Cinema Year Book of Japan 1938 (1938)

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4 ROBERT FLOREY AT A TOHO STUDIO because they are accustomed to them, because they live among them, and so do not see them, or, which is the same thing, take them as part of life and pay no attention to them. The people of the world are anxious to see new things and to learn. Japan has always fascinated not only the artists of the world but the lovers of beauty. Japanese moving pictures made for foreign consumption could easily be sold abroad, and if only half a dozen Japanese pictures could be exhibited each year on all foreign screens, they would be a great source of profit to the Japanese producer. These profits would enable them to buy more and more modern equipment • • • booms, cameras, new sound -recording devices, lights, and many other things which are improved upon each year. A proof that European people, for instance, are anxious to see Japanese pictures is the fact that they have engaged Sessue Ilayakawa to star in and to produce films with a Japanese background in Paris. Such pictures as Yosliiwara ( Milo-Film, France j are banned in Japan. IIow can the atmosphere of Nippon be reproduced correctly in BILEANCOURT ? But it shows that the public of France wants to see Japanese dramas, played by Japanese actors. Why not sell the real Japanesemade pictures in Europe with super-imposed titles, a very little Japanese dialogue and some interesting Japanese music for a background ? Here is one more thing that I would like to suggest : Would it be possible to make an arrangement whereby all the Consuls of Japan in foreign countries should, when a tourist applies for a visa, make inquiries regarding the personality of the traveller, and either GIVE him or REFUSE him a SPECIAL AUTHORIZATION which would enable the visitor to Japan to carry with him a i6m.m. camera, and to photograph the lovely scenery, the people, and the cities of Japan without being molested or at least annoyed by some too zealous inquisitors ? The tourist would then either be accepted as an honourable person just wishing to get some interesting views of his travels and later on use these views as a means of propaganda for Japanese “ tourism ”, or considered as an undesirable or suspicious character and refused the privilege of bringing a camera into Japan. This would greatly help the touristic relations and improve Japanese tourist propaganda throughout the world. 57