Japanese WWII Propaganda in Java: Difference between revisions

Content deleted Content added
Maymaybee (talk | contribs)
m Methods of Distribution text added not edited
Line 4:
 
=== Lead ===
Between 1942 and 1945, [[Japanese occupation of the Dutch East Indies|Japan occupied the Dutch East Indies]]. '''Japanese propaganda in Java during World War II''' was a coordinated effort by the Japanese military administration to influence public opinion, promote allegiance to Japan, and support the war effort during the Japanese occupation of the West Indies from 1942-1945. Following its capture, authorities in [[Java]] implemented propaganda campaigns to portray Japan as a liberator from [[Dutch East Indies|Dutch colonial rule]]. The messaging emphasized Japanese [[Pan-Asianism|Pan-Asianism,]] economic self-sufficiency, and loyalty to the [[Empire of Japan|Japanese Empire]].<ref name=":0">{{Cite journal |last=Kurasawa |first=Aiko |date=1987 |title=Propaganda Media on Java under the Japanese 1942-1945 |url=https://hdl.handle.net/1813/53875 |journal=Indonesia |publisher=Cornell University Southeast Asia Program |volume=44 |page=84}}</ref> The [[Dutch East Indies campaign|Japanese invasion of 1942]] was met with varied responses, as some nationalists viewed it as an opportunity to end European control. As the occupation persisted, however,Japanese there was sustaineddomestic pressure from the Japanese to be compensated as a liberator withusing Indonesia’s resources. Asled such,to continued economic exploitation and military mobilization, led toprompting opposition in the region.
 
=== Article body ===
 
= Themes of Propaganda =
The contentoverarching theme of Japanese propaganda hadcentered an overarching theme,around promoting the [[Greater East Asia Co-Prosperity Sphere|Greater East Asian Co-prosperity Sphere]].<ref name=":0" /> In the first year of Japanese occupation, initial themes revolved aroundincluded ideas of [[Japanization]] and ideological agendas.<ref name=":0" /> IdeasPortrayals of a shared Western enemy and portraying themselvesJapan as a liberator were disseminated to lessen anti-Japanese sentiment in the region.<ref Inname=":0" the/> The second year of occupation, emphasissaw wasa shiftedmessaging shift toward “practical and materialistic themes” duein toresponse theto increasing concerns of [[Allies of World War II|Allied Force]] counterattacks in Java.<ref name=":0" /> Throughout this year, much of the messagescontent stressed Indonesian solidarity, contrarycontrasting towith initialearlier messages of Japanese assimilation. Political messages were often incorporated with subtlety and well received by audiences when conveyed in the forms of performing arts.
 
Artifacts from this period include imported Japanese films, perceived to be one of the most efficient forms of propaganda. On the subject of film content and creating storylines, a directive from the Ministry of Internal Affairs in July 1938 indicates:
 
# “Western-influenced individualistic ideas should be eliminated.
# Japanese spirit, especially the virtue of the family system should be exalted, and the spirit of self-sacrifice for the benefit of nation and society should be encouraged.
# Movies should take a positive role in educating the masses in order to discourage Westernization of young people, especially of young women.
# Frivolous and flippant behavior and utterances should be swept off the screen, and efforts should be made to strengthen respect for elders.”<ref name=":0" />
 
=== Methods of Distribution ===
Japanese nationalist rhetoric was disseminated through a range of mediums. The Japanese recruited task forces of “civilian specialists in the production of culture for mass consumption”<ref>{{Cite journal |last=Mark |first=Ethan |date=2014 |title=The Perils of Co-Prosperity: Takeda Rintarō, Occupied Southeast Asia, and the Seductions of Postcolonial Empire |url=https://www.jstor.org/stable/43695890 |journal=The American Historical Review |volume=119 |issue=4 |pages=1184 |issn=0002-8762}}</ref> known as ''bunkajin'' (文化人)'','' which translates to ‘men of culture.’ Writers, artists, filmmakers, musicians and dramatists were among the types of individuals that comprised these propaganda specialist groups.
 
 
Using their knowledge and structures developed by the Japanese, propaganda was commonly broadcasted through radio, cinema, theatre, music, and dance, integrating propaganda into aspects of daily life. These forms of distribution were deliberately constructed and resulted in varying levels of influence. Due to the high levels of illiteracy in rural communities that comprised the majority of the population, “auditory and visual” forms were prioritized. Radio was regarded as “the quickest and most accurate media” form to publicize government notices. As well, the Japanese government heavily invested in domestic and Japanese-produced films to communicate socio-political agendas. Prior to the Japanese occupation in 1939, American-produced films represented 65% of the movies in Java. Other foreign films from China, Germany and France represented the rest of the cinema industry. When the occupation began, however, strict regulations were implemented regarding the import of foreign films so that the political messaging that was contained in Japanese media would be effectively distributed. Though artifacts from this period of Japanese imperialism are documented largely in written forms on posters and newspapers, there was little to no impact on rural society.
 
=== References ===