In 2010
Kinokuniya released a DVD dedicated to the works of animation pioneer Noburo Ofuji (大藤信郎, 1990-61). At 161 minutes, this is only a selected works
of this early master of chiyogami and
silhouette animation. Many more of Ofuji’s
films have been preserved and the animated short The National Anthem: Kimigayo (国歌 君か代/ Kokka Kimigayo,
1931) appears on Digital Meme’s Japanese Anime Classic Collection with subtitles in English, Chinese,
and Korean. This release of the film
includes a soundtrack of Kimigayo
performed by Joichi Yuasa.
The national
anthem, Kimigayo, is believed to be
one of the oldest – and lyrically among the shortest – national anthems still
in use today. At the time at which this
animated short was made, it was the national anthem of the Empire of Japan
(1867-1947). As such, the film’s key
motif is the chrysanthemum. The
emperor’s throne has been known as the Chrysanthemum Throne for centuries with
the Imperial Seal of Japan being a yellow chrysanthemum. One encounters the chrysanthemum regularly in
Japan as it appears on everything from 50 yen coins to traditional cloth.
Ofuji
depicts the chrysanthemum using his trademark chiyogami cutout animation style.
As he only had black and white film stock to work with in 1931, the result
is not nearly as striking as his postwar films such as Whale
(1952) and The Phantom Ship (1956),
but his techniques are still very impressive in this film.
The chrysanthemum
chiyogami sequence is followed by a
mysterious silhouette animation sequence bathed in mist which depicts the
famous dripping spear scene from the Japanese creation myth. The gods Izanagi and Izanami are said to have
stood on a floating bridge of heaven and stirred in the sea with a spear. The brine that dripped from the spear formed
into the first island, followed by the other islands which created the Japanese
archipelago (Kuniumi).
The film appears
to have been designed to accompany a performance or a recording of the national
anthem. This is made clear by a sequence in the middle of the film where the
song`s lyrics appear on the screen character by character in traditional
Japanese writing order (up→down, right→left).
At this time, Ofuji was making many animated sing-along films for
children including the chiyogami
record talkies The Village Festival (1930), which employs a follow-the-bouncing ball technique,
and Song of Spring (1931).
After the
sing-along section, Ofuji returns to symbolic national symbols and
stories. In another beautiful silhouette
animation sequence he depicts part of the legend of the sun goddess Amaterasu who, after a deadly attack on
her property and attendants by her brother, hides inside the Ama-no-Iawato (heavenly rock cave) which
causes the sun to be blocked out. Ofuji
depicts the moment when Amaterasu is persuaded to leave the cave, returning the
sun to the world.
This is followed by a sequence depicting
symbolism associated with Emperor Jimmu
– the legendary first emperor of Japan.
Although the imperial house of Japan has traditionally claimed its
descent from Jimmu in about 60 BC, most researchers see his tale as being based
more in myth than in historical reality.
According to Shinto belief, Jimmu is said to be a direct descendant of
the sun goddess Amaterasu. In addition
to the continuing to use the sun motif, this sequence adds symbolism associated
with Jimmu: his emblematic long bow and the famous three-legged crow yatagarasu which is said to have been
sent from heaven to guide Emperor Jimmu.
I was struck by the similarity of the dark bird with spread wings to the eagle which is the
national symbol of Germany.Of course, Japan and Germany were not yet military allies in
1931 – the National Socialists were not yet even in power; however, film
was already being used as a medium to further nationalist ideology in both
countries. During the Meiji period, the government proclaimed 11 February 1966 as the foundation day of Japan and in the 1930s Kigensetsu (Era Day) was celebrated annually as the day that Jimmu ascended the throne. This was halted for a time when Japan lost the war but since 1966, the date continues to be
observed as National Foundation Day but with less fanfare than the overt nationalism
of the 1930s and 40s. According to the Japanese Movie Database, Ofuji’s Kimigayo
was released on May 1st, 1931.
Nationalist
propaganda was pretty prevalent in Japan at this time because Japan during the run up to the Japanese invasion of Manchuria in September 1931.
In a much
more positive connection to Germany, this is the earliest film by Ofuji that I
have seen where the influence of Lotte
Reiniger (1899-1981) is obvious. Reiniger started making silhouette animation
shorts in the 1910s and her feature film The
Adventures of Prince Achmed was released in 1926. Her films were shown in Japan in the 1920s
inspiring both Ofuji and another early animator Wagoro Arai (1907-94), to try their hand at silhouette animation. The results are simply astonishing, with their films additionally demonstrating the influence of traditional Japanese traditions of kirigami /kiri-e (paper-cutting art) and
silhouette/kage-e (影絵/shadow art).
The National Anthem: Kimigayo was made by Ofuji at his independent
studio Chiyogami Eigasha. To learn more about Ofuji, check out my reviews of
his other films and my ongoing series about the films awarded the
prize named in his honour.
Catherine Munroe Hotes 2013
Other Ofuji reviews: Whale
(1952), Song
of Spring (1931), The
Village Festival (1930)
Ofuji on DVD (JP only):
