ASIK THROUGH FILM An Annotated Guide to Films on Asia in the University of Michigan Audio-Visual Education Center @ project of PASE—Project on Asian Studies in Education edited by Jo Ann Hymes The main film evaluators for each geographic area of Asia are PASE staff members trained in Asian Studies and education or graduate students in Asian Studies at the University of Michigan. China films sevcssseses Leslie M. Swartz and Michael J. Fonte Japan films popag Beason + Jo Ann Hymes South Asia films . Mark Poffenberger and Mary Zurbuchen Southeast Asia films ..-.22...++ teeeeeees Teddy Bofman In addition to the above, many thanks to Margaret B. Carter, Ruth Kanagy, David Hickey, Priscilla Weaver, the University of Michigan Center for Japanese Studies and the Audio-Visual Education Center for their untiring assistance and support without which this project would not have been possible. Published and distributed on behalf of PASE by Center for Japanese Studies 108 Lane Hall ‘The University of Michigan Ann Arbor, Michigan 48109 $3.50, prepaid.Copyright © 1976 by Center for Japanese Studies The University of Michigan Printed in the United States of AmericaPREFACE The principal aim of the Project on Asian Studies in Education (PASE) is to help the process of understanding by involving educators and the general public in the cultural and historical traditions of Asia. Understanding is not a recital of political, headlined facts but an entrance into the traditions of Asia, past and present. In: volvement in these traditions leads to informed judgments about world affairs. It also stimulates reflection on the problems and questions that face all people. In short, PASE’s goal is to bring alive for Americans the Asian side of the human experience. The University of Michigan enjoys special resources for this purpose. It possesses a cluster of scholarly expertise on Asia that broadly covers the four areas of China, Japan, South Asia and Southeast Asia. It has a School of Education with long exper ence in and commitment to international and multi-ethnic education. The Audio-Visual Education Center with its rich collection of educational films on Asia provides in-depth support for collegiate and pre-collegiate programs and educational experiences in Asian Studies. PASE strives to mobilize all of these resources to improve the teaching of Asian Studies in elementary and secondary schools, two-and four-year colleges, and to increase understanding and appreciation of Asia among the general public. Asia Through Film: An Annotated Guide to Films on Asia in the University of Michigan Audio-Visual Education Center seeks to make the films on Asia at the University of Michigan more widely available, comprehensible and usable to educators and the general public. It is the fruit of the collective labors of many PASE members in cooperation with the Audio-Visual Education Center. All films included in this guide are available for rental through the University of Michigan Audio-Visual Educa- tion Center. Rental fees indicated are those of the University of Michigan and cover use periods of three consecutive days. The films included in this guide are also available, however, from other sources on a rental basis. Readers should consult catalogues of their local film libraries for rental information. Distributor’s names and addresses have been included with each film annotation to facilitate purchasing if that is desired. Project on Asian Studies in Education (PASE) 300 Lane Hall The University of Michigan ‘Ann Arbor, Michigan 48103 Project Directors: PASE Staff: Mary Elizabeth Berry Margaret B. Carter Michael J. Fonte John K. Whitmore Jo Ann HymesTABLE OF CONTENTS Table of Contents .....-.... . ii Strategies for Using Films ...... 6... cece ee eeee Explanatory Notes .. China Films China Films Subject Index... China Films by Level . . Film Annotations ....... Japan Films Japan Films Subject Index Japan Films by Level... Film Annotations ....... South Asia Films South Asia Films Subject Index South Asia Films by Level . Film Annotations .. Southeast Asia Films Southeast Asia Films Subject Index . . Southeast Asia Films by Level Film Annotations .. Distributors .STRATEGIES FOR USING FILMS The success of a film ultimately rides on how effectively it is presented. A film can inform, captivate, entertain, intrigue, and all too frequently bore, depending on. how it is used or misused. Far from just a means to fill up time in a lesson plan, a film can provide a unique tool to sharpen powers of critical thinking and values clarification, or to supply invaluable visual or sound impressions of the subject under study. Stretch- ing the modes of putting across content information, creative lessons built around films ‘can engage all the senses. Nor is there any limit to the number of times a film can be used, provided you mold it to your specific purposes. How to Select the Right Film No one film is perfect for all occasions. The challenge is to choose the correct film for your objectives at a given point in time. The first step is to clearly decide what your purpose is for showing a film. Do you want to introduce a new subject area, to give a general overview, to zero in on a particular problem, to provide the main body of in- formation, to add supplemental materials not readily available elsewhere, or to sum up, and review ground which has already been covered in other classroom activities? Know what you want the film to accomplish: This quide divides the films in the University of Michigan Audio-Visual Education Center collection by country and area of Asia, aswell as by subject matter and grade level. Having decided on your objective for screening a film, you may find several films in this guide which could conceivably fit your purposes. For example, Boy of Southeast Asia, Family of the River: The River, My Home and Three Country Boys all describe gener ally family life in Southgast Asia at the primary level. After reading their annotations, previewing the films or checking with others who may have seen them if you have not, choose the best film to meet your objectives. Visual materials, date of production, point of view in the film, running time should be taken into consideration if no one film stands out as the best choice. It is even conceivable that you may want to adapt a film for a higher level by showing only pertinent segments or by stopping the film along the way to give additional simplified explanations if they are necessary Finally, consider carefully whether an adequate context has been supplied for the film you have selected, given your chosen objectives. For instance, in adding supple- mental material to a study of modern China with People’s Army, does the class have sufficient historical and current socio-political perspective on China to integrate this new information into the total picture you are trying to get across?vi Different Methods of Using Films in the Classroom Involve the audience, shake them out of a passive role into active participation. Fifteen, thirty or sixty minutes is a long time to hold interest and attention, even for the best speaker. Stop the film periodically for discussion and exercises, or perhaps show only parts of the film relevant to other classroom activities. All too often screening a film calls for making the best of a less than adequate production. Old age, bias, misinformation, poor sound or visual effects can plague any film. Still, thoughtful implementation can turn such a film to advantage. ‘There are several ways to cope with films which have strong biases. After suffi cient classroom preparation, show the film with the sound track turned off, repeat the showing a second time with the commentary audible. Have students discuss the film. With what do they agree? disagree? About what points do they want more infor: mation? An excellent way to affirm their views is to have groups or individuals in the class rewrite the film script. Similarly, this technique works well with somewhat old films where the footage is still useful though the narration is outdated. To acquaint students with the challenge of using visual materials effectively, after viewing a particular film have students prepare their own audio-visual presentations using slides, photos, magazine pictures, drawings, etc. on the same or related topic. Give the option of taped, script or off-the-cuff commentary. Another possibility is to give the same set of visuals to different groups and have them create their own audio-visual presentations based on what they have learned from the film and other classroom activities. A word of caution, too much of a good thing is too much, no matter how noble and creative your intent. Keep in mind that media overkill can stifle interest just as easily as poor narration or poor filming, Preparation of the Audience Before Showing a Film Preparation begins with previewing the film you have selected before showing it to an audience for the first time. The sink-or-swim method works as badly for film audiences as it does for non-swimmers trying to develop an appreciation for swimming. Never throw an audience into a film cold. An introduction, warm-up exercises related to the film, sharing provocative questions about the film for the day, all help the viewers to get ready for what is in store for them.A good introduction should state your purposes for showing the film what you hope the viewers will get from it, any cautions about distractions in the film (reddish hue, unusual voice of the narrator, etc.). Steer their attention to what is important in the film and highlight what to watch out for. In some cases it may prove useful to assign individuals or groups to look for specific information, especially if the film is a long one. This promotes greater sharing in the learning process as all can participate in the film debriefing Since you will be dealing with non-western material it is also a good idea to en- courage students to keep in mind the overall perspective of the film they are about to see. Is it western-centered or Asia-centered? Are people and their cultural traditions central (humanistic approach), or are government and institutions? How does the film sensitize the viewer to appreciate the Asian people, their feelings, thought patterns, behaviors and culture? Follow-up No film showing is complete without a debriefing with the audience and suitable follow-up exercises. This again insures that the film can be placed in context, by the students and not stand as an isolated learning experience. You, the teacher, should then assess how well the film met your objectives, whether it brought up additional issues which you had not anticipated, and what changes you would make in using it in the future. Keeping notes for your own records with remarks about unclear or confusing passages in the film which gave students problems is an excellent practice. Teachers and school resource librarians may want to develop a film evaluation form for school files open to all teachers as a supplementary reference to this guide.EXPLANATORY NOTES 1. The films in this guide are divided into four sections: China, Japan, South Asia and Southeast Asia. The main countries covered in each of these sections are as follows: China: People's Republic of China, Republic of China, Hong Kong, Chinese Americans. Japan: Japan, Japanese Americans. South Asia: India, Pakistan. Southeast Asia: Burma, Indonesia, Philippines, Singapore, Malaysia, Thailand, Vietnam. The film guide omits in this printing the major portion of films on South Asia, as well as a few films on China, Korea and Southeast Asia in the University of Michi- gan Audio-Visual Education Center collection. These will be forthcoming in later editions, 2. Two indexes appear at the beginning of each section arranging the films in that area of Asia according to subject matter and grade level. Films in the subject indexes are cross listed within and across sections for easy identification and reference. Grade levels represent general designations of maturity range and correspond to the following code: Do... primary, grades 1-6 J +222 junior high school, 7-9 s - senior high school, grades 10-12 a ....., adult, college and general adult audiences, 3. The heading of each film annotation (reading from top to bottom, left to right) includes the title of the films, running time in minutes, format (color or black and white), appropriate grade levels, rental fee from the University of Michigan Audio- Visual Education Center, producer and/or distributor, year of production. Japanese Mountain Family 15 min color > $6.40 (Mitchell; BFA, 1966) If the film is out of print, this is noted in lieu of the distributor's name.4, A complete listing of distributors, as indicated by code in the film headings, can be found at the back of the guide on pages 63 & 64. To assist in teaching, clarification about the names of countries touched on by the films in this guide is called for as there is great variance within each section. In the following table, the left column lists the current official name of various Asian countries; the right column shows different names used for these countries in the fils. Current Official Name Other Names Sri Lanka Ceylon People’s Republic of China China, Communist China, Mainland China, Red China Republic of China Formosa, Free China, Taiwan Malaysia Malaya Singapore Malaya Thailand Siam Bangla Desh Pakistan, East Pakistan Pakistan Pakistan, West Pakistan Democratic Republic of Vietnam North Vietnam, Vietnam Republic of Vietnam South Vietnam, Vietnam 6. Chinese, Japanese and Koreans give their family name first and then their given name or names. For example, Mao is the family name of Mao Tse-tung. Custom: arily, Chinese capitalize the first given name, place a hypen between it and the second, which is not capitalized. This refers, of course, to western romanizations of Chinese names. Unfortunately, in the Japanese films, the commentaries frequently give names of ividuals in western order, i.e. given name, family name. To avoid unnecessary confusion, the annotations follow the name order of the film, but where possibleindicate the family name in the discussion of the film, In other cases, only one name may be given with no indication of whether it is a family name or a given name. For reference in these matters, the following table is provided. Page 23 23 23 23 24 24 24 25 25 25 2 oy Pa 25 25 26 26 26 26 a ea 28 28 Family Name Fujiwara Minamoto Fujiwara (Taira) 10 Fujiwara Kaneshige Ichino Rakusai Shimaoka Kondé Mori Katd Raku Machino Tagawa Minamoto Tomo Nakano Takada Hada Tanaka Given Name Nobuyori Yoshitomo Michinori Kiyomori Yuki Takuo Makoto Yoshio Machiko Toshio Kimi Yaeko Iwayuki Tokuto Akihito Sumiko2B 2B at 31 33 33 33 34 34 Seee 3 35 35 36 7 v7 38 8B 8 Mizukami Motoki Nakagawa