Published on July 18, 2019.
This article organizes the production staff and outside production companies behind NHK BS Premium’s “Another Stories,” BS1, and ETV Special programs, and criticizes their tendency toward pro-Korean narratives, glorification of anti-authority movements, antiwar specials, constitutional idealization, and criticism of the Abe administration.
It particularly argues that “Japan’s Intelligence: Scoop, Top Secret Files” cast Cabinet Intelligence Officer Kitamura as a villain and functioned as anti-government propaganda intended to damage the image of the Abe administration.

July 18, 2019.
It casts Cabinet Intelligence Officer Kitamura as a villain, and I can only think that its purpose was to damage the image of the Abe administration.
The gloomy BGM is also unpleasant.
The following is a continuation of the previous chapter.
【Another Stories: Turning Points of Fate】
A documentary program on NHK BS Premium.
Production appears to be outsourced to outside production companies such as Slowhand and TV Man Union.
It is hard to imagine that BS documentary programs can earn high ratings, but being able to use famous actresses such as Maki Yoko, Sawajiri Erika, and Matsushima Nanako as MCs is something only NHK, which can spend subscription fees like water, can do.
It frequently airs biased programs leaning toward Korea.
“Winter Sonata’s Miracle: The Ignition Point of the Korean Wave Boom,” 2016.
Reporting: Ikeda Sayaka.
Director: Shigehara Yuji.
Producer: Izuta Tomoko (Slowhand).
Executive producers: Kubo Kenichi, Osumi Naoki.
Production cooperation: Slowhand.
Note: Apparently, “the Korean Wave boom has even given Japanese women the strength to live.”
Good grief.
It is not merely a “Hurrah for the Korean Wave” program, but a program praising Kim Dae-jung.
“Birth! The Constitution of Japan: Three Dramas Hidden in the Burned Ruins,” 2017.
Reporting: Nishimura Katsuhiro, Kuzuya Akemi.
Editing: Okawa Yoshihiro.
Directors: Ikeda Itsuki, Tanaka Naoto.
Producer: Miyazaki Kazuko.
Executive producers: Yoshida Takuya, Osumi Naoki.
Production cooperation: TV Man Union.
Note: The ultimate glorification of the Constitution.
A brainwashing program for children.
“3.11 as Seen by Foreigners: How Did the World Move at That Time?” 2018.
Directors: Sato Norimasa, Tanaka Naoto.
Producer: Takagi Asako.
Executive producers: Kubo Kenichi, Osumi Naoki.
Production cooperation: TV Man Union.
Note: It depicts the reporter David McNeill, who repeatedly reports slander against Japan on historical issues, as “a brave journalist who risked his life reporting from the disaster area.”
McNeill has worked for NHK World, so perhaps it was that connection.
“At That Time, Citizens Fought the Military: Korea’s Dawn, the Gwangju Incident,” 2018.
Director: Jeon Yong-seung.
Producer: Izuta Tomoko (Slowhand).
Executive producers: Kubo Kenichi, Osumi Naoki.
Production cooperation: Slowhand.
Note: A program praising Korean left-wing violent demonstrations.
A Japanese left-wing lawyers’ group invited the director Jeon Yong-seung to hold a talk event and used this program as if it were teaching material for left-wing movements.
“The Vietnam War: The Girl in the Photograph,” 2018.
Director: Yamada Kazuya.
Producer: Izuta Tomoko (Slowhand).
Executive producers: Dogaki Akihisa, Osumi Naoki.
Production cooperation: Slowhand.
Note: Praise for American “anti-authority” media.
“Behind the Scenes of Park Geun-hye’s Impeachment,” 2018.
Editing: Okawa Yoshihiro.
Reporting: Narita Kazuki.
Director: Lee Suyeon.
Producers: Nishiyama Ryo, Dogaki Akihisa.
Executive producers: Kubo Kenichi, Saito Michio.
