Primary Source Analysis: "Children of Japan" (1941) Documentary by Erpi Classroom Films Inc.

Primary Source Analysis: “Children of Japan”

(January 18, 2017)

“Children of Japan” is a 1941 documentary of the Japanese Life, through a recording of the daily activities of a particular family, the Yamada, with the perspective of the children, produced by Erpi Classroom Films Incorporated with special collaboration with Dr. Hugh Borton of Columbia University and distributed by University of Alabama. However, the film, itself, shows a specific order and theme in explaining the Japanese life, using an “Othering" framework, particularly when exoticising the traditional and oriental ways. This is mostly supported by locational filming within Japan and narration commentaries about the specific activities, roles and actions of the on-screen actors being filmed, often than not, having narrative annotations and comparisons (though to whom it is compared to is not clear) but one such example is when the narration would phrase “… the children here, would…” or when there is a lack of explanation aside from “…traditional…” is offered, gives a sense of comparison against what is familiar to the viewer. As such, the film’s intention would likely to give, not just an overview of the lifestyle of a typical middle-class family in Japan as selected by the producer, but also as means of an introduction to this foreign country as whole (a generalisation through the example of one family). Given that it is a collaboration between certain educational institutions and organisation, it was asserting as a well-researched documentary for the consumption and education of the viewers. 

To further analyse this brief documentary, let us first consider the actors. While the film purportedly follows the children’s daily activities, it also shows a glimpse to the lives of the other members of the family, such as the father’s workplace, the mother’s duties at home, the grandmother’s role in helping taking care of the family, and the family’s servant who tends to the menial chores. It is  important to take note that the video portrays a perceived notion of what a common middle class family looks like, such as: a.) having a father who holds an important position in the local train station (having an important role in attending to the affairs of managing the station); b.) a mother who can stay at home and be occupied with the traditional arts; 3.) a grandmother who upholds tradition and home economics; 4.) and having a maid who can attend to chores, cooking, and other preparations. Here, we already see the ideal that is prescribed, or rather, that is perceived and believed to exist. Though considering that this film was shot in 1941 (or much earlier as production will need enough time to process the entire film), the economic stability of Japan would not be sufficient enough to provide such an example for every Japanese family. Rather, it is an aspiration for most.

Another side of the important actors to be considered is the production side. There were many involved in this documentary, from its production to distribution. As mentioned earlier, the documentary was produced by Erpi Classroom Films Incorporated with special collaboration with Dr. Hugh Borton of Columbia University and distributed by University of Alabama – and from his list, there is a sense of legitimisation of the information contained in this film that warrants it the capacity to be produced and shown in classroom settings, making it an educational material. But being an educational material is only one part of the intention. We must also consider that around this time (or early and around the time of the actual planning and shooting of this documentary), Japan had recently won in the Russo-Japanese War and was on its Sino-Japanese War campagin, where the global community commended the country’s effort and skill. As such, Japan was seen as a formidable ally, to which, it was important to learn about the country and its people. There was also the 1940 Winter Olympics in Sapporo that would have been an opportunity for different countries to come and participate in Japan, though it was cancelled on the onset of the Second Sino-Japanese War by 1937. As such, it can also be assumed that part of the intention of the filming of this documentary was part of an effort to scout the country for any information that would give the Americans an advantage, such as infrastructure, economic stability, and traditional values– all of which would, no doubt, first require permission and approval by the Home Ministry, thus the depiction of the family and the setting reveals nothing of the scarcity of resources and difficulties of lives of the Japanese people during war. Although, that may also prove that the mainland Japanese were, in fact, unaware of the happenings outside their territory or in the rural areas.

In terms of the approach, through which the documentary explained Japan with an “Othering” lens, this is most evident in certain “traditions” that it highlighted. The ikebana (flower arrangement) activity that the mother partakes in this video adds a depth of exoticism, especially when considering the significance of something that may be perceived as menial by foreigners but is treated as a “highly skilful art”, hence tradition, in Japan. Another scene that holds sway to the Japanese exalting tradition was the educational system in schools– writing “Great Japan” for calligraphy class to instil the message into the minds of the children, as well as kendo lessons for health and discipline. There was also the flower viewing during the festival that the family would attend to, including the brief prayer by the shrine. This part may suggest that despite the modernisation of the country, as seen in the infrastructures, the beauty of nature, the position of religion and the kimono (as worn by the female participants of the festival) is still seen as an important facet of life.

The video may also constitute an awareness for the differences in societal roles, as most of the comments by the narrator seem to compare Japanese lifestyle against what may be the perceived norm elsewhere. Being a country from the other side of the world, this video showcases the co-existence of nature and modernity, old buildings and customs, and the westernisation of life. This is most striking with the opening and ending shots of Mt. Fuji always seemingly looming over the city. We also see the rice fields and old artisan stores described visually or through commentary as part of society while the next scenes would involve new infrastructures and more familiar western clothing, buildings, and transportation system. Even the household structure is portrayed as something picturesque, with the presence of the father, the mother, a grandmother, the three children, and a family maid, all doing their roles diligently. This particular structure would then create a sense of familiarity with the American audience, though it may not be the case with everyone seeing as how during the 1930’s, low-income families would often have both parents working on the clock, and no means of having such a large membership in the household, especially the maid.

In conclusion, the fact that the film, in its title has been labeled as “An Instructional Sound Film” already admits part of the intention of the production as a form to educate (or reeducate) the students (or masses) about the perceived lifestyle of a foreign country through the perspective of “children”. However, by analysing the video more closely, there can be read other intentions in the production, particularly in the selection of scenes and motifs. If something would be recorded/filmed during wartime, it would, no doubt, have permission of the Home Ministry, and perhaps even censorship and production clearance. As such, while this documentary may present itself as something that was entirely foreign produced, it could be assumed that whatever information that the documentary wishes to deliver, it could also have been pre-prepared and designed by the Japanese side in order to create this so-called “utopian” and progressive lifestyle that their people inhabits, and to promote their identity in the western sphere.