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than to awaken the admiration of other nations towards human beings who were able to complete or build these things, cannot make them understand the spirit of these human beings. At the present time, any people, throghout the world, who have educa¬ tion know Japanese temple and shrine, kimono or Japanese room by books and photo¬ graphs. But, even among these people, a very few know about daily useful articles made by Japanese technologists. By this method can these intellectual people deepen their knowledge and elevate their understanding of the Japanese who have made these things ? To underst and these human beings, it is necessary for us to find out how these human being think, how they feel and how they act in a given circumstance. This can be done only by play films. The plot and the theme are required, in these actors join, and the actions are formed by them. Other human beings or the spectators can feel and experience together with the sentiments and the thoughts which are administered to the human beings in this scenario.
I will now turn back to the practical side of the question of export motion picture film and will tell you all what I know. In the first place, the greatest difficulty in the ex¬ port motion picture film is the language by which it is understood in foreign countries. There is no chance at all in a picture which is spoken entirely in Japanese. What is more, one which is dubbed in foreign language afterward or super-imposed picture is no good. We cannot think of dubbing Japanese into European language. There is, of course, a technical difficulty such as the disagreement of the movement of the lips. But, what do you think if a Japanese peasant spoke suddenly French ? There is only one way to overcome this difficulty, namely by restricting beforehand the theme of the export motion picture of this kind and have the play performed by a foreigner and a Japanese. In this way, a portion of these pictures, at least, can be spoken in English or in French, and, arrange the scenario skilfully and have the important lines spoken in foreign language so as to make the foreigners understand, and, the rest be spoken in Japanese and put the subtitle. I think this is the only plan to settle the question of language in the export motion picture of Japan. As a result, a certain portion of leading Japanese actors, at least, have to learn English or French or German. It is, of course, impossible for a Japa¬ nese motion picture actor to learn a foreign language so well in a few years that he can speak it without a trace of Japanese accent. But I hope the actor will learn enough so that he is able to pronounce a sentence when it is laid before him. It does not matter, if he can make the movement of his mouth agree, because if he can do this, then his lines can be dubbed by a Japanese who is proficient in a foreign language. It can be done by this method the first few years and this difficulty can be gradually eliminated. It is un¬ reasonable to expect a Japanese to speak a foreign language without a trace of Japanese accent. Occasionally, if a Japanese has to speak English or German, to speak it with Japanese accent will be found a convenient method sometimes. I have experimented this
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