Production cooperation: Tohokushinsha.
Note: Praise for Korean “anti-authority” media and demonstrations.
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“The White House Conspiracy: The Truth of Watergate 46 Years Later,” 2018.
Editing: Tomiyama Nobuaki.
Researcher: Ikeda Sayaka.
Reporting: Sato Hiroaki.
Director: Endo Shiro.
Producer: Izuta Tomoko (Slowhand).
Executive producers: Kubo Kenichi, Saito Michio.
Production cooperation: Slowhand.
Note: Again, a story of the media bringing down political power.
When it continues this much, one cannot help suspecting a hidden intention.
When Slowhand’s Izuta Tomoko is involved, it is nothing but this kind of subject matter.
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“Yutori Education: The Largest Educational Reform of the Postwar Era,” 2018.
Researcher: Ikeda Sayaka.
Reporting: Ikeda Mitsuki.
Directors: Tanimoto Shohei, Uto Koichiro.
Producers: Takagi Asako, Miura Hisashi.
Executive producers: Kubo Kenichi, Saito Michio.
Production cooperation: TV Man Union.
Note: A program praising yutori education and Terawaki Ken, the former Ministry of Education official who was its central figure.
Why air, now of all times, a program that seems to praise the Ministry of Education, which has been hit by scandal after scandal?
It feels extremely strange.
Moreover, Terawaki is a figure who has teamed up with Maekawa Kihei, the amakudari and compensated-dating bureaucrat, to attack the Abe administration.
【2017 Summer Antiwar Special】
NHK President Momii, who had been a thorn in the side of NHK’s left-wing documentary makers, stepped down in early 2017, and there is a sense that anti-Japanese programs that had likely been stopped during his term out of consideration for Momii were released all at once as a summer antiwar special.
“Imphal: A Terrifying Record.”
Reporting: Imai Toru, Yamauchi Takuma, Yasuda Norio, Umemoto Hajime.
Directors: Niiyama Kenji, Kasai Kiyoshi, Nitta Yoshitaka, Oguchi Takuro.
Producer: Mitobe Mari.
Executive producers: Sunohara Yusaku, Yokoi Hidenobu, Mimura Tadashi.
Award: Agency for Cultural Affairs Arts Festival Excellence Award.
Note: Director Niiyama Kenji is a major figure who has served as an NHK executive director and as a director of NHK Enterprises.
He planned this program because his uncle died in battle at Imphal.
No wonder it is rebroadcast excessively often.
“The Truth of Unit 731: Elite Medical Scholars and Human Experiments.”
Research cooperation: Tsuneishi Keiichi, Hata Ikuhiko.
Directors: Okada Tomotoshi, Migita Chiyo, Tanaka Yuichi, Sakai Kunihiro.
Executive producers: Nishiwaki Junichiro, Fukuda Kazuyo.
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Nishiwaki Junichiro.
He once made a radiation-hoax program that caused a protest controversy.
“The Ground Battle on Sakhalin: The Tragedy of the Seven Days after the End of the War.”
Directors: Uematsu Yoshito, Omori Takeo, Ogi Hiroshi, Tanaka Yuichi.
Producer: Matsuoka Daisuke.
Executive producers: Amakawa Emiko, Yokoi Hidenobu.
“Air Raids on the Japanese Mainland: The Complete Record.”
Directors: Kawahara Mai, Baba Takuya, Tanabe Hiroki.
Executive producers: Tsurutani Kuniaki, Matsushima Gota, Jo Koichi.
“Why Was Japan Burned to the Ground? The Truth Told by U.S. Air Force Executives,” BS1.
Director: Suzuki Fuyuto.
Executive producers: Uchida Shunichi, Furusho Takuji.
Note: A good work.
“Postwar Year Zero: Tokyo Black Hole.”
Reporting: Moriuchi Sadao, Maeda Yoshihide.
