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Filming sightseeing activities of their leaders in modern Japanese cities and visiting military facilities, then showing it to indigenous audiences who never would have such an opportunity, was considered an effective way of convincing Aborigines to accept Japanese rule.
Reports of the Aborigines’ first encounters with cinema abounded in newspapers during 19 when “Aborigine sightseeing” started to take place more often.
Aboriginal culture, obviously constituted an attractive exotic element for promoting tourism and, thus, became a significant “other” in the eyes of the beholders.
Even in the heat of World War II, (Makino Shinzo, 1944), a documentary meant to introduce the Takasago Volunteer Corps, which fought for the Japanese Empire in the Southeast and Papua New Guinea jungles, the exotic customs of Aborigines were still represented, The exoticism of the “raw aborigines,” especially their headhunting customs and “primitive” ways of living, proved to be an irresistible temptation to some Japanese filmmakers.
Aboriginal culture was also a constant subject for travelogues and informational sightseeing films, such as tribe in Hualian in eastern Taiwan.
The film was produced by the Railway Division of the Department of Transportation in the Government-General Office.
Most of the early films of indigenous peoples were “documentary” records about Japanese subjugation of the various tribes, tribal life, leaders visiting modernized Japan (termed , or Aborigine sightseeing).
The purpose of mainland sightseeing or Aborigine sightseeing was to persuade indigenous peoples to accept the power of Imperial Japan.
Displaying the latest apparatus such as cameras, weapons like cannons and guns, the schools and museums Aborigines were taken to, showed the colonial government’s intention to “enlighten,” “educate,” and induce Aborigines to abandon their culture and live a modern life, as the Japanese did.
In 1922, the Aboriginal Affairs section in the Bureau of Police Affairs started to make “documentaries” – films about the prohibition against tattooing and long hair, building new houses, toilets, and cemeteries – showing indigenous people the “progressive” or “modern” ways of living.
In 1936, before the Second Sino-Japanese War erupted, the motion picture unit of the Aboriginal Affairs section made a film about current conditions in aboriginal tribal villages, as well as their mountain scenery.
However, the film did not do as well as expected at the box office.
(Man’ei), disseminated the concept of sacrificing oneself to pay a debt of gratitude to the Japanese Empire.