Originally published on April 30, 2019, this chapter revisits reflections first written on February 21, 2019 about Hollywood films, the Academy Awards, the Grammys, and Japanese cinema, arguing that postwar Japanese culture has been deeply corrupted by a GHQ-derived masochistic view of history and pseudo-moralism.
The author, once an avid viewer of Hollywood films, explains that although he became alienated from Hollywood as it fell under the influence of Chinese capital and political correctness, he still recognizes that American cinema retains overwhelmingly superior acting, direction, and visual expression, far beyond the present state of Japanese film.
The piece further criticizes the way Japanese films and international film festivals reward works rooted in anti-Japan sentiment and masochistic historical narratives, and insists that the Japanese people themselves should become far more aware of this abnormal condition.

2019-04-30
People shaped by the pseudo-moralism and masochistic view of history created through GHQ brainwashing, and who never even think to question them, could never possibly perform like American actors.

The chapter I published on 2019-02-21 under the title, I Have Hardly Watched Hollywood Since Reports Began to Spread That It Was Being Captivated by Chinese Capital, entered today’s official hashtag ranking at No. 10 for Norway.

I used to be a Hollywood film viewer second to none.
I watched virtually every American film worth seeing at the nearby Tsutaya.
But from around the time reports began to spread that Hollywood was being captivated by Chinese capital, I hardly watched it anymore.
The same was true of live broadcasts of the Academy Awards ceremony.
Combined with the fact that it had begun to be dominated by political correctness, I stopped watching it altogether.
The spectacle of those super-high earners brandishing pseudo-moralism was not something one could watch seriously.

The same is entirely true of the Grammy Awards.
In recent years I had no desire to watch them either, but this year I turned the channel there for just a moment.
There was talk about how last year’s winners had been too heavily weighted toward men.
A genuine lover of music has nothing whatsoever to do with gender or skin color.
What is good is good, and what is bad is bad.
It is simply that there were more good songs by men.
And yet the association, thrown into a panic by such criticism, said this year it would place emphasis on women.
I changed the channel at once.

The beginning was the other day’s Super 8.
Directed, written, and produced by J. J. Abrams.
Steven Spielberg and Bryan Burk also participated as producers.

The decisive blow was.
Though it was a great mistake that I watched it before going to sleep last night.
Last night’s Three Billboards Outside Ebbing, Missouri.
I had immediately sensed something from the introduction and content describing it as the Academy Award Best Actress film and so had recorded it.

It is no exaggeration whatever to say that, in film, America is overwhelmingly number one in the world.
The splendid acting of every actor, the excellence of the camerawork, and so forth.
People shaped by the pseudo-moralism and masochistic view of history created through GHQ brainwashing, and who never even think to question them, could never possibly perform like American actors.

It is no exaggeration to say that Japanese cinema ended with Mizoguchi and the like.
What are called films today are at a level where it is presumptuous even to call them films.
They are no more than school-play-level productions that merely say, “We made something called a movie.”
Those that appear respectable are in fact all works built upon a masochistic view of history and anti-Japan ideology.

When they are occasionally praised for winning prizes at international film festivals and the like, it may not be an exaggeration to say that this is the maneuvering of forces that want to keep Japan shut away forever in the international community as a political criminal.
One proof of this is that the absurd commercial produced by a Norwegian airline belittling the Japanese, which Masayuki Takayama informed me of, won the grand prize at Cannes by unanimous decision.
And this despite the fact that Mr. Tanaka of Dentsu was among the judges.

My book-loving friend was greatly angered by the fact that a film like Shoplifters had won an award somewhere.
It was malicious propaganda meant to say that Japan is that sort of country.
The story itself is ridiculous.
It is a vicious film made to cause the false impression that all of Japan is overflowing with such families and such people.
If it were a story about Chinese or Koreans, perhaps such things might indeed be found everywhere.
But to make Japanese the subject is absolutely outrageous.
The spectacle of the media gleefully reporting such a film is itself a miserable sight that can scarcely be borne.
He was in a tremendous fury.

The same is entirely true of the Grammy Awards.
In recent years I had no desire to watch them either, but this year I turned the channel there for just a moment.
There was talk about how last year’s winners had been too heavily weighted toward men.
A genuine lover of music has nothing whatsoever to do with gender or skin color.
What is good is good, and what is bad is bad.
It is simply that there were more good songs by men.
And yet the association, thrown into a panic by such criticism, said this year it would place emphasis on women.
I changed the channel at once.

The beginning was the other day’s Super 8.
Directed, written, and produced by J. J. Abrams.
Steven Spielberg and Bryan Burk also participated as producers.

The decisive blow was.
Though it was a great mistake that I watched it before going to sleep last night.
Last night’s Three Billboards Outside Ebbing, Missouri.
I had immediately sensed something from the introduction and content describing it as the Academy Award Best Actress film and so had recorded it.

It is no exaggeration whatever to say that, in film, America is overwhelmingly number one in the world.
The splendid acting of every actor, the excellence of the camerawork, and so forth.
People shaped by the pseudo-moralism and masochistic view of history created through GHQ brainwashing, and who never even think to question them, could never possibly perform like American actors.

It is no exaggeration to say that Japanese cinema ended with Mizoguchi and the like.
What are called films today are at a level where it is presumptuous even to call them films.
They are no more than school-play-level productions that merely say, “We made something called a movie.”
Those that appear respectable are in fact all works built upon a masochistic view of history and anti-Japan ideology.

When they are occasionally praised for winning prizes at international film festivals and the like, it may not be an exaggeration to say that this is the maneuvering of forces that want to keep Japan shut away forever in the international community as a political criminal.
One proof of this is that the absurd commercial produced by a Norwegian airline belittling the Japanese, which Masayuki Takayama informed me of, won the grand prize at Cannes by unanimous decision.
And this despite the fact that Mr. Tanaka of Dentsu was among the judges.

My book-loving friend was greatly angered by the fact that a film like Shoplifters had won an award somewhere.
It was malicious propaganda meant to say that Japan is that sort of country.
The story itself is ridiculous.
It is a vicious film made to cause the false impression that all of Japan is overflowing with such families and such people.
If it were a story about Chinese or Koreans, perhaps such things might indeed be found everywhere.
But to make Japanese the subject is absolutely outrageous.
The spectacle of the media gleefully reporting such a film is itself a miserable sight that can scarcely be borne.
He was in a tremendous fury.