Executive producers: Terazono Shinichi, Matsumoto Takuomi.
Director: Kishi Kensuke.
Note: In drama format.
“Okinawa and Nuclear Weapons.”
Directors: Kon Riori, Matsuoka Teppei.
Executive producer: Matsuki Hidefumi.
Award: 2017 Galaxy Award Excellence Award.
Note: Just when I thought it portrayed Prime Minister Abe’s grandfather, Kishi Nobusuke, badly, it turned out the director was Shibakitai.
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Kon Riori.
This spring, it was discovered that she had been a regular at Shibakitai demonstrations.
【2018 Summer Antiwar Special】
“Nomonhan: A War without Responsibility.”
Directors: Tanaka Yuichi, Chikamatsu Tomoya, Umemoto Hajime.
Executive producers: Nishiwaki Junichiro, Yokoi Hidenobu.
Note: Director Tanaka Yuichi is a Russian-language specialist.
He also produced “Unit 731” and “The Battle of Sakhalin.”
“The Battlefield My Grandfather Saw: The Battle of Luzon.”
Reporting and narration: Ono Fumie.
Directors: Abe Kazuhiro, Kinoshita Yoshihiro, Matsuda Jun.
Executive producers: Itagaki Yoshiko, Higashiguchi Katsunori.
Note: A program tracing the footsteps of the grandfather of announcer Ono Fumie, who died in battle in the Philippines.
In the end, they could not determine where he died, and just when it seemed the project had collapsed, for some reason the story was switched to a completely unrelated gang-rape incident in Manila.
In the end, the 400,000 Japanese soldiers who died in battle in the Philippines were simply branded as rapists.
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“The Sailors’ War: 60,000 Lives Lost at Sea.”
Directors: Nakagawa Yuichiro, Arai Naoyuki, Senzaki So.
Producer: Abe Hiroshi.
Executive producers: Yokoi Hidenobu, Hirokawa Jun.
Note: It depicts the victims among civilian ships that cooperated with the military, but throughout the tone is, “the Japanese military, which forced them to cooperate, was evil.”
To begin with, the U.S. military carried out unrestricted submarine warfare in imitation of Germany, and in the Battle of the Atlantic, they even tried to put a German naval admiral on trial as a war criminal for that, yet there is no such explanation.
“Letters That Never Arrived: A Mailman across Time.”
Directors: Komai Motoo, Matsushima Tsumugi, Morita Kenji, Miyawaki Takehiko.
Executive producers: Teraoka Tamaki, Hamasaki Kenichi.
Note: Hamasaki Kenichi, who caused a lawsuit controversy in “JAPAN Debut, Part One: Asia’s ‘First-Class Nation’” by intentionally editing the testimonies of interviewed Taiwanese people in an anti-Japanese manner, appears again after a long absence.
“How the Devil’s Weapon Was Born: The Atomic Bomb and the Darkness in the Hearts of Scientists.”
Director: Suzuki Fuyuto.
Executive producers: Uchida Shunichi, Furusho Takuji.
Note: A good work.
It gives a clear understanding of the motives of Robert Oppenheimer, who developed the atomic bomb.
“Play Ball of the Men Who Ran through the Fires of War.”
Director and editor: Baba Akira.
Producer: Ninomiya Satoru.
Executive producers: Matsunaga Shinichi, Shimada Yusuke, Hirose Ryoji.
Note: Shimada Yusuke, who caused a lawsuit controversy in “JAPAN Debut, Part One: Asia’s ‘First-Class Nation’” by intentionally editing the testimonies of interviewed Taiwanese people in an anti-Japanese manner, appears again after a long absence.
A work marking his return to the field?
“The Struggle of the ‘Station Children’: War Orphans Who Began to Speak.”
Director: Nakamura Mitsuhiro.
Executive producer: Tojo Mitsutoshi.
“How Freedom Was Taken Away: Records of 100,000 People under the Peace Preservation Law,” ETV Special.