Nishimura Murata 15 Kawai Shimatsu Oga Sakamoto Kobukuro Yanase Tatsuzo Saburd & Michiko Akitomi Tard Noriaki Yona Mitsu vai Kenji Jiré Usume Hideo Hanako Hanako Michio Tazaku Haruzd Yuki 7. * denotes soundtrack in Japanese with/without English subtitles.xivCHINA FILMS SUBJECT INDEX Agriculture (Ching and tts Apicuiture ‘china Today» {Commune Workers ‘Arts and Crafts ‘cuinese Ceramics Tarough the Agee ‘Caines Painting Phrough the Ages ‘Guinese Sculpture Throw the Ages Forbidden Gay, The Oriental Brashworke Chinese Americans and Chinese ‘Other Parts of Asia ‘@oiet Battle, The ‘Third China, The City Life {Ute in North China Red Chin Diary with Motley Sater” Drama Chinese Shadow Play. Night at the Peking Opere Education Students and Teachers Ethnic Minorities (Caines Vilage in Change ‘Titd China, The Family Forbidden Cty, The Sampan Famiy General Overview Ghines A Povtalt ot the Land © hina: The Avakenioe Giant (hina: The Old and the New Chin Today Family of Free China Misunderstanding China Geography Ccuina: A Portrait ofthe Land ‘China and Its Ageeuteure (China: Feeding One-Fourth of the Human Race ‘Chines Vulages im Change | Vulage in China Tod History Ancient Orient: The Far East Cina: The Awakening Gist ‘Chins: The Social Revolution (Chins Under Communism Fallot China Dao Toe-tung Mao va. Chiang: Bate for China Misunderstanding China Perpetual Revolution Red Chin Diary with Morley Safer Warn China (19321948). » Industrial Development (Caing and Its Indstey Chine: The Awakening Giant ‘Chine Today (China Under Contaniass China's Indust! Revolution te ta North China Quiet Bate, The ‘Music [Night atthe Peking Opera Political Science ‘hina: Century of Revolstion hina: The Socal Revostion (hina Under Communism Fallot china mea Sina Da ‘with Moitey Sater i pis fea bs is fea fee 13 n 13 13CHINA FILMS BY LEVEL Primary Level Junior High Level Chines Portraltof the Land (Ching and Its People ‘hint: Feeding One-Fourth of the Human Race ‘China: The Avtakening Giant (China Under Communism (Chinas Industrial Revolution ‘Chinas Villages in Change ‘Chinese Shadow Play Mao v5, Chiang: Battie for China Night at the Peking Opers Sampan Family Senior High Level ‘Ancient Orient: The Far East (Gains: Portrait of the Land (China and te Agreuttare {Chins and Its People ‘China: Century of Revotutton = (Cains: The Avrakening Giant (Chins: The Old andthe New (Cains Under Communism China's Industrial Revolution (Chinese Ceramics Through (he Ages ‘Chinese Punting Through the Agee ‘Chinese Sculpture Through the Ages (Chinese Shadow Pay pier cd ce A Seneca a Students and Teaches : iv Morin chine 1992-1948) 8 Adult (college and general adult audience) Level GhinaA Hote inthe Bamboo Curtain 2 (China: Century of Revolution 5 8 (China: The Social Revolution Le China Today ° hina Under Commnier ° Chinas tndustrial Revolton ° ‘Chine Vagos in Change ° {Cainese Ceramics Through the Ages 10 (Chinese Painting Throush the Agee 5 Fr {Chinese Sculpture Throweh the Agee 10 (Chinese Shadow Play 10 (Ghinese Vilage 5 10 Pall of China n Fanlly of Free China 1 Forbidden City. The 5 area Golden Mountain on Mot Steet n Mao TeeTung 2 Misunderstanding China 12 Night at the Peking Opere 5 13 People's Arms 13 Perpetual Revolution... : 3 Quiet Bate, The 5 8 Warn China (1932-1048) | eee 6Achievement in Hong Kong 15 min, color sa (IPB, 1958) Description: After a brief tourist's glimpse at Hong Kong, the film turns to the problems faced by the British ad ministration in dealing with the lange numbers of Chinese refugees during the 1950's, Living conditions in the squatter sections of Hong Kong are graphically portrayed with their attendant poor facilities, health and fire haz ards, and overerowded conditions. "The British adminis tion's housing program to meet these problems is then detailed, $5.80 Evaluation: With an emphasis on achievement and a very British, colonial point of view, the narrator goes to great lengths to prove that the Brith administration’s housing program was both heroically undertaken and unambigu ously positive. The condescending tone throughout the film leaves no room, however, for eritieal appraisal of the social and economic realities of Hong Kong. Instead, the viewer is treated to an essay on the joys of colonial ad- rministration=all seen through the eyes of a British col- Ancient Orient: The Far Bast 14 min, bew isa $3.05 (Coronet, 1959) Description: High civilizations flowered in India, China land Japan long before Europe emerged from the Dark ‘Ages. ‘These early cultures first developed slong great river valleys: the Ganges and Indus in India, the Yangtse and Huang Ho (Yellow River) in China, ‘The Indus civi- lization at Mohenjo Daro which flourished in the third millenium B.C., left brick houses and numerous finely wrought household items. Aryan people swept down in- to India from Europe around 2500 B.C. bringing with them traditions whieh laid the foundation for the Hind religion. Brahmin priests recorded Aryan legends and be- liefS in the Vedas and Upanishads written in Sanskrit. ‘A second great Asian religion, Buddhism, began in the 6th century B.C. in India and spread to other parts of Asia two centuries later. Early civilization in China like- wise grew along river systems, Prior to the 12th century BC. ageiculture, irrigation, artistic craftsmanship and the arts had made sound beginnings. Families lived together ‘88 units, practiced ancestor worship, and educated the young in the culture of China. Sages like Lao Tzu (who ‘wrote the Tao Te Ching) or Confucious philosophized about the just role of government in ruling people's lives, Japan already postessing cultural traditions of its ‘own was greatly influenced by currents from abroad like Buddhism, Evaluation: The greatest strength of this film rests with its photography in the Indian section, By comparison, the Tamily setting in China looks staged, and Japan re ceives only cursory attention. The analysis of ancient Chinese civilization is extremely weak, and the commen- tary in the entire Japan section should best be ignored due to inaccuracies. On the whole, the nature of the life land philosophy of ancient civilizations in Asia, and their influence on later generations are not well explained by this presentation China—A Hole in the Bamboo Curtain 28 min, color sa $18.35 (WLW-TV; Carousel, 1973) Description: "This general film, spurred by Nixon’s visit to the People’s Republic of China, discusses work in agricultural communes and in industry as well as the standard of living. There is extensive coverage of the use fof acupuncture as an anesthetic in removing a thyroid tumor and as a cure for deafness at a school for the deaf at Shenyang. Also included is @ short section on the problems of minorities. [Art “stopped with the revolution," but the film shows ‘mass production of the handieraft industry making art ‘objects for export. ‘The film includes pictures of Tien An ‘Men Square, the Forbidden City, and the Great Wall. It shows children in fulltime state-run day care centers, ‘Ties to the family are said to be loosened and children fare taught allegiance to the state. Children, too, are the “first generation of the Mao Dynasty.” Evaluation: The ttle conjures up a Cold War image; the film retains that basic attitude, There are a number of questionable or misleading statements, such as all day ccare centers are full-time. People are said to be taken cere of, but have no opportunities for taking creative initiative. Equating the present Chinese government with the traditional dynastic system is a debatable interpretation, ‘The photography is good, and covers @ good range of topics. ‘The section on acupuncture is particularly well done. China: A Portrait of the Land 18 min bew isa (Magnum; BBEC, 1967) $4.70 Description: A brief geographical survey of six major regions of China, this film covers Tibet, Sinkiang, Inner ‘Mongolia, Manchuria, North China, South China. In discussing the special characteristics of each area the type of land, natural resources, special projects, liveli hood of the people, contribution to national economy, types of social programs implemented represent the key topics. Pictures of the Great Wall with accompanying narration use the Great Wall ssa metaphor for the history fof China. Maps show the region, at well asthe areas ofChing: A Portrait of the Land (Contd) greatest population concentration and the portions of the country developed for agricultural purposes, A brief explanation of collectives end communes follows. The film emphasizes the problem of the ratio of land under cultivation to the size of the population, Evaluation: This geographical survey is valuable for showing the great diversity of China. Some of the commentary is now outdated, and the introductory re marks may best be ignored. Still, it is « useful film for junior high through adult audiences, China and Its Agriculture China and Its Industry China and Its People T6min.each color is 87.05 each (Coronet, 1969) Deseription’ The three films deseribe life in China and discuss some of the major problems facing this country, such as the pressure of population for increased food production, or the efforts at modernizing the predomi nantly laborintensive agriculture and technologically backward industry. Th this vein, explanations of China's economie policies, the Five Year Plans, communal farm ing, and the coordination of the pace of developing agriculture with industry ave included. China is portrayed fs working toward a socialist industrial state, and the Chinese people ate shown as happy, hard-working and healthy. "Changes in society ate viewed as positive and as having a beneficial effect on the Chinese people Evaluation: ‘This very informative and intelligent pre sentation covers a range of important issues. A bit dry, It is good for providing a store of basic knowledge. "The three films focus on the same issues and often inelude some of the same film footage. China and Its Agriculture Offers the most inclusive coverage of the theee, China: Century of Revolution Part I: Search for National Unity, 1800-1927 29 min baw va $7.45 Part 11: Civil War and Invasion, 1927-1941 22 min, bew sa $5.80 Part III: Rise of Communist Power, 1941-1967 29 min, baw sa $7.45, (Wolper; out of print, 1967) Description: The introduetion to this historical doc mentary narrated by Theodore White depicts China as 3 frreat mystery, 2 countey going "from tyranny to tyra hy." Baek film covers most of the main historical events, the major figures, movements, and problems of the peri od. It illustrates the suffering of the people: the vio lence, the poverty, the hunger. Pearl Buck comments ‘on and interprets some events from her personal experi fence. White provides political analysis of the 1911 Revolution, Communistie doctrine and its appeal, Chiang K'aishok's hhesitance in resisting Japan, the American policy toward China, snd the question of who “lost China to the Reds” and why. He coneludes that China is “the biggest factor in the world’s disorder. Ecaluation: Excellent film footage. Coverage of events, figuces, problems, movements, ete. are quite extensive While these films have some very good features, they should be used with great care. The anti-communist bias is strong, and the subtle and straight-forward atti tudes should be discussed. If the audience has adequate background information, they could be an excellent basis for debating the issues central to modern Chinese history. China: Feeding One-Fourth of the Human 16 min, color pis st.05, (MeGH, 1967) Description: The keynote of this film is that feeding its ever growing population is China's main problem. ‘The chief geographical regions of China are described, with reports on their elimate, terrain, eraps and productivity Other areas of concern relating to agriculture are ex: plored: the transportation systems, preservation of pro: duce, and the reorganization of China from a land of smull farms into one of communes Evaluation: China has basically been self-sufficient in agriculture for some time now. Other related problem areas like transportation have also been resolved since 1949, Thus, the overtone of the film both in the back: round music and in the narrator's voice and commentary Implying that China hovers on the brink of famine and starvation, is simply no longer true, Either the sound track should not be used and students asked to develop their own commentary for the visual elements, or else a move current film should be chosen. China: The Awakening Giant 17 min, color is $8.10 (MeGH, 1967) Description: An overview of China's modernization pre sents historical information about ancient China's great accomplishments such as the invention of porcelain, gun: powder or paper. China's geography, climate, topography and demography aie also covered, "The survey discusses China's efforts in dealing with minority groups, modern: iaation of transportation, industry, agriculture, the use ff natural and human resources, together with an expla ‘ation of communes and production teams. Evaluation: An overidealized and simplified picture of progress in China, this is acceptable as an introductory film, though probably too elementary for high school age. Some of the photography conveys a visual impres: sion of Chinese peasants as swarms of ants; this might be used as © springboard to discussion of the use of visuals in conveying meaning in films. China: The Old and the New 16 min color is $7.05, (Sandlee-Wald; MeGH, 1967) Description: China is depicted as a “land of contrasts,” 1 society in transition to modernity. The film discusses ‘changes in the language by simplifying characters; efforts to educate the previously illiterate masses; the liberationChina: The Old and the New (Cont’d) ‘of women; the introduction of modern medical tech- niques; the juxtaposition of pedicab transportation next, to the modem bus; traditional Chinese at well as Western ‘music and art; ancient sports like ¢'ai chi chuan and modern Western sports; replacing the old gods (Buddha) with new (Mao); and rural housing contrasted to modern Urban dwellings. Evaluation: "The vast contrasts in China are well depicted ‘The wide range of topics gives the viewer a good picture of the different style of life and different ways of doing things in China. ‘The interpretation of these contrasts is somewhat suspect, however. The film seems to imply that all that is new is good and itis Western, and that the new should eventually surpass and supplant the old. This is misleading and biased toward a western interpretation ‘of China. ‘The notion of old gods, Buddhas, giving way to new gods, Mao, is also debatable on a number of ‘counts. Such comments confuse more than they instruct. China: The Social Revolution 17 min color ise $8.10 (Sandler Wald; MeGH, 1967) Description: The narrative opens with a summary of ‘China's political