By Grant K. Goodman
With the awesome exception of the japanese application for teaching Southeast Asian scholars in Japan, the occupying forces did not make an effect at the region's tradition. discovering themselves masters of a tremendous new empire, the japanese have been hampered through their lack of information or recognize for Southeast Asian languages and cultures, and hence fell again on a coverage of 'Japanization' of the topic populations. This booklet makes a huge contribution to figuring out either those guidelines and the failure of the various eastern intellectuals drafted to create them.
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Japanese Cultural Policies in Southeast Asia during World War 2
With the outstanding exception of the japanese software for instructing Southeast Asian scholars in Japan, the occupying forces didn't make an influence at the region's tradition. discovering themselves masters of an important new empire, the japanese have been hampered by way of their lack of awareness or admire for Southeast Asian languages and cultures, and as a result fell again on a coverage of 'Japanization' of the topic populations.
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Under the guidance of students from the prewar period like Umaryadi, a student at Hitotsubashi University who later became the Secretary General of ASEAN in the 1970s, and Suwanto, a school teacher who studied in Yamaguchi, the remaining Nantoku made efforts in reestablishing the Sarekat Indonesia, and they began their PR campaign to give support to Indonesian independence. " Students from Indonesia and Vietnam, which also declared its independence on September 2, formed the core of the rally that was participated in by students from Korea, China, the Philippines and Turkey.
It was decided that management of the movie industry in occupied areas should be entrusted to two Japanese corporations, namely Nichi'ei (Japan Motion Picture Company) and Eihai (Japan Motion Picture Distributing Company). Nichi' ei was a film production company, while Eihai was the monopoly film distribution company set up in early 1942 under the sponsorship of the government (see above). Both had head offices in Tokyo. Branches were set up in Java, and thus the movie industry of Java was incorporated into a larger network encompassing the whole area of the Greater East Asia Co-Prosperity Sphere with Tokyo as its centerY Upon establishment of the branches of Nichi'ei and Eihai, the Jawa Eiga Kosha was dissolved.
33 However, the Japanese occupation brought a complete change to the movie market in Java. Showing films from "enemy" countries was strictly prohibited except for a short period until April 1, 1943. 34 To replace them a great number of Japanese movies began to be imported. It was officially decided to import 52 items annually. Besides these, it was decided to import 32 Chinese films and 6 from the Axis countries. 35 It is doubtful, however, that those Chinese and Axis movies were ever actually brought in.