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be deserving of special attention.
The Board of Tourist Industry of the Japanese Government Railways, the Society for Internationl Cultural Relations, the Japan-Brazil Economic Association (Associaqao Economica Nippon-Brasileira) are filming pictures for the purpose of showing them abroad. “Take” (Bamboo), produced in 1935 by the Board of Tourist Industry, was distributed by the Paramount Films, but other films were shown only to limited groups of people. However, it is believed that the number of spectators will be eventually increased. Of the firms engaged solely in the making of documentary films, the Yoko¬ hama Cinema Shokai and the Bunka Eigasha are well known. Although the former did not evince any great activity during 1936, its accomplishments in the previous years have left a definite record in the annals of the documentary films industry. Memorable were also the contribution made by the newspaper publishers of the Tokyo-Osaka Asahi, the Tokyo Nichinichi and Osaka Mainichi, the Yomiuri, and the Hochi.
Of the documentary films produced in 1936 the following are well known:
Kagami-jishi — produced by the Society for International Cultural Relations; To¬ bacco no Dekirumade (How to Make Tobacco) — by the Bureau of Monopoly in the Ministry of Finance; Nippon no Uta (Melodies of Japan) and Noh (Japan’s Classical Noh Drama) — by the Board of Tourist Industry; Hikyo Nekka (Johol, the Mysterious Region) and also Sogen Baruga (The Steppe Baruga) — by the studio of the South Man¬ churia Railways; Mizu (Water) — by the Dai Nippon Eiga Kyokai; Sensen ni Hoyu (Dogs on the Battle Field) — by the Seiko Kinema Shokai; Boku Nippon (Nippon under Airraid) — by the Shashin Kagaku Kenkyusho; Nippon Tei-en Geijutsu (The Art of Japa¬ nese Landscape Gardening) — by the Bunka Eigasha; Tobacco, Tobacco — by Shochiku; Shio (Salt), Nanyo Mogeigari (Whaling on the South Seas), Kokubo Zensen Hassen-Kilo (National Defence of 8,000 Kilometres) — by Nikkatsu, Kuroi Taiyo (The Total Eclipse) — by the Tokyo Asahi Shimbunsha.
“Kagami-jishi”, “Noh” (Japan’s Classical Noh Drama) and “Nippon Tei-en Gei¬ jutsu” (The Art of Japanese Landscape Gardening) are each expository of a traditional art of Japan and so, presumably, of special interest to foreigners, but, regretable to say, the explanation that is rendered with each of these films leaves much to be desired.
“Hikyo Nekka”, (Johol the Mysterious Region), a factual picture of a consider¬ able length, possesses a peculiar appeal in its faithful depiction of scenes of nature, of constructions, etc. that are as yet little known to the world; but this film also is weak in that it fails to fully describe Nekka as a place of human habitation. Inclining towards being a mere scenery film rather than a scientific one must be said to be its most serious drawback. “Kuroi Taiyo” (The Total Eclipse) is a film of the recent solar eclipse and one which, for its excellent scientific explanation of the phenemenon, has won an enviable reputation.
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