and social history in the first half of the 20th century. Coverage of the 1911 Revolution and Dr, ‘Sun Yat-sen, the Warlord Period, the Japanese invasion, the Civil War and Communist victory highlight the harsh effects of these political developments on the lives of the people. Within this context, the film explains the mobil zation of the masse, the land reform program, the Great Leap Forward, and communes. Education, the changes in the family system, the political system, and the train ing of youth constitute other themes. Evaluation: The opening summary of events is very good inthat it helps to put the social revolution in perspective. ‘The explanation of China's social and politieal system ‘can be easily comprehended. Generally, the film takes fa “wait and see” attitude toward the changes taking place in China whieh is lso laudable. China Today 22 min, color (NBCEE; Films, Ine, 1972) Description: This general documentary of China filmed after the Cultural Revolution by Swiss journalist Alex: ander Cozella discusses some important issues concerning agriculture, health care, education and industry. The see: tion on agriculture focuses on efforts to expand irrige tion systems, land reclamation and modernization of farming techniques. ‘The short section on health care ‘emphasizes the principle of combining modern with tra- ditional medicine, specifically acupuncture. A brief ex: planation of barefoot doctors covers their training and their role in the countryside. The effect of the Cultural Revolution on education is reflected in China's efforts to combine work and study, and in May 7th School where party bureaucrats and “Hed Mandarins" go to the $10.75 ‘countryside to learn about rural life and manual labor. ‘The role of industry in modernizing China is also dis- ‘cussed, The film coneludes that China is trying to use tnd involve the people in development of their country, land the Chinese people are portrayed as “stable, herd: working, satisfied and happy”"in this Evaluation: Intelligent and sympathetic discussions of the topics capture the revolutionary zeal put into prac: tice through the vigorous socialist reconstruction of China. China Under Communism 22 min, bw (BBEC; out of print, 1962) Deseription: An American correspondent analyses eco- nomic developments in China, particularly during the Great Leap Forward (1958~1958). After a geographical survey and brief history of China in the 20th century, the narrator focuses on what he calls China's great prob- lem: how to feed the population. The policies and programs of the Great Leap such as the backyard steel production, communication, the emphasis on rapid indus- trialization, the Four Pest Campaign are examined, Frequent mention of the role of propaganda and in- doetrination occurs, with some of the information pre sented based on the opinion of Chinese refugees. isa $5.80 Evaluation: ‘The photography covers a wide range of subjects though the narration is highly opinionated and ‘openly skeptical of Chinese achievements. The attitude ‘towards the Chinese people is condescending. Some of the information in the film is given without a political ‘context s0 that it becomes misleading, eg. the section ‘on anti-American propaganda. Further, the objectivity ‘of refugees’ views on China is questionable China’s Industrial Revolution 15 min. baw isa sas (Magnum; EBEC, 1967) Description: ‘The survey of China's industriaization ‘opens with brief historical background section: the peasants in the villages and the remoteness of the em: peror, the intrusion of the West. Then it focuses on the requirements for industrial growth—the development of transportation, inereased steel production, trained per sonnel~and China's efforts toward meeting these require: iments, Discussions of some aspects of life in the cities such as housing, the availability of consumer goods, health services are included. Following a shot of China's first stomie bomb, the film ends with the question, “how will China use her power?” Evaluation: This film offers minimal explanation of China's economic and political policies. Although it poses a question about China's use of atomic power, the tone suggests, rather, that China is in fact a threat. China’s Villages in Change 20 min, ‘blew isa $5.25 (Magnum; EBEC, 1967) Description: The changes in the three villages selected (Bei Jung Beilga in Inner Mongolia, Liu Ling in Shensi Province, and Ssu Ching in the Yangtse River delta)10 China's Villages in Change (Cont'd) show contrasting life styles, economic conditions, and policies applied to different areas. Introductory com ments on the oppressive landlord system prior to the Revolution put these changes in perspective. The section ‘on Inner Mongolia focuses on the problem of Mongolians in Bei Jung and the attempts to make the Mongolians change their way of life, theie traditions, and their religion. In Liu Ling, irigation works and modernization ff agriculture are central. The Seu Ching section empha: sizes the attitudes of the peasants, “re-education,” and the work-point system, Evaluation: This {lm essay presents many stereotypical portraits of the people, especially the Mongolians. Fore: boding tone ofthe narration shows the villagers as victims of an awful, malevolent regime. It fails to distinguish between problems of communism and problems inherent in modernization. ‘Chinese Ceramics Through the Ages 20 min, color sa $7.00 (Wango Weng; MeGH, 1952) Chinese Painting Through the Ages 20 min, color sa $7.70 (Wango Weng; MeGH, 1952) Chinese Sculpture Through the Ages 20 min. color <0 $1.70 (Pietura, 1952) Description: ‘Three historical surveys present the major trends, artists and stylistic features of Chinese ceramics, painting and sculpture. The narration treats the tech niques, such as brushwork; iconography, such as the Buddhist pantheon; the assimilation and absorption of foreign influence. The films are composed of the most famous, representative works of Chinese art. Evaluation: A good cross-section of Chinese att high lighting the important periods and issues in Chinese art history. A valuable visual experience, though the use of specialized terminology and proliferation of historical facts may make the narration a bit confusing to the ‘uninitiated, The films might be preceded by some back ground information on Chinese art history. Chinese ‘names in the film are consistently mispronounced. Chinese Jade Carving 10 min ‘color sa $4.40 (Pietura, 1950) Deseription: An expert demonstrates the art of jade carving. Explanations of the history of jade carving a8 ‘well as pictures of some Chinese jade masterpieces are also featured Evaluation: Showing jade through all stages from the raw beginnings to the final finished form is very effective Some further explanation of the significance of jade as fn early and important material for art might be helpful for supplementing the film, Chinese Shadow Play 11 min, color isa s4.40 (Wango Weng; MeGH, 1947) Description: A demonstration and explanation of this traditional folk art features music and accompanying narration for the wellknown “Legend of the White Snake Lady."” The film also provides background infor ‘mation and history of the shadow puppet play in China, showing how the puppets are worked and what goes on behind the sereen, Evaluation: Fascinating and entertaining. One misses the social context of Chinese shadow puppets seeing them apart from the festive occasions where they provide popular entertainment in real life. The selection of the legend, though popular, is not the best because it portrays. the woman in the archetypal image of a tempting demon- snake. Stil, the film has much to recommend it Chinese Village 11 min, color isa $4.40 (cwMs, 1957) Description: The prologue opens at the Colonial Gover nor’s Palace in Williamsburg, Virginia, Using the Chinese wallpaper there as the visual element, the film is a legend ahout the origin of a Chinese village, Glimpses of styles of clothing, differentiation between classes of people, ‘occupations, as well asan impression of a style of Chinese painting follow with Chinese music playing in the back: sround. Bealuation: A clover idea with good graphics, this is an interesting though not authentic Chinese story. Some may judge this contrived and of dubious value in the study of China because of its peripheral relationship to, anything authentically Chinese, Commune Workers min. color sa $6.25 (ABC; Xerox, 1974) Deseription: Hard struggle and self-reliance are the key slogans which underlie China’s agricultural development. ‘This film shows the new dignity that the peasants of China have as a vesult of the politieal, economic and cultural reorganization of their lives, Good footage of the model commune Tachai.. The end of the film deals briefly with “barefoot” doctors and with the educated youth who have been sent to the countryside as part of China's decentralization and “evening out” process of development. Evaluation: The footage in this film is consistently: interesting and technically excellent. The minor ease studies of two leaders of the Tachai commune and the emphasis on the "new dignity” of the peasants who are dedicated to hard struggle and self-reliance are important slements in understanding China today. Several times the ABC correspondents do some editorializing that should be noted: they speak of “rigid” dedication; of people being “warned” not to have more than two children; of the only “hope” for educated youth in the countryside to be industry, the army or college: and of the problems China has with its eduested youth in the ‘countryside as its most “nagging problem.”” With someCommune Workers (Contd) rood background reading (e.g, Through Chinese Eyes by Peter Seybolt, Praeger Publishers: N.Y.) students could be asked to rewrite the commentary, oF to write several different commentaries to better reflect the Chinese perspective on commune life Communist China 21 min, bew sa $5.25 (Beveridge; MeGH, 1965) Description: "This general survey of life in China deals with the question of whether or not China his broken with the past and what the future holds in store, Brief historical, geographic and demographic sketches are drawn with analyses of the food production problem, the relative importance of industry and agriculture, collectives, communes, militia units, and backyard iron works. Waier conteol—dans, irigation projects, hydraulic power~are examined in the context of China's age old problem with floods and droughts. The discussion touches on education at Peking University, and industry in Manchuria with brief mention of Chinese relations ‘with the Soviet Union Evaluation: Though made in 1965, this film has some food pictures of China. ‘The question of whether China hhas broken with the past and in what way’ is appropriate, although more hackground and alternative points of view might be useful, Conspicuous omissions include, for ‘example, the Great Leap Forward, The emphasis on food production is somewhat outdated, and generalizations about the Chinese people are a bit stereotyped, The film’s conclusions have proved overly pessimistic in view ‘of China's significant achievements on many fronts Fall of China 25 min, dew sa $5.50 (CBS; MeGH, 1961) Description: This film about the Civil War in. China presents different points of view on how and why the Communists won, At the outset, the “loss of Mainland China to the Communists" is called “the Free World's greatest defeat." Major General David Bare who was an fadvisor for the U.S. General Albert C. Wedemeyer who was Commander General of the China theater during World War Il, Pear! Buck, and Madame Chiang K’aishek each present their opinions on what the U.S. could have for should have done to prevent the ‘fall of China,” on why the Communists defeated the Nationalists, and on whether it was avoidable, Film documentary and polit cal analysis of the Civil War period illustrates the U.S., Nationalist and Communist policies and problems. ‘The conclusion finds that China represents a ‘major defeat for the Free World in the 20th century. Evaluation: In spite of its anticommunist attitude, the film does acknowledge Chiang’s weaknesses and problems, and in this respect is better than many other films on this ‘subject, Although the conclusion clearly indicates a dir like for the Communists, the opinions expressed by Barr, Wedemeyer, Buck, and’ Me. Chiang pretent a range of views. Good material for discussion " Family of Free China ‘min, color isa $9.10 (Gustin & Byers; out of print, 1962) Description: Life on Taiwan, narrated by a high school boy, focuses on geographical information: agricultural techniques, village life, terracing, exports, ete. ‘The nar- ator explains that his Family “led Communist persecu- tion.” His family is a traditional, extended Confucian family. Commentary on the educational system and some information on and pictures of the city of Taipel fre also included. Evaluation: The Nationalist point of view is presented in a polite, simple and informative manner in this fl detailing Chinese lite Forbidden City, The 43 min, color $15.00 (NBC, 1973) Description: ‘The viewer accompanies a Chinese family ‘on a tour of the Forbidden City in the former emperor's palace in Peking. Once a complex of yellow roofs and Yermillion walls that housed the imperial family’ and ‘court, the Forbidden City is now a public museum. ‘The history of the Forbidden City and related historical ‘events, stories and legends, particularly of the Ming and Ching rule, are retold through the paintings, graphics and art of the period. The evolution of styles and tastes fre discussed as they eelate to Chinese history. For ex: ample, the Empress Dowager zu Hi is seen through the evidence of her extravagant taste. The film also in cludes pictures and historieal information about the Ming tombs and the Great Wall, The family is intertwined throughout the film as a means of contrasting the old to the new and of putting the history into perspective. The grandfather remembered ‘Tz'u Hei, yet the family ean now enjoy her Summer Palace and the entertainment ‘once reserved for the exclusive pleasure of the imperial family. ‘The contemporary art which describes the op- pression of the peasants (like the family featured in this film) before the revolution is contrasted to the art of ‘the upper classes of traditional China Evaluetion: ‘The photography is outstanding; shots of paintings and art objects are skillfully coordinated with the soundtrack to effectively create an artistic and in formative format, An excellent film consistently inter esting with stories, legends, and history all told as much through the visual portion as through music and words. ‘The theme of the Tamily helps to focus in on the rele vance of the information presented, making the film ‘more personal, though