Divine Work' or Celluloid Collaboration? The Greater East Asian Film Sphere and the legacy of colonial cinema.

作为现代仅有的非西方帝国之一，日本殖民帝国是独一无二的(Peattie&Myers，1984：6)，始于1895年台湾的割让。帝国迅速扩张，包括卡拉富托(1905年被殖民)、朝鲜(1910年)、德意志密克罗尼西亚(1914年)和满洲(1931年)。日本在太平洋战争中取得的初步胜利也将使香港、印度尼西亚、新加坡和英国的马来亚处于日本的统治之下。日本帝国的特点是两个关键的(而且经常是相互冲突的)话语。第一种是关注亚洲人民在文化和历史上的同一性，并将亚洲的统一作为抵御西方帝国主义的一个积极和必要的过程。“大东亚共同繁荣圈”将把所有亚洲人团结在日本的领导下，以便进入现代的全球体验。然而，这种日本领导东亚走向光明未来的家长式愿景，与强烈持有的帝国话语形成了鲜明对比，后者提供了日本优越感的明确概念，因此，与东亚其他民族和文化不同。泛亚的理想与把日本视为不同和优越的焦点之间的冲突导致殖民政府与当地人民之间的持续冲突，这种冲突往往受到残酷的镇压。“大东亚电影圈”(GEAFS)是一个在1941年左右出现的术语。GEAFS与日本帝国“联合”亚洲的思想联系在一起，是日本帝国官方推动的泛亚主义运动的一部分。日本殖民单位从来没有对GEAFS下过充分的定义，因此，它是日本殖民机器中被遗忘和审查不足的因素之一。然而，泛亚洲电影意识形态的概念仍然存在，随着越来越多的人关注亚洲联合制作作为抵抗好莱坞统治的方法，GEAFS的意识形态元素可以被视为仍然存在。东亚电影在全球舞台上的影响力越来越大，这得益于各国之间日益加强的合作，以呈现一个统一的、可持续的、超越国界的东亚电影产业(这是GEAFS的主要目标之一)。该项目将集中在四个主要领域。第一个问题是如何定义GEAFS？第一节将考察日本帝国的理论和结构，以及电影、动画和新闻片等视觉元素如何在理想的传播中发挥重要作用。第二个研究领域考察了日本殖民政府如何在1941-1945年间日本占领的各个国家实施这些思想。这个项目将提供殖民帝国的所有方面的概述，因为它与视觉文化有关，但将特别关注马来西亚、新加坡、印度尼西亚、韩国、满洲和台湾。这些地区反映了日本殖民国家的整个范围，从早期曾是帝国一部分的国家，到后来的收购。虽然这一时期的原始资料不是很多(由于缺乏早期的保护工作，以及自1945年以来影响到各个地区的各种冲突)，但这些地区有足够的主要资料来源(可通过所有国家的档案馆获得)，以对这一时期进行得到充分支持和知情的研究。日本帝国不是一个铁板一块的实体，该项目的第三部分将重点考察GEAFS如何与特定国家的殖民建筑和话语互动，并侧重于它们之间存在的差异和相似之处。该项目的最后一部分将集中于GEAFS在现代东亚电影业中的遗产。该项目将研究当今的东亚媒体网络是如何高度感谢GEAFS和在这一时期建立的基金会的。

The Japanese Colonial Empire is unique as one of the only non-Western Empires of modern times (Peattie & Myers, 1984:6) and began with the cession of Taiwan in 1895. Rapidly the Empire expanded to include Karafuto (colonized 1905), Korea (1910), German Micronesia (1914) and Manchuria (1931). Japan's initially success in the Pacific War would also see Hong Kong, Indonesia, Singapore and British Malaya come under Japanese rule. The Japanese Empire was marked by two key (and often conflicting) discourses. The first was one that focused on the cultural and historical 'sameness' of people in Asia and presented the unity of Asia as a positive and necessary process to defend against Western Imperialism. The 'Greater East Asian Co-prosperity Sphere' would unite all Asians under Japanese leadership in order to enter into the modern global experience. However, this paternalistic vision of Japan leading East Asia to a bright future was in contrast to the strongly held Imperial discourse that offered a clear notion of Japanese superiority and therefore, difference from the rest of the peoples and cultures of East Asia. This conflict between the ideals of a Pan-Asia and the focus on Japan as different and superior resulted in continual conflict between the colonizing Government and the local population that was often brutally repressed. 'The Greater East Asian Film Sphere' (GEAFS) was a term that came into existence around 1941. Linked into the Japanese Imperialist idea of 'united' Asia the GEAFS was part of the pan-Asianist movement that the Japanese Empire officially promoted. The GEAFS was never fully defined by the Japanese colonial units and, as such, is one of the forgotten and under-examined elements of the Japanese colonial machine. The notion, however, of a pan-Asian film ideology has survived and with the ever-increasing focus on Asian co-productions as the method to resist Hollywood domination, elements of the ideology of the GEAFS can be seen as still existing. The increasing influence of East Asian Cinema on the global stage has been enhanced by the increasing cooperation between the nations to present a united and sustainable East Asian Film Industry that transcends national boundaries (one of the key aims of the GEAFS). This project will focus on four main areas. The first is how can the GEAFS be defined? This first section will examine the theories and construction of the Japanese Empire and how visual elements such as film, animation and newsreels, played an important role in the dissemination of the ideals. The second area of study examines how the Japanese colonial government sought to implement these ideas in the various states that Japan occupied 1941-1945. This project will offer an overview of all aspects of the colonial Empire as it related to Visual Culture but will focus specifically on Malaysia, Singapore, Indonesia, Korea, Manchuria and Taiwan. These regions reflect the whole spectrum of Japanese colonial states from those that had been part of the Empire in the early stages to later acquisitions. Whilst there is not a vast amount of primary material available from this period (due to lack of early conservation efforts and the various conflicts that have affected the respective regions since 1945), there are enough available primary sources (available via archives in all the respective countries) from these regions to make a well-supported and informed study of this period. The Japanese Empire was not a monolithic entity and the third section of the project will focus on examining how the GEAFS interact with colonial constructions and discourses in the specific states and focus on the differences and similarities that exist between them. The final element of this project will focus on the legacy of GEAFS in the modern day East Asian Film Industry. This project will examine how the present day East Asian Media Networks are highly indebted to the GEAFS and the foundations established in this period.