial Japan
357:
316:
301:
738:
Japan/America Film Wars: WWII Propaganda and Its Cultural Contexts
345:, she returned to Japan, from where she later pursued a career in
810:
Zhang, Yangjin. Chinese National Cinema. London: Routledge, 2004.
324:
361:
356:
Following Japan's unconditional surrender in August 1945, the
297:
142:
630:甘粕正彦, "満人のために映画を作る" 映画旬報 August 1, 1942, p. 3 in Baskett,
507:
368:, the communist party's first full-capacity film studio.
304:'s Tamagawa Studios to oversee feature film productions.
170:
126:
Chu1-shih4-hui4-she4 Man3-chou1 Ying4 Hua4 Hsieh2-hui4
392:
Administration after the Japanese surrender in 1945.
124:
110:
495:
since its works are viewed in China as pro-Japanese
884:
1937 establishments in the Japanese colonial empire
835:
281:
199:
621:, pp.77-79. Young, Japan's Total Empire. p. 16
405:
275:
214:
193:
147:
80:
66:
399:Man'ei established a film magazine entitled
292:between the government of Manchukuo and the
894:Mass media companies disestablished in 1946
459:. Unsourced material may be challenged and
491:Man’ei is controversial in the history of
479:Learn how and when to remove this message
379:
889:Mass media companies established in 1937
26:
18:
710:
646:
644:
642:
640:
595:Nornes, Japan/American Film Wars. p. 84
563:
836:
735:
386:Greater East Asia Co-Prosperity Sphere
189:Manchukuo Film Association Corporation
754:
548:
650:
637:
457:adding citations to reliable sources
424:
112:Zhūshìhuìshè Mǎnzhōu Yìng Huà Xiéhuì
201:Kabushiki kaisha Manshū eiga kyōkai
172:Kabushiki kaisha Manshū eiga kyōkai
13:
759:. University of California Press.
23:Manchukuo Film Association Studios
14:
915:
553:. London: Routledge. p. 84.
429:
294:South Manchurian Railway Company
822:
813:
804:
795:
786:
777:
740:. Harwood Academic Publishers.
691:
31:Scene from the Man'ei produced
16:Japanese-Manchurian film studio
682:
673:
624:
611:
598:
589:
557:
542:
364:, where it was established as
259:Man'ei was established by the
226:
171:
125:
111:
81:
67:
1:
704:
254:
879:1937 establishments in Japan
874:1937 establishments in China
245:Soviet invasion of Manchuria
240:during the 1930s and 1940s.
7:
719:University of Hawai'i Press
572:University of Hawai'i Press
518:
282:
200:
10:
920:
904:State-owned film companies
864:Defunct companies of Japan
859:Defunct companies of China
267:
47:Manchukuo Film Association
736:Nornes, Abé Mark (1994).
711:Baskett, Michael (2008).
657:Columbia University Press
564:Baskett, Michael (2008).
420:
406:
276:
215:
194:
182:
164:
159:
155:
148:
141:
136:
118:
104:
97:
92:
88:
74:
60:
55:
51:
46:
535:
366:Northeastern Film Studio
249:Northeastern Film Studio
62:Traditional Chinese
551:Chinese National Cinema
549:Zhang, Yangjin (2004).
76:Simplified Chinese
899:Imperial Japanese Army
854:Companies in Manchukuo
755:Young, Louise (1999).
380:Films and publications
41:
24:
869:Changchun Film Studio
849:Japanese film studios
632:The Attractive Empire
619:The Attractive Empire
606:The Attractive Empire
372:was its director and
30:
22:
844:Chinese film studios
453:improve this section
651:Qian, Ying (2024).
42:
25:
728:978-0-8248-3223-0
581:978-0-8248-3223-0
489:
488:
481:
417:plain language."
