Hollywood's ‘New’ Orientalism: The case of Tokyo File 212 (1951)
2009; Routledge; Volume: 29; Issue: 4 Linguagem: Inglês
10.1080/01439680903363248
ISSN1465-3451
Autores Tópico(s)Cinema and Media Studies
ResumoClick to increase image sizeClick to decrease image size Acknowledgements Earlier versions of this paper were presented at the Society for Cinema and Media Studies Annual Conference in London (2005) and the American Studies Brown Bag at the College of William and Mary (2005). Many thanks to Jim Allegro, Chandos Brown, Rachel DiNitto, Jill Dione, Arthur Knight, Giuliana Muscio, Kim Phillips, Bob Shandley, Tim Van Compernolle, and others in attendance who offered useful comments and criticisms. Notes Notes 1. Los Angeles Times, October 15, 1950, D1. 2. Brian Taves, The B film: Hollywood's other half, in: Tino Balio, Grand Design: Hollywood as a modern business enterprise, 1930–1939 (Berkeley, CA, 1993), 313. 3. Denise Mann, Hollywood Independents: the postwar talent takeover (Minneapolis, MN, 2008), 2. 4. See, for example, Greg Elmer and Mike Gasher (eds), Contracting Out Hollywood: runaway productions and foreign location shooting (Lanham, MA, 2005); Colin Hoskins, Stuart McFadyen, and Adam Finn, Global Television and Film: an introduction to the economics of the business (Oxford, NY, 1997); Christin Klein, The Hollywooding-Out of Hollywood, YaleGlobal, April 30, 2004, http://yaleglobal.yale.edu/display.article?id=3794 (accessed December 3, 2008); Toby Miller, Nitin Govil, John McMurria, Richard Maxwell, and Ting Wang, Global Hollywood 2 (London, UK, 2005), esp. 111–212. Also see Aida A. Hozic, Hollywood: space, power, and fantasy in the American economy (Ithaca, NY, 2001), 83–131. 5. On the Far East, see Klein, The Asia factor in global Hollywood: breaking down the notion of a distinctly American cinema, YaleGlobal, March 25, 2003, http://yaleglobal.yale.edu/display.article?id=1242 (accessed December 3, 2008). 6. On ‘late capitalism,’ see Frederic Jameson, Postmodernism, Or, the Cultural Logic of Late Capitalism (Durham, NC, 1991). 7. See, for example, Edward Said, Orientalism (New York, 1978); Gina Marchetti, Romance and the ‘Yellow Peril’: race, sex, and discursive strategies in Hollywood fiction (Berkeley, CA, 1993). For a useful historiographical analysis, see Andrew J. Rotter, Saidism without Said: Orientalism and U.S. diplomatic history, American Historical Review 105(4) (October 2000), 1205–1217. 8. John Dower, War Without Mercy: race and power in the Pacific War (New York, NY, 1986); Klein, Cold War Orientalism: Asia in the middlebrow imagination, 1945–1961 (Berkeley, CA, 2004); Naoko Shibusawa, America's Geisha Ally: reimagining the Japanese enemy (Cambridge, MA, 2006); Robert G. Lee, Orientals: Asian Americans in popular culture (Philadelphia, PA, 1999). 9. Los Angeles Times, October 15, 1950, D1. 10. Amerika eiga sendensha, American Picture News (Urubu: The Vulture People). 11. Amerika eiga sendensha, American Picture News (Urubu: The Vulture People). 12. Los Angeles Times, October 15, 1950, D1. 13. George Breakston to Charles W. Hinkle, December 14, 1949, Tokyo File 212 Folder, Box 696, Office of Public Information Records, Record Group 330, National Archives, College Park, Maryland (hereafter OPI Records, NA). 14. Japanese sources financed as much as 50% of the production cost. New York Times, October 1, 1950, 113. 15. Zenkoku eigakan shinbun, September 16, 1950, 2; Jiji tsūshinsha, Eiga nenkan 1951 nendo ban (Tokyo, Japan, 1950), 35. 16. New York Times, November 12, 1950, 100; Los Angeles Times, October 15, 1950, D1. 17. Los Angeles Times, February 18, 1951, C10. 18. Hiroshi Kitamura, Screening Enlightenment: Hollywood and the cultural reconstruction of defeated Japan (Ithaca, NY, forthcoming 2010); Tanikawa Takeshi, Amerika eiga to senryō seisaku (Kyoto, Japan, 2002). 19. Harry Slott with Nakai, Sugihara, and Yamada, September 29, 1950, CIE (A)-02383, Records of the Supreme Commander for the Allied Powers, National Diet Library, Tokyo, Japan (hereafter SCAP Records, NDL). 20. J. Benton Cheney, ‘Tokyo File 212,’ First Draft (dated September 1946), Tokyo File 212 Folder, Box 696, OPI Records, NA. Even though the copyright date is listed as September 1946, other sources suggest that the script was actually completed in late 1949. 