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In early 1936, a German film team arrived in Japan to participate in a film coproduction, intended to show the 'real' Japan to the world and to launch Japanese films into international markets. The two directors, one Japanese and the other German, clashed over the authenticity of the represented Japan and eventually directed two versions, The Samurai's Daughterand New Earth, based on a common script. The resulting films hold a firm place in film history as an exercise in - or reaction against - politically motivated propaganda, respectively.
A Foreigner's Cinematic Dream of Japancontests the resulting oversimplification into nationalised and politicised dichotomies. Drawing on a wide range of Japanese and German original sources, as well as a comparative analysis of the 'German-Japanese version' and the elusive 'Japanese-English version', Iris Haukamp reveals the complexities of this international co-production. This exclusive research sheds light not only on the films themselves, but also on the timeframe of its production, with both countries at the brink of war.
Iris Haukamp is Lecturer in Japanese Film at Tokyo University of Foreign Studies, Japan.
List of figures Acknowledgements Note on sources and translation Timeline of related cinematic and political events Introduction 1. Film export and international (mis-)understanding 2. Producing New Earth: People, stories, inconsistencies 3. A pact of the silver screen 4. The politics of authenticity: Representing others, recognizing selves 5. International stars and national landscapes: Authentic star personas? 6. Itami's version of Fanck's dream 7. Repercussions: Coming to terms with New Earth Conclusion Appendices Filmography Index