perhaps a bit over idealized Golden Mountain on Mott Street 34 min, color isa (WCBS-TV; Carousel, 1967) Description; Various aspects of Chinese immigration and the settlement of the Chinese in New York's Chinatown are explored. ‘The families traced come from Heng Kong and Taiwan. Showing their initial disorientation upon arrival in this country in a totally different environment, they suffer definite problems of adjustment. ‘The conflict between the desire to retain traditional identity and the 815.3012 Golden Mountain on Mott Street (Conta) pressure to adopt American valuesin order to be accepted, fereates a major identity problem for the Chinese in ‘America, A scene of Chinese teenagers and children fressed in American patriotic costumes, parading through Chinatown on duly 4th shows one type of solution to the problem of feeling like a misfit, The older generation ‘tending night school to learn English while their chil- ‘dren learn Chinese after American public schoo! illus trates the phenomenon of being straddled between two cultures, Other manifestations of acculturation diffieul ties include some scenes of juvenile delinquents and teenage dances. Discriminatory immigration legislation contributed to the prevalence of the single old man in Ghinese American communities; their peculiar situation is deseribed in a brief section, Evaluation: A very sensitive treatment of the problems fof Chinese immigration and assimilation, the use of inter- views of a wide range of Chinese people combined with the poignant scenes of Chinatown, effectively convey the variety of sentiments on these issues, However, relevant historical, social and economic background information fon Chinese American society might be useful for better understanding of the underlying eauses of present China town conditions. A bit idealized, in fact, the conditions of life in New York's Chinatown are worse than those depicted in the film, Life in North China 18 min, color isa $8.10 (PMI; Films, Ine., 1971) Description: This description of rural and urban life in North China examines various aspects of self-help and self-sufficiency in setting up a fertilizer factory, a small iron pipe factory, an agricultural college, and improving grain species. It juxtaposes old and new farming tech- niques. Extensive coverage of the industrial center in northeast China, including shots of truck, steel and other kinds of heavy machinery factories where workers, ma agement and technicians meet together to make commis nity decisions concerning the factory. A women learns to operate heavy machinery, people relax at the beach, land students and teachers go out to the countryside to help with the harvest, Evaluation: Informative and interesting, the number of unusually excellent shots of people are laudable. The ‘emphasis on voluntarism and self-sufficiency shows an impressive understanding of comtemporary Chinese so- ciety. Mao Tse-Tung 26 min, bew sa (Wolper; MeGH, 1963) Description: A biography of Mao Tse-tung traces his life along with the historical and political events of the ti that shaped him and that he shaped. From his days son of & wealthy peasant in Hunan to the Chairman of the People's Republie of China, the film follows Mao's carly association with the Communist Party, the struggles with the Nationalists, the Long March, the Japanese in- $6.35 vasion, the united fronts with Chiang K’aishek, the Civil War, snd Mao's relationship with Stalin. Along the way, “Mao's political and economic polices are explained, ‘The film portrays Mao as a “deliberate and eanning man” with a "vuthless hunger for power Evaluation: Thissketch covers Mao's life and the history of China since Mao's birth. Its attitude is anti-Communist, land some of the information presented is misleading and ‘at times inaccurate given what is now known about the People’s Republic of China. A product of an era when both the Soviet Union and China were greatly feared in this country, this film essay adds only that China has usurped the Soviet Union's placeas the greatest threat to ‘world peace ‘Mao vs. Chiang: Battle for China 30 min, bew isa (Wolper; PMI, 1964) Description: ‘This historical documentary traces the lives andactivities of the two leading figures in the struggle for control of the political future of China: Mao Tse-tung, land Chiang K’ai-shek, Footage includes historical photo: graphs of Mao in the countryside as a young peasant Teader, on the Long March, in the caves of Yenan, in peasant guertlla warfare using crude weaponry. Tt shows Chiangas the young Generalissimo dictator, during World War II backed by massive amounts of American war materiel, negotiating with the Communists, and finally seeking refuge on and occupying the island of Formosa Striking contrasts between the two men, Chiang lives in tereat wealth owning an opulent western-tyle country fstate amid the extreme poverty prevailing in China at the time, and Mao's enduring subsistence-level existence in the caver of Yenan. The film stops at the end of the Givil War period. Busluation: Excellent footage captures most of the im portant issues and events, though the narration evinces a Cold War mentality. It depicts Mao as a “bird of prey loose on the land," “tyrant,” “hypocrite.” Definitely anti-Communist, i is uncrtieal of the Nationalist posi= tion. Although many interpretations and certain data are questionable if not inacetrate or biased, the film can be used for developing skills of eritial thinking. Or it could he shown without the sound track with either the teacher filling in background information or students writing their own sevipt after studying a unit on China. ‘An interesting piece of anti-Communist Cold War pro- paganda, it should be used with eare $7.45, Misunderstanding China 52 min, color ise 321.60 (ops, 1972) Description: "This CBS special news report made in pre paration for Nixon's visit to China examines stereotypes and misconceptions Americans have had of the Chinese Sino-American relationships over the past 100 years, beginning with the arrival of the first Americans in China, are assessed. Examples from Hollywood feature films, official government films, newsreels, old pulp magazines fand cartoons show how Americans have characterized Chinese as a quaint, ruthless, elegant, impoverished, malevolent or inscrutible faceless horde.Misunderstanding China (Cont'd) Ewoluation: An excellent film, both entertaining and highly educational, it could be used very effectively as an introduction in a course on China to bring out views of the Chinese already held by the students. Night at the Peking Opera 20 min, color isa $9.10 (Pilm Images; Radim, 1959) Description: Exceepts from three traditional stories are presented together with an explanation of the Chinese ‘opera. "The opera combines dance, acrobatics and musie ina highly stylized manner, while facial make-up and costumes depict the personality of the opera characters, Slapstick pantomime predominates in two of the sketches. Such is not the stylized traditional form, but more in the ‘popularized form found in Taiwan opera today. Evaluation: Very entertaining and interesting, this film gives a flavor of Chinese culture and folklore Oriental Brushwork 16 min color sa $6.35 (EBEC, 1956) Description: This film explains the arts of Japanese and Chinese calligraphy and brush painting. A Chinese American artist, Tyrus Wong, briefly demonstrates the relationship of the picture to the meaning of a few ‘Chinese characters. "The Japanese American artist, Chines Obata, makes a fish jumping out of water and waterfall come to life with just a few swift brushstrokes, A per son's relationship to natural surroundings and the oriental philosophical approach to art are discussed using slides ‘of works in the Far Eastern painting collection of the Freer Gallery in Washington, D.C. Evaluation: An excellent demonstration of various brush techniques, this film eaptures the vitality of oriental brushwork The narration is only fair, however. More background information on the traditions and signif cance of painting and calligraphy would be useful addi tions when the film is introduced or discussed. People’s Army 11 min, color sa (ABC; Xerox, 1974) Description: Verbal and visual analysis of the role of the People's Liberation Army in China today create the main theme of this film, This vignette emphasizes the defen- sive vole of the army in a land of limited resources; the concern for political study and criticism self-ertieism: the bond between the army and the people and, within the army, between officers and men; the role of the army ss a producer as well as a defender, a servant of the people and the Party $1.25 Evaluation: A good technical film properly emphasizes the defensive role of the army, as well as its role in the service of the people and the Party. The commentary provided by the ABC news crew has its limitations. Propaganda work is described as “loud, blatant and 1B Geliberately obtrusive.” ‘There is, we ie told, no such thing as “pure entertainment” in’ China. Relations be- tween the people and the army turn into “practically an orgy of mutual respect and understanding.” A peasant, upon receiving a copy of the works of Mao from the army goes into “spasms of ecstacy." And the viewer is teated to a few too many shots of shouted slogans in such a short span of time. With good background reading students might develop the army's historieal role and its present position in the People's Republic of China, and ‘suggest alternative narrations for the film. Perpetual Revolution 10 min. color sa $6.95 (ABC; Xerox, 1974) Description: ‘The film attempts to outline who are Mao, ‘Tee-tung’s successors. It briefly details the disgrace of Liu Shao-ch’s and the death of Lin Piao, and then goes fon to show how the May 7th cadre schools and the Red Guards are two organizational attempts to insure the correct political line in both present and future leaders of China. Evaluation: The film begins on a negative, scary note with insistent music and photos and papercuts of Mao ‘Tse-tung flashing at the viewer at a dizzying pace. Liu Shao-ch'i and Lin Piao fall away from view, and then the story proceeds to a very dated section on the present leadership pattern, ‘The commentary about the May 7th cadre schools and the Red Guards has skeptical tone ‘throughout. The ending shots of the induction of Little Red Guards pledging loyalty as true successors to the Maoist revolution are authentic enough, but the tone leaves the viewer with a less than easy’ feeling about China. If used, this film should be eritieally prepared for in the classroom and examined for both visual and verbal con- tent. A revolution is not a tea party. Mao would be the first to acknowledge this and say that struggle is vitally important in today’s China. But trying to understand the context of the struggle is also important. This is not adequately conveyed in this film. Background reading land discussion are necesstry to provide an understanding of the rationale for perpetual revolution, Quiet Battle, The 28 min, color sa $2.00 (USS; USNAC, 1964) Description: Produced by the Agency for International Development (AID), this film explores three ease studies of ALD programs: Greece, Pakistan and Taiwan. General descriptions of life in these countries are combined with some detail on the nature and effect of AID projects, Greece and Taiwan are success stories, in AID eyes, be: cause funds have been effectively used to build strong, free economies which are now largely self-supporting. Pakistan, on the other hand, is shown a still beset by problems of poverty and ignorance, Evaluation: This film is straightforward AID material. ‘The “quiet battle” is, as openly stated, against Commu: nist subversion and wretched poverty, in that order. The Criterion for success is whether or not a country has been fable to remain “free”, and this is largely interpreted in4 Quiet Battle, The (Cont'd) terms of free enterprise, The social and politieal con texts for the successful countries of Greece and Taiwan are ignored by the film, U.S. selfinterest, in terms of anti-Communism, is the key element underscored by the commentary. A film to be used very critically with clear perception of what has been distorted and what the premises of the total Cold War mentality were, ‘The date Of the film (1964) is important, and the use of this piece in an historieal survey of the Cold War era might be valuable Red China Diary With Morley Safer 54 min bew 0 $18.20 (CBS; BFA, 1967) Deseription: Morley Safer chronicles his 20-day guided tour during the Cultural Revolution in China. ‘The American newsman visited four cities: Peking, Sian, Shanghai and Canton, Many shots of people at work in factories and children studying at school are featured At Peking Agricultural University, Safer interviews Red Guard students. The documentary emphasizes the general environment created by the Cultural Revolution in China~the loudspeakers, the reciting of the quotations ‘of Mao Tse-Tung, the parades, the Red Guards, the w: posters, It compares the situation in China to the two Orwellian images of 1984 and Animal Farm. Safer relates a story of his own trouble while in China arising from Criticiams he raised. He also attempts a general expla nations of Mao’s thoughts and their effect in China Finally, Safer draws conclusions about China from his tour for the audience, Evaluation: This film was made in the middle of the Cultural Revolution, but this is not made clear to the audience. Many of the excesses and much of the turmoil Safer witnessed were part of the Cultural Revolution and ‘cannot be considered “normal” for Chins. Some inter esting discussions are filmed, however, and the use of interviews prove effective, For example, it is noted that rho one is starving in China and that the central authority does care about the welfare of the people. Nonetheless, this film is generally ertical of China. It does raise some important questions and presents clearly a certain point fof view which can be used as a jumping off point for discussion Sampan Family 15 min, baw isa 98.85 (IF, 1949) Description: A day in the life of « sampan family before 1949 stresses the importance of the sampan to China's transportation and relates this to China's geography. The sampan family shows their crowded living quarters, theit Jow standard of living, and the means by which they sup. port themselves, Life for the family is often a monoto- hous routine. Eealuation: This lm presents fairly sympathetic Picture of life on a sampan, There is particularly good explanation of China's reliance on water transportation, though it lacks any clear reference to the time period covered in the film. The commentary gives stereotypical portraits of the Chinese, some of which are very insens: five to economic and social