Written on May 2, 2019.
In this essay, the author, once an exceptionally devoted viewer of Hollywood films, criticizes Hollywood’s corruption by Chinese capital, the spread of political correctness, and the hollowing out of the Grammy Awards and the Academy Awards.
The author further argues that Japanese cinema has been deeply damaged by pseudo-moralism, masochistic historical views, and anti-Japan ideology formed under GHQ indoctrination, while also exposing the political motives lurking behind praise at international film festivals.

2019-05-02
To people full of empty moral posturing, who never even question the pseudo-moralism and masochistic historical view created by GHQ brainwashing…
there is no way they could ever produce acting like that of American actors.

The chapter I posted on 2019-02-21 under the title “I Have Hardly Watched Hollywood Since Reports Began to Spread That It Had Fallen Under the Sway of Chinese Capital” has today entered the official hashtag ranking at No. 59 in Norway.
I was once a Hollywood film viewer second to none.
I had watched virtually every American movie worth seeing at the nearby Tsutaya.
From around the time reports began to spread that Hollywood had started to be bought off by Chinese capital, I hardly watched it anymore.
The same was true of the Academy Awards broadcast… coupled with the fact that it had come to be dominated by political correctness, I stopped watching it entirely.
The spectacle of those ultra-high earners brandishing pseudo-moralism was not something that could be watched seriously.
Exactly the same is true of the Grammy Awards… in recent years I had had no desire to watch them either, but this year I tuned in for just a moment… they were saying that last year’s winners had leaned too heavily toward men… but music lovers, of course, have absolutely nothing to do with gender or skin color, and what is good is good, what is bad is bad… it simply meant that men had more good songs that year, that is all… and then the association that had been criticized flustered about and said that this year it would place emphasis on women… I changed the channel instantly.
What started this was the other day’s “SUPER 8,” directed, written, and produced by J. J. Abrams.
In addition, Steven Spielberg and Bryan Burk took part as producers.
The final blow was last night’s “Three Billboards Outside Ebbing, Missouri” though seeing it before going to bed last night was a great mistake.
It was something I had recorded because I immediately sensed what it was from the introduction saying it was the Academy Award Best Actress film and from its content.
It is no exaggeration whatsoever to say that America is overwhelmingly No. 1 in the world when it comes to film.
The superb acting of all the actors, the excellence of the camerawork, etc.
To people full of empty moral posturing, who never even question the pseudo-moralism and masochistic historical view created by GHQ brainwashing…
there is no way they could ever produce acting like that of American actors.
It is no exaggeration to say that Japanese film ended with Mizoguchi and the like.
What are now being called films are at a level where it is presumptuous even to call them films.
They are nothing more than school-play-level productions that merely say, “We made something called a film.”
Anything that appears halfway decent is, in truth, made up entirely of works sustained by masochistic historical views and anti-Japan ideology.
It is probably no exaggeration to say that works which are sometimes showered with praise for winning awards at international film festivals are part of the maneuvering of forces that want to keep Japan locked up forever as a political criminal in international society.
One proof of that is the absurd commercial made by a Norwegian airline, which demeaned the Japanese people and which Masayuki Takayama told us about, winning the grand prize at Cannes by unanimous decision, despite the fact that Mr. Tanaka of Dentsu was among the judges.
A book-loving friend of mine was greatly enraged that a film called “Shoplifters” won an award somewhere.
It was malicious propaganda intended to make people say that Japan is that sort of country…
The story itself is ridiculous!… it is a malicious film intended to make people falsely believe that Japan is overflowing with such families and such human beings! If it were a story about Chinese or Koreans, perhaps such things might be everywhere. But to use Japanese people as the subject is beyond outrageous… and the dreadful state in which the media gleefully reported such a film is too appalling to look at! He was absolutely furious.