21. ‘American Motion Pictures with Anti-Communist Themes and other Industry Services via Film in the Anti-Communist Fight,’ undated memo, ‘American Films Abroad’ folder, Special Collections, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Los Angeles (hereafter MHL). 22. Zenkoku eigakan shinbun, July 22, 1950, 4; Clair E. Towne to Chief, Field Service Section, Office of Chief of Information, August 21, 1950, Tokyo File 212 Folder, Box 696, OPI Records, NA. 23. Los Angeles Times, October 15, 1950, D4. 24. Ibid. 25. Hodenfield, Van Schmus, Durland, Murphy, Tokyo File 212 Review, November 28, 1950, Production Code Administration Files, Special Collections, MHL. 26. On the notion of the ‘contact zone,’ see Mary Louise Pratt, Imperial Eyes: travel writing and transculturalism (2nd edn) (New York, 2008), 7. 27. Junkan Amerika eiga, 21 (November 1, 1948), 4. 28. The Film Daily, March 9, 1951, 1, 9. 29. Chicago Daily Tribune, October 5, 1950, A8. 30. Marchetti, Romance and the ‘Yellow Peril’ (Berkeley, CA, 1993), 78–108; Murakami Yumiko, Ierō feisu: Hariuddo eiga ni miru ajiajin no shōzō (Tokyo, Japan, 1993), 12–69. 31. Thomas Doherty, Projections of War: Hollywood, American culture and World War II (revised and updated edn) (Berkeley, CA, 1999), 122–148; Clayton Koppes and Gregory Black, Hollywood Goes to War: how politics, profits and propaganda shaped World War II movies (Berkeley, CA, 1987), 248–316. 32. On ‘conversion narratives,’ see Lary May, The Big Tomorrow: Hollywood and the politics of the American way (Chicago, IL, 2000), 139–174, 277–278. 33. Christian Science Monitor, May 17, 1951, 6. 34. Ruth Vasey, The World According to Hollywood, 1918–1939 (Madison, WI, 1997), 210. 35. New York Times, January 30, 1949, X4. 36. Washington Post, May 5, 1951, B5. 37. Los Angeles Times, July 5, 1951, B9. 38. Washington Post, May 2, 1951, 18. 39. Los Angeles Times, July 5, 1951, B9. 40. Los Angeles Times, April 24, 1951, B7. 41. Washington Post, May 2, 1951, 18. 42. Chicago Daily Tribune, April 21, 1951, A2; Christian Science Monitor, May 15, 1951, 13. 43. Asahi shinbun, January 24, 1951, 4. 44. Asahi shinbun, January 26, 1951, 4. 45. Tōei, Tokyo File 212 eiwa taiyaku shinario, n.d., 1. 46. Eiga no tomo, October 1950, 88–92. 47. Kindai eiga, October 1950, 24–29. 48. Christopher Gerteis, The erotic and the vulgar: visual culture and organized Labor's critique of U.S. hegemony in occupied Japan, Critical Asian Studies, 39(1) (March 2007), 13. 49. Kindai eiga, November 1950, 66-67. 50. Los Angeles Times, October 15, 1950, D1. 51. Christian Science Monitor, May 17, 1951, 6. 52. Washington Post, May 3, 1951, B8. 53. Los Angeles Times, July 6, 1951, B7. 54. New York Times, June 1, 1951, 20. 55. Civil Censorship Detachment, Special Report: Japanese Motion Picture Code of Ethics, August 20, 1949, 15, Box 8578, Folder 17-21, Records of the Supreme Commander for the Allied Powers, Record Group 331, National Archives, College Park, Maryland (hereafter SCAP Records, NA). 56. Kinema Junpō 10 (March 10, 1951), in Kinema junpōsha (ed.), Besuto obu Kinema junpō, jō (Tokyo, Japan, 1994), 40. 57. Kyoko Hirano, Mr. Smith Goes to Tokyo: Japanese cinema under the American occupation, 1945–1952 (Washington, DC, 1992), 49. 58. ‘Recommendation by Code Administration,’ undated, Tokyo File 212 Folder, Box 5291, SCAP Records, NA. 59. John W. Dower, Embracing Defeat: Japan in the wake of World War II (New York, NY, 1999), 254–273. 60. Breakston–McGowan Productions and Tōnichi kogyō, Kansei daihon: Tokyo fairu 212, jukkan, 3, 4, Tokyo File 212 Folder, Box 5291, SCAP Records, NA. 61. Breakston–McGowan Productions and Tōnichi kogyō, Kansei daihon: Tokyo fairu 212, jukkan, 32, 39, Tokyo File 212 Folder, Box 5291, SCAP Records, NA. 62. Breakston–McGowan Productions and Tōnichi kogyō, Kansei daihon: Tokyo fairu 212, jukkan, 19, 37, Tokyo File 212 Folder, Box 5291, SCAP Records, NA. 63. Breakston–McGowan Productions and Tōnichi kōgyō, Kansei daihon: Tokyo File 212, 40. 64. Breakston–McGowan Productions and Tōnichi kogyō, Kansei daihon: Tokyo fairu 212, jukkan, Tokyo File 212 Folder, Box 5291, SCAP records, NA. 65. Kinema Junpō, March 1, 1951, 71. 66. Eiga no tomo, June 1952, 145. 67. Kodama Kazuo, Yabunirami eigashi: sengo no kiroku, 1945–1972 (Tokyo, Japan, 1974), 102. 68. Kinema Junpō, February 15, 1951, 46. 69. Klein, The Asia factor in global Hollywood.
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