issues confronting them. For example, the narrator says, “The Asians have a genius for adapting to uncomfortable living quarters,” though they rarely have had any other alternative Students and Teachers 9 min, color se $6.25 (ABE; Xerox, 1974) Description: A good portrayal of the changes in the educational outlook and edvcational structure in the People's Republic of China focuses on the end of the Cultural Revolution, Interviews with various students and teachers highlight the political criteria that are used in judging whether a person should be sent on to college by his fellow workers; how the teachers and students attempt to really learn fom each other as well as from. those who remember the “bitter past” and how those who work with their minds are called on to work part: time with their hands and be reminded of theie roots, of where China’s wealth comes from, and of whom they sre Evaluation: Some excellent interviews with students and teachers form the core of this film and make it both in teresting and informative, Some of the commentary could be better, but the film raises questions about education that should prompt good discussion. It would be helpful to have the students do a survey of educational poliey and practice in China since 1949, to underscore hhow important from the Chinese perspective the changes made during the Cultural Revolution really were and what theie long-term significance might be. ‘Third China, The 16 min, color isa (CBS; Carousel, 1969) Description: Harry Reasoner, American news reporter and commentator, diseusses the social and weonomie life Of the overseas Chinese in Southeast Asia. He focuses on e complex questions of identity facing expatriate Chinese: do they owe their allegiance to the country in which they reside or to their traditional Chinese culture’? Are they Nationalist or Communist? How do they resolve their conflicts? The film deals with Chinese stereotypes such as frugality, industriousness, and elannishness re lating these images to the situation in Southeast A Reasoner analyses the problems and tensions of overseas Chinese as an unassimilated but economically successful group in Indonesia, Malaysia, Thailand, Hong Kong and Singipore. He refers to the overseas Chinese as "Asia's Jews" and compares Singapore to Israel. Evaluation: A rather diffuse coverage of a difficult isue, ‘though many aspeets of the problems of the overseas Chinese are discussed with sensitivity. There are some drawbacks, however, Interviews with overseas Chinese $7.05add to the effectiveness of the treatment, but « better ross section of the population should have been repre: sented. ‘The discussion of stereotypes seems to reaffirm the stereotypes rather than question or dispute them. ‘The comparison between overseas Chinese and the Jews isa delicate issue, The film does not increase the viewer's understanding of the problems involved, on the contrary, itecould confuse and compound racial and religious preju dices. The traditional rituals shown are incomprehensible as presented. For example, the burning of a paper TV in the funeral rite does occur, but its accompanying rituals and superstitions are complex and eclectic and were by hho means explained in the commentary. Finally, it would probably be helpful to provide historical background in formation when screening the film, so that the viewers ean understand how and why the overseas Chinese are where they are, doing what they are doing. Village In China Today 1 mi color is (Sandler-Wald; MeGH, 1967) Description: This profile covering many aspeets of rural life takes place at Mei Jung in southeast China. It eon- tains geographic information, a brief section on the Chinese opera, education, health care, new agricultural methods, and homes for the aged. ‘The commentary explains the transition from small farms to collective farmsto communes, and why the Communist government made these changes. Production teams and the organi zation of the village are other topics surveyed. s8.10 Evaluation: An adequate introductory film to China, the discussion is rather elementary, but it includes a number of important ideas and explains them simply and clearly War In China (1932—1945) 26 min baw sa 50 (CBS; MeGH, 1959) Description: This is the story of Japan's invasion of ‘China and the war which ensued. Beginning with a brief ‘explanation of the factors in Japan that led to the invasion fof Ching, the film moves on to explore the domestic Situation in China, ‘The brutality and horrors of the war fare are graphically presented—a lot of footage of bomb- ngs, public executions, the flight of panicked masses ‘oncentrating on Chiang K’aishek and the activities of the Kuomintang, only brief mention is made of the Communist guerrillas, The analysis conclides with the statement that China is a “formidable threat to the Free World.” Evaluation: ‘This film includes a good section on Japan's internal situation prior to the invasion of China, a topic often ignored. ‘The misery and suffering of the Chinese people during the fight with Japan are well documented, though the details of China's domestic scene are a bit confusing. The distinction between Nationalist. and ‘Communist poliey is also not made clear, For example, 5 the decision to divert the waters of the Yellow River is credited simply to “the Chinese.” Further, the narration conveys a misleading sense of unity among the Chinese, neglecting to inclide mention of United States involve: ment in the warfare Chinese papercut168 Shogetsu (The Moon Over The Pines) calligraphy by Gibbon Sengai (1750-1837), author and Zen monk. Shogetsu, is probably the name of a friend's hermitage nestled in pine trees overlook- ing Hakata Bay with a view of the moon rising over the sea.JAPAN FILMS SUBJECT INDEX ‘Tokyo: Word's Safest City os Kimono : 13 History Abduction of the Emperor of Japan. Children’s Stories Xorochan, The Lite Bee ’ a Someetr the m4 = rs A ‘Document of the Atomic P 6 isis pot z i Maglgttoar th sre i 3 Japanese Americans 3 Literature the Emperor a apan . i ie pa 31 Music BeiSE RE peonsng he Mao pan bes Political Science Geography20 Population Urban Society sake > Pottery Factory, circa 1750.JAPAN FILMS BY LEVEL Primary Level Children Who Draw Japan: Customs and Texdtions Korochan, The Little Beat MiehioSchootboy of Japan Stoneoutto, Te, ‘Tokyo Induvtl Worker Junior High Level Ancient Orient: The Far East Collision with Japen, 19311841 Emperor Hirohito Guilty By Reason of Race alla: An Introduction to Poetry Japan: Harvesting the Land and the Sex ‘pan Harvest the Sea Japan: Paste Neishbor Uapanese Vilage {apan’s Food from Land and Sea Pacific (Discovery and Development) ‘SUK Makers of Japan ‘Stonecuttor, The ‘Tae of Pwo Cites World of Yahar=The Life ofthe Ainu 100 Years Ago Senior High Level ‘Answer in the Orient Daughter of Changing Jan. Guilty By Reason of Race Hizoshima-NagasakiAugust 1935, Slapan Harvest the Se Sapan: Mace in Aste “apn: Paciie Neighbor Jnpan's Pood fom Land ana Soa Oriental Brvshwork Pacific (Discovery and Development) World of Yukar—The Life ofthe Ainu 100 Years Ago 21 Adult (college and general adult audience) Level Abduction of the Emperor of Japan [Approach to the Prediction of Barthauskes Ceramic Are: Potters of Japan Children Who Drase iroshimaA Document ofthe Atomic Bombing uzoshimaNagasaki—Aupust, 1946 Silke Makers of Sxpan Sources of Culture™ Wari China (19521945) 5 World of Yukar~the Lite ofthe Aina 100 Years Aso 2 2322Abduction of the Emperor of Japan 10 min, color sa $4.95 (Daniel Stampler: Radim, 1964) Description: Using segments from the 12th century scrolls of the Heiji Monogatari, this film tells of the kid: napping of the Japanese emperor. Dissidents under the command of powerssecking Fujiwara Nobuyori and Minamoto Yoshitomo triumphantly spirit away Emperor Go-Shiralawa and Princess Josei Monin (Go-Shirakawa’s ‘younger sister) in the royal bullock eart, ‘They leave be: hind the Sanjé Palace consumed in flames. Loyal nobles rush to the burning palace, but not before the rebels mercilessly slay palace concubines, guards and the family ‘of Nobuyor's rival, Shinzei (Fujiwara Michinori). Though the kidnapping succeeds, Nobuyori and Yoshitomo meet their deaths soon afterwards Evaluation: This film reconstructs an actual event, the Helji Rising, using a narzative scroll as both historical document and visual element. ‘Thus, it has appeal to both disciplines, history and art, The clarity of this fast paced story may be impaired, though, for those unaccus- tomed to Japanese art. ‘The film also suffers from con- fusion in the names of the main figures (correetly stated above) and historieal inaccuracies. In fact Shinzel as friend to Kiyomori (chieftan of the Taira elan) and ad visor to Emperor Go-Shirakawa, was disliked by both Nobuyori and Yoshitomo. Both men led the uprising to ‘wrest control of the emperor away from Taira Kiyomori and Shinzel, Appropriate for high school and up, the film should be supported with introductory material on the Heike ‘Monogatari, which tells the story of the rise of the Taira ‘lan. (The Heije Monogatari has yet to be translated into English.) Slides of the scroll (located in the Boston Museum of Fine Arts) would also allow a closer and more leisurely look at costumes, painting style, plus give « better sense of the serolls as art Answer in the Orient 80 min. bew sa $7.45 (NET, 1967) Description: Japan has faced scarcity of land, natural resources, food and rapid urban growth in the wake of industrialization. With less than 5% of the land area of the United States, Japan holds roughly half our popula: tion. Yet indusivial progress and population control since the late 1950's have kept Japan shead in coping with population increase and urban migration, ‘The film starts with a demographic survey of Japanese society at the beginning of the Tokugawa era in 1603, then explains the increase in population size which ult. ‘mately became used as an excuse for territorial expansion in the 20th century. Momentarily the largest empire in the early 1940's Japan was reduced to ruin and im: poverishment by 1945. The post-war baby boom eoupled witha low death rate heightened the population problem. Social, political and economic reforms encouraged by the Oceupation forces, together with the desire of couples to enjoy in the benefits of Japan's industrialized society and the necessity of adequate but costly education for the young, have reinforced families in choosing to limit 23 family size and to put off child bearing. Birth control means were supplied through efforts of both industry land government to accomplish lower bieth rates. Unen- cumbered by moral and religious restrietions, rather, holding a tradition of folk contraception and birth con trol, Japan guarantees highly qualified medical assistance for all citizens wishing to control family size. Though abortion isstll the more common means of birth control, doctors now counsel couples to choose contraception instead. To illustrate the process of family planning, a ‘young couple weighs the decision to give up the wife's salary and their free lifestyle over the responsibility, ‘change in family circumstances, and costs of beginning ‘family, Evaluation: Highly recommended, this film provides good background to an important issue in Japan. ‘The post-war decline in fertility, in fact, only continued a trend in limiting family size which began in 1920, ‘The post-war baby boom was only a temporary phe: nomenon, and Occupation era political reforms had only ‘marginal effeet in lowering the birth rates in Japan. is very useful for high schoo! through adult interested in Japanese modernization, curzent problems or world population control Approach to the Prediction of Earthquakes 27 min. color isa $1215 (wanami; American Ed. Films, 1969) Description: Matsushiro city endured more than 600,000 ‘earthquakes from August, 1965 to the date of this movie, Scientists from the Earthquake Research Institute of the University of Tokyo have studied its “swarming earth- ‘quakes” in an effort to learn more about how to predict earthquakes in the future. Observations from stations scattered around the town indiested that there were both compressive and tensile forces at work on the earth's ‘rust around Matsushiro. Rocks breaking under pressure ‘caused the earthquakes. As stall quakes preceded vio- lent destruction, scientists wondered if miero-earthquakes ‘might be used io forcast massive ones, The repetitive for “swarming” nature of the earthauakes occured because the rocks breaking were heterogeneous. Faults in the earth's crust ean be caused by the erust floating on the earth's mantle being affected by convection, ie. heat ising from the hot core of the earth. By measuring ‘microscopic movements in the faults around Matsushiro, scientists tried to predict earthquakes. Finally, abnormal tilt in a tilt meter up to three hours ahead of time proved useful in anticipating quake activity Evaluation: An excellent science film on a topic erucial to the safety and well-being of Japanese people, The discoveries made by these Japanese scientists bear a great deal of relevance to geologically unstable regions in other parts of the world as well, Major techniques of measuring movement in the earth's crust and the forces causing them are explained through laboratory demonstrations, ‘The film also depicts various aspects of life in this small Japanese city Of interest to junior high and up studying Japanese geography and general science.24 Arts of Japan, A Bridge of Beauty 29 min, baw sa (USOE; USNAC, 1954) Description: An American artist visits Japan to find out it its arts could become a bridge for understanding and ‘communication. During his journey he reacts to the “Japanese art and aestheties he encounters, S45 Wandering through a bamboo forest the artist comes ‘cross 4 deserted shrine atop a hill devoid of everything bat an altar, He muses on the meaning of the Buddhist ‘concept “form is emptiness and emptiness is form.” The shrine at Ise brings him to the realization of purity and simplicity of the native Japanese sentiment. The har mony of sound and movement of a Shinto dance in a flen among pines is transformed into a Noh stage. "The artist sees many Noh performanees before he finally sees the artistry of human emotion contained in the mask and kesturesof the actors. ‘The theme or pattern visible in the controlled movements of the Noh players is carried over to the architecture and design of the Katsura palace. He is impressed by the natural materials, the harmony be tween humans and nature in architecture, and the sugges tion of the universal in the garden. A tea ceremony, here performed by a fourteenth generation tea master, inspires tone’s reflection through the quiet meditative setting, careful and refined etiquette, and economy of movement By