339:Yoshiko Yamaguchi
317:Universum Film AG
298:Kitsurin Province
186:
185:
178:
177:
132:
131:
99:Standard Mandarin
37:(1943), starring
911:
829:
826:
820:
817:
811:
808:
802:
799:
793:
790:
784:
781:
770:
751:
732:
698:
695:
689:
686:
680:
677:
671:
670:
655:. New York, NY:
648:
635:
628:
622:
615:
609:
602:
596:
593:
587:
585:
561:
555:
554:
546:
484:
477:
473:
470:
464:
433:
425:
411:
409:
408:
313:Masahiko Amakasu
287:
285:
279:
278:
228:
220:
218:
217:
207:
206:
203:
197:
196:
174:
173:
157:
156:
151:
150:
128:
127:
114:
113:
90:
89:
84:
83:
70:
69:
44:
43:
919:
918:
914:
913:
912:
910:
909:
908:
834:
833:
832:
827:
823:
818:
814:
809:
805:
800:
796:
791:
787:
782:
778:
767:
748:
729:
707:
702:
701:
696:
692:
687:
683:
678:
674:
667:
649:
638:
629:
625:
616:
612:
603:
599:
594:
590:
582:
562:
558:
547:
543:
538:
530:Cinema of Japan
525:Cinema of China
521:
485:
474:
468:
465:
450:
434:
423:
403:
382:
358:Soviet Red Army
332:Takashi Asahina
283:kokusaku kaisha
273:
270:
257:
212:
204:
191:
17:
12:
11:
5:
917:
907:
906:
901:
896:
891:
886:
881:
876:
871:
866:
861:
856:
851:
846:
831:
830:
821:
812:
803:
794:
785:
775:
772:
771:
765:
752:
746:
733:
727:
706:
703:
700:
699:
690:
681:
672:
665:
636:
623:
610:
597:
588:
580:
556:
540:
539:
537:
534:
533:
532:
527:
520:
517:
493:Chinese cinema
487:
486:
437:
435:
428:
422:
419:
381:
378:
309:Nobusuke Kishi
269:
266:
256:
253:
184:
183:
180:
179:
176:
175:
168:
162:
161:
160:Transcriptions
153:
152:
145:
139:
138:
134:
133:
130:
129:
122:
116:
115:
108:
102:
101:
95:
94:
93:Transcriptions
86:
85:
78:
72:
71:
64:
58:
57:
53:
52:
49:
48:
15:
9:
6:
4:
3:
2:
916:
905:
902:
900:
897:
895:
892:
890:
887:
885:
882:
880:
877:
875:
872:
870:
867:
865:
862:
860:
857:
855:
852:
850:
847:
845:
842:
841:
839:
825:
816:
807:
798:
789:
780:
776:
774:
768:
766:0-520-21934-1
762:
758:
753:
749:
747:3-7186-0562-7
743:
739:
734:
730:
724:
720:
716:
715:
709:
708:
694:
685:
676:
668:
666:9780231204477
662:
658:
654:
647:
645:
643:
641:
633:
627:
620:
614:
608:, pp.31, 115.
607:
601:
592:
583:
577:
573:
569:
568:
560:
552:
545:
541:
531:
528:
526:
523:
522:
516:
513:
509:
505:
500:
498:
494:
483:
480:
472:
462:
458:
454:
448:
447:
443:
438:This section
436:
432:
427:
426:
418:
415:
402:
397:
393:
389:
387:
377:
375:
371:
367:
363:
359:
354:
350:
348:
344:
340:
335:
333:
329:
328:movie cameras
326:
322:
318:
314:
310:
305:
303:
299:
295:
291:
290:joint venture
284:
265:
262:
261:Kwantung Army
252:
250:
246:
241:
239:
235:
232:
224:
211:
202:
190:
181:
169:
167:
163:
158:
154:
146:
144:
140:
137:Japanese name
135:
123:
121:
117:
109:
107:
103:
100:
96:
91:
87:
79:
77:
73:
65:
63:
59:
54:
50:
45:
40:
36:
35:
34:Sayon no kane
29:
21:
824:
815:
806:
797:
788:
779:
773:
756:
737:
717:. Honolulu:
713:
693:
684:
675:
652:
631:
626:
618:
613:
605:
600:
591:
570:. Honolulu:
566:
559:
550:
544:
504:World War II
501:
490:
475:
466:
451:Please help
439:
413:
400:
398:
394:
390:
383:
355:
351:
336:
306:
288:which was a
271:
258:
242:
209:
188:
187:
166:Romanization
106:Hanyu Pinyin
56:Chinese name
32:
414:Manshū eiga
401:Manshū eiga
343:Pacific War
234:film studio
838:Categories
705:References
497:propaganda
374:Chen Bo'er
370:Yuan Muzhi
319:(UFA) and
255:Background
243:After the
227:株式會社滿洲映畫協會
195:株式會社滿洲映畫協會
149:株式會社滿洲映畫協會
120:Wade–Giles
82:株式会社满洲映画协会
68:株式會社滿洲映畫協會
617:Baskett,
604:Baskett,
512:copyright
469:July 2023
440:does not
347:Hollywood
321:Cinecittà
311:enlisted
307:In 1939,
238:Manchukuo
634:, pp.32.
586:, pp.29.
519:See also
302:Nikkatsu
231:Japanese
229:) was a
39:Ri Kōran
461:removed
446:sources
268:History
223:Chinese
763:
744:
725:
663:
578:
421:Legacy
362:Hegang
325:German
225::
210:Man'ei
536:Notes
143:Kanji
761:ISBN
742:ISBN
723:ISBN
661:ISBN
576:ISBN
444:any
442:cite
407:満州映画
277:國策會社
508:yen
455:by
236:in
208:or
840::
721:.
659:.
639:^
574:.
499:.
388:.
349:.
280:,
251:.
216:滿映
198:,
769:.
750:.
731:.
669:.
584:.
482:)
476:(
471:)
467:(
463:.
449:.
410:)
404:(
286:)
274:(
221:(
219:)
213:(
205:)
192:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