contrast, the elaborate staging, costuming and dance fof Kabuki give vent to an extemal display of human fexperience, Finally, the artist turns to individual artists to simple the continuity of erestive foree in Japanese tradition, Munakata the woodblock earver, Hamada the potter, Kawai the ink painter all work in centuries old mediums. They bring to their art an intensity, control and sensitivity of Japanese feeling, as well as their own individual inspiration. Evaluation: ‘The artist isa sensitive narrator and the film ‘captures perfectly the themes he explores. Asa conven: tion, the artist as narrator may be troublesome to some viewers. His search, though, parallels that of many wes frm artists and waiters who have gone to Japan in search fof inspiration, ‘The shots of actual performances and of Famous Japanese artists at work are skillfully employed to illustrate the themes the artist is trying to convey "There is only one minor mistake which occurs when the artist is shown wondering about a Buddhist sculpture ‘while standing in a Shinto shrine in the opening segment of the film, On the whole, the narrator's explanation of Japanese artistic prineipies succeeds in making Japanese art more comprehensible to the novice, ‘The ideas he uses to ex press them like “pattern” may be unfamiliar to those not Used to the terminology of the art world. While those with # good background in Japanese art and culture may find this film too simplistic, it is recommended for senior high through adult, and especially useful for audiences who may have travelled to Japan and thus already have some familiarity with Japanese culture Boy of Japan: Ito and His Kite 11 min color P s4.95 (Coronet, 1964) Description: 18 is an elementary school boy who lives in small farming village with his parents, an aunt and younger sister named Yuki, He plays with his favorite toy, a kite, pretending it ean see the rice fields, village, school, mountain and sea from ils lofty perch. T1o’s aunt plans a trip to the big city on the day before the Children's Festival, His father says It3 can go along, and It is very excited because he has never gone on such a trip. A whole new world is opened up to him—Nlooded Tice fields, ea bushes, mulberry’ bushes, an arched bridge, fishing boats, and a train station, Riding on an electric train for the first time, Tt passes huge factories and a harbor filled with ocean going ships. The city is bigger and busier than It's village and he notices many new things. But before he returns home, 11S buys something ina city store—a big ball of kite steing ‘The next day is the Children's Festival (Boy"s Day, May 5). 13 displays his collection of samurai dolls and armor. Outside, 115% father has hoisted banners, hollow tubes of cloth painted like fish which are called koinobori, Ito and his sister Yuki go out to play. Ito takes his kite and sets it aloft, tying on his new ball of string, Now his kitecan see the city, too. But as a plane heading overseas passes by, the kite pulls free, At first 1 is very sad, but then he smiles, thinking that someday he too may be able to see the world like his kite. Evaluation: An excellent film for elementary schoo! age ‘Acewrate in its depiction of family life in rural Japan and Japanese boys’ love of kite flying, it shows the world of a child from a child’s point of view, Good photography: many everyday sounds of Japan are also included on the Soundtrack. One minor point is that It is not a common boy's name, but rather a surname. This film might be tused to spur interest and awareness for field trips. Highly recommended, Ceramic Art: Potters of Japan 31 min, color isa $13.20 (Peeler; MeGH, 1968) Description: This film explores traditions in Japanese pottery through looking ata variety of kilns, potters and Specialized wares, Fujiwara,» Bizen potter who makes vessels for the tea ceremony, cha no yu, demonstrates the forming of tea bowls, chawan, plus narrow-necked and cylindrical flower vases.” Bizen wares are unglazed, deriving theie natural beauty from the ash which falls'on them during firing. Kaneshige, another famous Bizen potter, decorates his wares with brinesoaked rice straw wrapped around the pots which bums off in firing, leaving linear patterns ‘The Tamba potter, Iehino, throws large planters on a kkick wheel using the traditional coiland:throw method. He finishes his pots using a leather swab inside and a rib outside, decorating them with trailed white slip. Tamba wares are fired in Korean style 150 foot tubular kilns, Jogama.Ceramic Art: Potters of Japan (Cont'd) At the Shigaraki kilns, Rakusai creates large planters using the coiland:throw method. ‘Tea wares are also popular Shigaraki products. Shigaraki clay contains chunks of feldspar, and like Bizen, the potters depend on natural effects of the firing process to enhance their wares. ‘Mishima techniques are demonstrated by Shimaoka of ‘Mashiko using a braided cord to make impressions in the clay body which he later covers with white slip. Throw ing cups off a large hump of clay and removing single large pieces from the wheel head are other traditional methods of Mashiko. Mori of Otani in Shikoku makes 300 gallon containers used in cloth dying or food pickling. Formed by the coiland-throw method, the wares are fired in an §-cham- ber kiln whose firing takes five and a half days. Kondo of the Kyoto City College of Fine Arts demonstrates traditional blue-and-white cobalt underglaze decoration fon white porcelain, while a more modern style potter, Kat Takuo of Tajimi, employs traditional Japanese slazes on his original pottery forms, Among the oldest pottery in Japan are the ritual food vessels created for Shinto religious ceremonies. Unglazed, these simple wares are formed on the potter's elbow and aecorated with a chrysanthemum stamp. The Raku tra- dition also goes back some 400 years and combines hand- built forms with simple firing methods. The round chimneyless raku kiln is fired by the 14th generation Raku master as many as 16 times in one day. Evaluation: Spotlighting the most important traditional forming and glazing methods, this film also shows some of Japan's most famous living potters at work. Lacking ‘chronological or thematic order, it presents a potpourri of information on Japanese ceramics. Suitable for junior high and up, this film would appeal to those interested in Japanese art or potting techniques. ‘An excellent overview. Children Who Draw 44 mio, b&w, some color pa (Iwanami; COM, 1956) Description: A child’s art can express the thoughts and feelings he or she is unable to say or act out. ‘Told by an ‘elementary school teacher in Japan, the film follows his discoveries about his students from the first day of school in April through the end of the school year. In the first ‘month the drawings of a silent boy whose shaved head brought on teasing by his fellow classmates and those of 1 shy litte giel who eried after losing a race speak for them. In June, the loneliness of another little boy, Machino, and the giel, Tagawa, is prominent in their pictures.” In July the teacher introduces clay and finger Dalating as his study of his students’ behavior contintes, ‘The teacher's closeness to the students is illustrated by the sovimming trip they go on during August school vaca tion. The second term in October brings experiences with water eolors to the classroom. ‘Throughout the year $11.00 25 the teacher hopes that the children can give their ideas and feelings honest, tangible expression through their artistic efforts Evaluation: An insider's glimpse into school life in Japan ‘opens windows to the lives and families of children in nother culture, ‘The teacher's genuine concern for his students istrue enough, as are the problems and successes ff his young charges in adjusting to school. All too Trequently in Japan, however, art classes are aimed at copying chosen subject, rather than the free selfexpres- sion shown in this film, ‘This would be useful both to teachers-in-training for cross-cultural perspective, and to elementary school children studying about Japan. Collision With Japan, 1931-1941 20 min, b&w is (ABC; Films, In., 1966) Description: "The collision course was set between Japan ‘and the United States when President Roosevelt's efforts to keep America out of war in the Pacific failed. Follow: ing a brief résumé of Japan's overseas exploits since Perry’s arrival, newsreel film clips present the 1931 “Japanese invasion of Manchuria and the establishment of Manchukuo as the beginning of the divergence in US: Japan relations. After Japan's alliance with Germany and Italy, FDR sensed imminent hostilities. The U.S. stood by’ as Japan moved into China. When the US. entered the European war, Roosevelt stil strove to avert ‘war with Japan by continuing to supply Japan with oil and serap metal. Japan marched into Indochina. Finally Sapanese assets in the U.S, were frozen. In October the U.S. broke a secret Japanese code and learned that the Japanese were losing interest in bargaining for peace FDR_ warned the Japanese against a course of aggression and even appealed to Emperor Hirohito on Dee. 6, 1941 to avert the impending war. On Dec. 7, the Japanese attacked Pearl Harbor. $5.25 Bualuation: A simple overview of the American policy makers’ view of the road to war in the Pacific. The news: reel segments are interesting, but on the whole, the film presents a limited perspective on the causes and events Which led to the outbreak of World War IL in the Pacific. ‘A comparison of its view with the Japanese rationales Tor war would be a useful addition Suitable for junior and senior high studying U.S. history, Japanese history or world affairs. Conspiracy in Kyoto 21 min, color s0 81.70 (uy, 1953) Description: ‘The false accusation of a rival courtier by the court noble, the Ban Dainagon, is pieced together from more than twenty separate serolls painted in the 12th century After a short introduction to narrative serolls, the first episode shows the unsuspecting Minamoto no Makoto, Minister of the Left, going about his duties in his palace. ‘Thissection provides glimpses of the life and work of the people surrounding court nobles of that day. The fire of26 Conspiracy in Kyoto (Cont'd) the Gtenmon gate at the Emperor's palace interrupts Makoto's serene life. ‘The gestures and faces of nobles, ‘commoners and guards racing to control the fire capture the horror of the spreading inferno, ‘Tomo no Yoshio, the Ban Dainagon, accuses Makoto of being responsible for the fice. Makoto, whose anguished family bemoans his fate, appeals to the Buddhist deity, Fud3. The Emperor is convinced of Makoto’s innocence ‘when Fud3 descends from the heavens in answer to Makoto's prayers. On the advice of Buddhist priests, Makoto hosts a feast for the poor, the sick and the hun= sry to give thanks to Fudd. ‘The truth of the fire incident is finally unravelled. A servant of Makoto remarks that he saw the Ban Dainagon’s retainers near the Otenmon gate on the eve of the fire At last the guilty Ban Dainagon is exiled. Makoto is re: instated to his office and banqueted by his friends. Evaluation: Despite its age, ths film remains one of the best depictions of premodern life, costume and architec: ture for all levels of Japanese society. The sevolls them selves are fine representations of 12th century secular Japanese painting style, though not necessarily true to the style of time of the Otenmon incident in 866. The scrolls, however, are distorted in the film by the “eut and paste" job done for the sake of the narrative, But the selection of detail and musie (which is not Japanese) very effeetively complement the action of the story. The narration is informative, though one may be misled by the introduction into believing that the story was an original part of the scrolls themselves, instead of an Adaptation for the purpose of the film. All that remains of the scrolls, called “Ban Dainagon Ekotobs," are three rolls, These have been designated as National Treasures by the Japanese government. High school, college and adult groups interested in pre modern Japanese history of art will find this film of reat interest, Additional background materials on the feroll format and painting styles are desirable for more advanced audiences, Daughter of Changing Japan 30 min, bew . $6.35, (Almanac, 1959) Description: A young woman struggles to win the free ddom to choose her own marriage partner rather than have hher marriage areanged by her parents. When the lm opens itis Saturday, and Machiko only has to be at the office half a day. She is afraid to tell her parents about her date thet evening with her boyfriend, Toshio, Her patents have already arranged for her to meet a prospec- tive husband then, much to Machiko’s dismay. At the office, Machiko buys flowers for her boss, helps hhim off with’ his cost and fetches his cigarettes. After work Machiko goes to a coffee shop with two friends, Kimi and Yaeko. ‘They represent two poles of Japanese womanhood, Kimi is independent, has a boyfriend, designs her own clothes and even smokes. Yaeko was 100 afraid to have a boyfriend and gladly let her parents arrange her marriage, Stopping off in a park to think through her predicament, Machiko runs into Toshio's married sister and children fon a picnic. Machiko hurriedly excuses herself, resolving to be strong and hold out in her love for Toshio. [At home the parents scold Machiko for returning late. Her mother helps her dress in kimono as Machiko pre pates for the arranged meeting, However, as her daughter is leaving in a taxi, the mother finds a picture of Toshio in Machiko's room and finally realizes the eause of her daughter's reluctance, Busluation: Japanese young women increasingly find themselves in this kind of predicament as the ways of fone generation clash with those of another. Unfortu nately, Machiko’s struggle comes off in a rather melo- dramatic manner in this film. Her inexperience was typical of the 1950's when the film was made; dating is more common today. While the subordinate position of Machiko, who is in her early 20°s both in her family and fon the job may seem childish by American standards, it is not that uncommon in Japan. Many women today go fon to some form of higher education, and most work for ® period of time before marriage. Women’s wages and employment opportunities, however, have not begun to catch up with those for men, ‘This film may be used with high schoo! groups studying about modern Japan, women's issues or sociology. A. comparative perspective is needed, however, to show what changes in dating and marriage patterns have oc curred since this film was made. Discussion of the tone fand implied values of the narration are important for Understanding this "period piece." Discovering the Music of Japan 22 min, color ise $9.35, (BFA, 1967) Description: Japanese musicians demonstrate the music land the method of playing three traditional Japanese instruments: the koto, shakuhachi and shamisen ‘The koto was introduced into Japan in the 8th century and until the 16th century was an instrument reserved for the palace elites, A blind musician, Yatsuhashi, shared it with the common people. A 13tringed zither with movenble bridges, the koto is plucked with the Fingers of the right hand using three ivory picks, while the left hand presses the strings to produce subtle varia- tions in tone. ‘Two pieces are performed, *Rokudan” by Yatsuhashi, and "Nagare™ by Yuise ‘The shakuhachi is an end blown bamboo flute. During the 16th century wandering priests relied on their chakuhachi in emergencies as 2 club for personal defense 'A flutist performs a prayer for a wandering priest. Music for the shakuhachi is written from top to bottom and read right to left. “Theshamisen isa three-stringed long necked lute. Plucked with an ivory plectrum, the shamisen lends itself to melodie and rythmie patterns characterized by lively Striking of strings and the body of the instrument. The native Okinawan instrument has ® snakeskin-coveredDiscovering the Music of Japan (Cont'd) body, but the Japanese adapted it to animal skin instead, ‘Among the many styles of shamisen playing are as an ‘accompanyment to tales of battles and romance, in the Kabuki theater, in the Bunraku puppet theater and in folk music. Evaluation: This is @ good, simple introduction to three important traditional instruments of Japan for junior high and up. ‘The narration is clear and informative. ‘The setting of colored paper lanterns overlooking rather drab Japanese-style pond garden, however, de- tracts from the otherwise pleasing aspects of the ‘lm, Emperor and A General, The (excerpt) 29 min, baw sa 87.45 (TFC, i971) Description: ‘This excerpt from a Japanese feature film re-enacts the last days of World War Il when Japanese leaders made their agonizing decision to surrender after the Potsdam Declaration, Covering less than » month's time, the initial decision to “temporize™ until Russia decided whether or not to join the Allied Powers Pacific forces failed. The Russians attacked Japanese forces and the Allies dropped the A-bomb on Hiroshima. ‘The Japanese Cabinet resumed consideration of the Potsdam Declaration and another atomic weapon was unleashed ‘on Nagasaki, Still the Cabinet could not reach agreement as the War Minister continued to hold out for a last ditch stand on the Japanese home islands. Deadlocked, they ‘tumed to the Emperor for the Final decision. His initial acceptance of all the conditions exeept that about his ‘own status was ejected by the Allies, When he could no longer bear to see his people suffer further hardship, the Emperor pressed his Cabinet to accept unconditional surrender. Young army officers plotted an abortive coup ‘against the wishes of the War Minister, who had at last bowed to the will of the Emperor. Their efforts thwarted the Emperor's. surrender rescript was played to the Japanese people over national radio, Bualuetion: This is an excellent dramatization of Japan's “longest day" performed by leading Japanese actors. ‘Some background in the history of the period would be necessary to follow the characters and the positions they take. (The film was made to accompany Japan's Longest Dey, Armon Books, Ine.) The original Japanese sound: track remains and English subtitles added, so the film has the extra value of enabling students to hear spoken Japanese. High school and older groups studying Japa: hnese language would find this film of high interest Emperor Hirohito 26 min, bew isa 36.90 (Wolper; MeGH, 1964) Description: Emperor Hirohito ascended the throne as a ‘divine descendant of the sun goddess. As a 21-year old Prince, he toured England becoming the first Japanese imperial descendant to leave Japanese soil. Impressed by the freedom and openness of English society, Hirohito a hoped to liberalize his own society. The 1930's saw these hopes frustrated by powerful military advisors who pur- sued a course of foreign expansion. Separated from his subjects by laws which forbade them to look upon or touch him, Hirohito was a prisoner of protocol and tradition. ‘The war-bent military leaders plunged Japan into war, with the Emperor poweeless to stop them. Japan's soldiers believed their conquests in China, the Philippines, Indochina, and the Pacifie were a holy cru: sade for their divine Emperor. Early successes in war turned to defeat and atomic devastation by 1945. Under the Occupation reforms Hirohito renounced his divinity and walked among his people as a mortal. His son, the Crown Prince, married a woman of common birth— another first for the Japanese imperial line Evaluation: The role of the Emperor is one of the most controversial issues facing post-war Japan, The Emperor's involvement in Japan's imperialism of the 1980's and World War It is subject to debate by scholars. This film presents the simplistic view that he is a symbol of reverence by the older generation and of guidance and respect by the young. Many young people today are totally ambivalent about the Emperor. Viewpoints that hheshould have been executed after the war (or have com mitted suicide) or that he be re-instated as a god still persist, The Imperial Household Agency, whose respon- sibility it family and its holdings, closely orcheste ments of the Emperor ro that he is sll kept rather Femoved from the common people, a prisoner of rites and ceremonies ‘The newsreel footage presented is excellentof high Interest to junior high and up. The narration is good, though authentic background sounds would have given the film @ more Japanese flavor. Five Faces of Tokyo 55 min, bew isa $13.50 (usps) Description: "This film profiles five citizens of Tokyo centering on their family life, occupation, thoughts on society, religious and politieal orientation, and leisure activities. Iwayuki Nakano, a worker in a small door hinge factory, ‘ame to Tokyo three years earlier. Coming to Tokyo straight from the farm, he first lived for $.25 a day in the Sanya slum where he worked at odd jobs or sold blood to survive. Now he earns $3.00 a day and after work he bathes at a public bathhouse, eats at © small restaurant, and then wanders around town, With a steady job and clothes on his back, Nakano wants to meet a young woman and settle down to family life. Some times he goes to Soka Gakkai meetings hoping to make some new friends and break his loneliness "The elderly tatami maker, Tokuta Takada, has eight chil dren and will someday pass on his business to one of his sons. Riding his bieyele to work, he goes to repair fatami28 Five Faces of Tokyo (Cont'd) at the homes of customers he has had for years. Takada attends # ceremony at a Shinto shrine for the war dead ‘where the Emperor has come to make a speech. In leisure hours he fishes at his favorite pond or watches baseball or sumo, AL night he enjoys food and drink at an inexpen: sive restaurant where women dance and sing traditional songs for customers seated together in a lary room, ‘Though he has seen many changes, Takeda likes modern ‘Tokyo life ‘Akihito Hada married one year before and was adopted into his wife’s family. “He is a “salary man”, and he and his wife are Sdka Gakkai followers. Commuting by sub way and train to work, he is the advertising manager for & prosperous sportswear firm. Installment buying has en abled many Japanese to take part in the new consumer society, Hada has not gotten over the humiliation of poverty in his youth caused by his country's defeat in war. He turned to Soka Gakkai for strength after the war and now takes part in mass rallies. Sometimes he land his wife dine out at a German restaurant or go see ‘Tokyo productions of American musicals. Sumiko Tanaka has been chosen to run for a seat in the Upper House of the Diet on the Socialist ticket. Her hus band is also a politician and a Marxist. Their marriage is equalitarian and they dine out together in the evening. ‘They live with their daughter in a deluxe apartment Concerned about social services, Tanaka visits a day nur. sery for working parents, as wel as a counseling session for troubled youths, Ata mass rally for housewives from ross the nation, she encourages them to claim their po Titieal rights, Tanaka opposes the use of U.S. bases Japan to supply the war in Vietnam and the development fof nuclear weapons, while she favors uniting the two Koreas and the admission of China to the U.N. She feels that Japanese society stil has social problems which need to be solved, and thus it needs healthy ways to vent pentup frustrations and emotions. Hard-driving Tatsuzo Mizukami is president of the giant trading company, Mitsui and Co., Ltd. "Taking his chau: fered car in to work early, he breakfasts with Japan's leading business and government leaders as they discuss the problems of Tokyo. He takes pride in Japan's indus trial development which he feels has been skillfully guided by the ruling Liberal Democratic Party. His wife by arranged marriage takes charge of arranging marriages for her husband's company workers. She still enjoys viewing traditional Noh drama, while her husband plays olf at an exclusive golf club on weekends and frequents hostess bars after work to meet other political and busi ness leaders, Evaluation: This film provides a rare glimpse into the lives of Japanese at various social levels. Despite its age, i is one of the best sources of information available on contemporary urban society. Since this film was made, however, the political and social influence of Soka Gakkai has waned somewhat Highly recommended for junior high and up studying urban society, family or Japanese history. Four Families, Part I, India and France 30 min, baw sa $7.45, Four Families, Part II, Japan and Canada 30 min, bew $7.45, (Natl, Film Bd, Cenada; MeGH, 1960) Description: Dr. Margaret Mead, world-renowned cul tural anthropologist, narrates this comparison of the child rearing practices in India, France, Japan, and Canada Four families in these countries were selected, all of them farmers living in small villages, earning an average income, and having a one-year old child in the family. Dr. Mead theorizes that the way a nation treats its children is ‘reflection of its national character. Babies can become ‘any kind of person depending upon how they are raised in their early years \Vishu Savali and his family live ina stone and clay house in the village of Persangi near Bombay, India. The baby in he family is bathed outside with water heated in a pot fon an open fire. His mother supports the baby standing up, afterwards rubbing it with coconut oil. She marks places on the baby's body after the bath for protection fand beauty. Fed whenever it wants, the baby has only a Single rattle for a toy. The baby wears no diapers. At the evening meal, the father and the older childven eat to gether while the mother eats and feeds the baby milk. ‘Afterwards she lullabies the baby to sleep in an elaborate crib. The mother takes complete care of the baby, who is passive and not expected to respond to her actions The Houdain family of La Belle Etoile, France owns a seventy-five acre farm and grows vegetables and grain. ‘While the older children make preparations for the morn: ing meal, the mother plays with the baby during feeding, encouraging it to eat and take delight in the mouth. During the meal the baby sits in a high chair on the same level as the rest of the family. ‘The mother sponge bathes the baby daily. Every four days it gots a tub bath during which the mother controls hand movements of the baby. At night it sleeps in an expensive baby carriage. AU an ‘early age children are taught the delights of food, drink and talk, as well as diseipline, ‘The Motoki family of Mitsugi, Japan farms five acres of rice, tea and vegetable crops. ‘Their wood and plaster hhouse serves for both workplace and living space. The grandmother carries the baby on her back during the day. ‘AL meals the whole family sits down together, though the mother serves the males first and breastfeeds the baby after dinner. The baby is bathed daily by the grand: mother, and they soak together in a large wooden tub. By ten months the baby is completely toilet trained. At 8 pum. all sleep, the baby with the mother, sister with grandmother, brother with father. Gradually’ parents draw the line between indulgence and discipline of the young. ‘The Bonner family lives in Saskatchewan, Canada. Each child has its own toys and place at the dinner table. Baby joins the family at meals, encouraged by the mother to feed itself. The mother bathes the baby holding it with her right arm, At bedtime it is given no lullaby and left alone in its room to sleep. Both mother and father are child-centered, encouraging their offspring to be inde pendent and self-reliant.Four Families, Land II (Cont'd) Evaluation: The film portrays child rearing practices, hhome life and interpersonal relations among the various families with intimacy and detail. Though the film is somewhat old, such child rearing practices remain con. stant through time, though the home furnishings and clothing may change, “The picture of the Japanese fam- ‘ly is very instructive, though it must be remembered that the rural family is not typical of Japan today. The life pattern of an urban, apartment dwelling nuclear fam- ily, with “salary man" husband spending evenings away from home would offer some major differences. Yet the basic relationship of motherto child and the child's social: Taation to grownup ways would be similar. Useful for high school and up studying Japanese sociol- ‘ogy, anthropology, modern society, and the same for India, Guilty By Reason of Race 53 min. color isa (NBCEE; Films, Ine. 1972) $19.15 Description: This documentary tells the story of the re location of Japanese Americans living in the western United States during World War II, of the injustices ‘worked upon their lives and of the sears ofthis experience which still remain with them, ‘On March 24, 1942 as America was losing the war with Japan, leaders of this nation like Earl Wareen, Hugo Black, Milton Bisenhower and Tom C. Clark pressured President Roosevelt into signing Executive Order 9066 ordering the relocation of Japanese Americans. But antisJapanese sentiment, especially in California, had existed long before the war. Limitations on the owner: ship of land end on immigration were imposed after 1924 ‘The American Legion, labor unions, Chamber of Com: merce, agricultural groups and the Fraternal Sons of the Golden West led the clamor for action against the “Jape” ‘on western soil. Eventually 100,000 people young and fold alike were uprooted and sent to ten barren and iso: lated camps: Tule Lake and Manzanar, California; Poston and Hilo River, Arizona; Gerome and Lower, Arkansas; Midoka, Idaho; Topaz, Utah; Heart Mountain, Wyoming, and Grenada, Colorado, The art work and recollections ff detainees eapture the hardships of life in these camps. Despite this treatment, 25,000 Japanese Americans en. listed to fight for their country serving in the 442nd Combat Team. This unit earned more than 4,000 purple hearts and was the most decorated of similar sized units. ‘The California Historical Society put together a touring photo exhibit entitled “Executive Order 9066." Japanese Americans testify to the loneliness, despair, fear, dis- ruption, financial loss and bitterness of the camp experi- ence. From the military's point of view the camps, like concentration camps, were a matter of prisoners, barbed wire and guard towers. For the Japanese Americans within (many of whom were American citizens) it was a crushing blow to the demoeratie ideals and justice that they had lived for and their sons were dying for. Not a 29 single act of espionage or sabotage by Japanese Americans hhas ever been proven, Nor has an American of German or Htalian extraction ever spent a day in confinement for reason of his or her national origin ‘Since 1969 the children of Japanese Americans who were interned have organized yearly reunions at Manzanar ‘Their concern is that the pain and loss of dignity is still lingering among their parents; this fact must be remem- bred in the national consciousness and in our history. ‘This younger generation, too, has had to live with the lingering stereotypes, oppression and prejudices of the war years ‘Tho Japanese Americans have paid a great price, both psychologically and in the tangible loss of property and ‘constitutional rights. Senator Daniel Inouye and Edison Uno, outspoken Japanese Americans, remind us that the Executive Order still remains on the books, and that in the future other minorities or dissidents in America could be deprived of their constitutional rights, ‘The film con- cludes, could it happen again? "There i no reason why it ‘couldn't! Evaluation: An excellent film, one of the best on the background and facts of the relocation of Japanese Amer cans. Skillful interweaving of personal recollections of Japanese Americans with photos and artwork done in the ‘camps poignantly recall and explain their feelings about the injustices done to them. Excerpts of conversations and statements of those responsible for the relocation bear testimony to this dark era of American heritage. Highly recommended for junior high and up studying US history, Japanese history, minorities in America or ‘contemporary problems. Haiku: An Introduction to Poetry 1 min, ‘color isa (il. Instit. Technology; Coronet, 1970) Description: Japanese poets weote the first haiku more than 800 years ago. A terse poem, the haiku is composed of only 17 syllables arranged in a 5-7-5 pattern. This film, deals with the types of imagery and subject matter of hhaiku-nature and the human sensation of it. The sea, kimono clad girl walking along, willow trees, wind chimes, 4 kite in flight, clouds~the film carefully correlates hu: ‘man response to these visual forms and sound qualities. Al things on earth are alive; we are one with them, $4.95 Evaluation: Specialists in Japanese literature would caution that one of the most important facets of hoileu form derives from the Japanese language in which itis written. The true haiku can only be written in Japanese— a language far richer as a literary tool than English. A. single kanji character (Chinese style letter) can have several meanings and recall well known images from ‘Japanese literary tradition. ‘There can also be sound relationships between syllables. The handwriting of the haiku in kanji and kana (phonetic syllabary letters) adds yet another sesthetic dimension to the appreciation of the poem, Both the setting and the Aolku used in this film are ‘obviously American. In some cases the haiku 17-syllable form has even been altered. ‘This would be totally un- acceptable to Japanese. ‘The subject matter of the haiku30 Haiku + An Introduction to Poetry (Cont'd) of this film shows American origin—the wind chimes are rot the sort in sound or shape about which the Japanese have written for centuries. A hoiku about a kite (a Japanese boy's toy) is unlikely, again by Japanese stan: dards, Haikw-style poetry can and should be written by nom apanese. But the imagery and sentiment expressed must convey an understanding of native scenes and feelings ‘The haiku form like the sonnet form or metered verse is lost if the writer takes liberties with the 17-syllable structure ‘The film is recommended to junior high and up studying literature or composition, Hiroshima—A Document of the Atomic Bombing 28 min color sa $11.59 (UNLIAP, 1970) Description: ‘The before andatter of the atomic bombing ‘of Hiroshima. The city, people going about their daily lives, buildings, transportation—all disappeared from the face of the earih in searing heat of 7000? C, A flash of light, pita, a shock wave faster than sound, don, and all was "gone: 13,000,000 square meters fattened and 200,000 people dead. A primary school in Hiroshima which survived the blast became a makeshift hospital Sixty doctors were killed, 80% of the nurses had perished. ‘The medical staff which survived tried but mostly failed to save the vietims, Doctors today continue to lose in the fight against the inevitable sickness and death of the ‘atomie disease, Leukemia, eaneer and birth defects ace strikingly high among people who survived the bomb blast. Today that same primary school i filled with children just as it was when time stopped in Hiroshima fon August 6, 1945 at 8:15 a.m, Modern day atomic bhombs are 2500 times more destructive than those which obliterated Hiroshima and Nagasaki Evaluation: This film brings the holocaust of atomic warfare into sharp focus. At a time when nucleat weap: cons are proliferating around the world, this bit of history holds great relevance to all our lives. Not a pretty, happy film to watch. ‘The contrast of life in Hiroshima before and after is poignant, "The horrors of nuclear destruetion fare not spared—festering wounds, devastation, orphans, people on camera who will die soon from atomic sickness Suitable for mature high school and up studying World War II, modern Japanese history or the problems of the nuclear age. Hiroshima—Nagasaki—August, 1945 16 min, new sa suas (CMC, 1970) Description: A document of the incomprehensible de structivenes of the atomie bombs dropped on Hiroshima find Nagasaki made from aetual films of the cities after the bombings. The rubble, shadow patterns of obliterated plants, ladders, and people, bomb vietims with swollen limbs and peeling skin are a powerful, damning testament to the effects of nuclear weapons. "This film gives the cold, scientific facts and figures of the magnitude of the bombs’ destruetion and the suffering of the victimes Evaluation: ‘This is a gripping portrayal of the grim realities of nuclear war with no holds barred, Viewers should be forewarned that the film has gruesome footage fof actual bomb vietims, Can be used with high school and up for world history, Japanese history, international relations, or groups in terested in the dangers of nuclear warfare and the uses of atomie energy. Japan 27 min color i $9.36 (Bryan: FF, 1958) Description’ ‘This panoramic view of Japan in the late 1950's touches on how the mountains and the sea shape Japanese society, notably farm life, fishing, industry and international trade. Japan's greatest resource is its people—skilled, literate and industrious. The film shows how Japan responds to demands for food, clothin ‘energy supply and goods, For the future it must consider how to continue to maintain human rights, security, inde: pendence and sustenance for the Japanese people. Busluation: ‘The tone of this film implies an attempt to show how well Japan hat progressed as a peaceful, in ustrialized nation following the U.S, Oceupation. This plus the photography and film's reddish hue date it Factual for its time, the figures and patterns of life shown need revision today. While the points made remain trae for the most part, the issues and emphases for Japan have changed. Suitable for junior high Japan: An Historical Overview id min. ‘color sa 35.98 (Coronet, 1964) Description: This quick overview of Japanese history ‘moves hurriedly from 600 B.C. to post-war Japan, con: centrating on the theme of tradition versus modernization ‘The role of the ruling power whether emperor, shogun ‘oF military serves asthe focus of the narration. Evaluation: While the main periods are touched upon, the film suffers badly from oversimplitication and in accuracies, The choice of examples for Shinto shrines, Chinese influence, and the Nara and Heian periods con” fuses original monuments of the period with later recon: structions. Western bias is very evident in claiming that perseeution of Christians led to a period of unrest in Japan. While the newstee! footage of the various wars is interesting, it gives the impression that Japan was at war from the time of the Sino-Japanese war until World War H, No comment is made of constitutional government ‘or party polities before World War Il. The omission of| the devastation of the bombing of Hiroshima and Nagasaki is unforgivable. Finally, the conclusion of the film is rather rite, and the summary that tradition is disappesring is totally unsubstantiated,Japan: An Historieol Overview (Cont'd) ‘This film could be used with high schoo! or college survey courses on Japan as a springboard for discussion im a summary session, Japan: Customs and Traditions 27 min, color Pi $1215 (Disney, 1964) Description: This film fits from one scene of Japanese life to another: harvesting rice, a lantern festival, a mod- ‘ein day version of ancient horseraces, Kyoto's Gion festival, a battle of shrines, traditional crafts manufac- turing, school life and marriage. All are selected as evidence of enduring Japanese manners and customs, Dbut in fact convey only a picture of « quaint country of many festivals, Bualuation: Of no redeeming value; every topic ix mis: represented and misinterpreted. Bears no reality to life in Japan today. The filming is good, but it is undermined by misleading content. Would not recommend unless intended as an exercise in values clarification, Japan: Harvesting the Land and the Sea 26 min, color is (EBEC, 1963) Description: Japan is an island nation with litle arable land or natural resources. The Japanese farmers and fishermen, however, must feed a population half the size of the United States s1115 In the small farm village or buraku of Nilke farmers grow zice, fruit and mulberry for silk worms. All the people in Niike come from two family lines. Through mechani zation, widespread use of fertilizer, government research and painstaking hand labor the Japanese farmers get the highest vields possible from their crops, The main facets of daily life, housing, village government and schools of the Burak are explained, ‘The sea is @ great natural resource for Japan, From the village of Takameiii,ry3shi (fishermen, literally “teachers of fish”) ply the coastal waters. Centering on the family fof Saburo and Michiko Nakagawa, the marketing of the catch, the work, food and housing of a typical fishing family are illustrated Evaluation: Although some of the figures need updating, the film is useful for showing life in rural Japan, Migra tion of farm and fishing labor to urban areas for jobs, and the pollution of cosstal waters also deserve discus. sion. Economically, there is no necessity for food self- sufficiency in Japan, a basic assumption of this film, Rural agriculture and fishing industries now play a much less important role in Japan than when this film was produced. Use of some Japanese terms, personal and place names provide additional interest.” ‘The film is Adequate for early secondary geography clase, 31 Japan Harvests the Sea 28 min, color is s12.45 (Disney, 1961) Description: Japan depends very heavily on the sea for its livelihood. The rugged countryside allows Tess than 1/5 of its land to be used for agricultural purposes From very early times, the long coastline of this island nation has encouraged the Japanese to look to the sea for sustenance. Scenes of daily life in a fishing village show preparation for a day of fishing, diving for seaweed, digging clams, as well as routine bathing, eating and education of the young, Evaluation: The sequences of fishing and village life are good, though at times the humorous narrative tone de: ‘tracts from their educational value, ‘The percentage of arable land is roughly 1/6, not 1/5 as stated in the film, Useful for junior high and senior high studying geography or village lite, Japan: Miracle in Asia 420 min color isa $13.20 (BBEC, 1963) Description: Daily life in modernized Japan composes the main theme of this film. The Akitomi Nishimura amily, an average middleclass family, serves as the model for discussion from daybreak, breakfast, work, school, through the day's end and leisure, The father works for an import-export firm; the mother is a housewife; the ‘eldest son isa college student. Of the two younger child ren, the son is in junior high and the daughter is an elementary student, Around Mr, Nishimura’s task of expediting imported chemicals to 2 textile manufacturer, this film discusses Japan's dependence on foreign goods, and the necessity to export, Japanese industrial production ranges from, heavy industry and highly technical electronies to small seale cottage industry. A free enterprise economy, high levels of education and hard work produced the “miracle” ‘of a model developed nation in Asia inless than 100 years valuation: ‘This film surveys industrialized Japan of the early 1960's. Shots of production facilities are of value today, though all of the statistics on industry and daily life are outdated. ‘The film is also slightly reddish with age. Japan’s role as a trader nation in the world economy, however, is very well portrayed, In hindsight this film presents a rosy picture. Japan's high rate of industrial growth has had serious negative Influences on society besides the feeling of confusion among young people—pollution, overerowding, inflation and underdeveloped social services, to name afew. The ‘minimal defense spending received far too little coverage and analysis, ‘The Nishimura family was a bit contrived. Hiroshi, the college son, would stick to his college environment and not learn the trading business from his father by visite uring the day. The roles of the mother and the other ‘children should be filled out in the classroom discussion ‘of the film. Comparison with the Japanese family of the 1970's in terms of family size, income, expectations of