Director: Takigawa Kazumasa.
Executive producers: Horikawa Atsushi, Shiota Jun.
Note: The targets of the Peace Preservation Law included not only Communist Party members inside Japan, but also Korean independence activists.
Whenever Korea is involved, Shiota Jun is always involved in production.
“Hidden Trauma: Records of 8,000 Soldiers with Mental Disorders,” ETV Special.
Reporting: Honda Koki, Nakagawa Takafumi.
Director and cinematographer: Kanemoto Mariko (Tsubaki Pro).
Executive producers: Shiota Jun, Ota Koichi.
Production cooperation: Tsubaki Pro.
【Others】 In no particular order.
“The 51st Year of War Responsibility,” 1996.
Caster: Yamamoto Hajime.
Editing: Yasumi Katsutoshi, Shuto Jitsuzo.
Composition: Kanno Toshimi, Hirata Kyosuke, Ueda Mariko, Takeuchi Shunsuke.
Executive producer: Sato Mikio.
“The Nomonhan Incident: The Truth after 60 Years,” 1999.
Director: Kamakura Hideya, probably.
Note: Far more objective than the latest version of “Nomonhan: A War without Responsibility” broadcast this year.
“Heartnet TV: Breakthrough File 63, What Does It Mean to ‘Live’? Former SEALDs Member Okuda Aki,” 2016.
Director: Hayashi Kiyomi.
Producer: Hara Kazuo.
Executive producer: Watanabe Yoshihiro.
Note: A program praising Okuda-kun.
Quite creepy.
“Love 1948–2018: A Postwar History of Diverse Sexualities,” ETV Special, 2018.
Directors: Sasai Kosuke, Jo Hideki.
Executive producers: Ogawa Yasuyuki, Horikawa Atsushi.
Note: The gay bar “Tac’s Knot” in Shinjuku 3-chome, which is rumored to have become a hangout for Shibakitai, appears.
“Japan’s Intelligence: Scoop, Top Secret Files,” 2018.
Directors: Takahira Kengo, Matsuda Jun.
Producer: Nakamura Naofumi.
Executive producers: Koike Kotaro, Itagaki Yoshiko.
Note: Although money is poured into the CG like water, the content is old Snowden material.
Anti-government propaganda that fabricates government conspiracies and stirs up anxiety.
It casts Cabinet Intelligence Officer Kitamura as a villain, and I can only think that its purpose was to damage the image of the Abe administration.
The gloomy BGM is also unpleasant.
“Yoshida Shigeru and Kishi Nobusuke: The Genealogy of the Two Main Conservative Currents of the Liberal Democratic Party,” 2015.
Director: Yasui Koichiro.
Executive producers: Iwasaki Tsutomu, Masuda Tsuyoshi.
“50 Years of the Japan-U.S. Security Treaty, Part One: The Hidden U.S. Military,” 2010.
Editing: Matsumoto Tetsuo.
Reporting: Ota Hiroshi.
Directors: Watanabe Ko, Arai Taku.
Executive producers: Masuda Hideki, Ito Jun.
“Maruyama Masao and Postwar Japan, Part One: The Discovery of Democracy,” ETV Special.
Composition: Mori Hiroaki, Yamaguchi Tomoya.
Executive producer: Takizawa Koji.
“Maruyama Masao and Postwar Japan, Part Two: Democracy as Permanent Revolution.”
Composition: Yamaguchi Tomoya, Mori Hiroaki.
Executive producers: Takizawa Koji, Kikuchi Masahiro.
“Rescue the Lost Battalion: The Truth of the Japanese-American Unit’s ‘Heroes,’” BS1.
Directors: Sasagawa Yoichiro, Goto Senya.
Executive producers: Yoshida Hironori, Seki Eisuke.
Production cooperation: Slowhand.
Note: Roosevelt’s plot that abused the Japanese-American unit for propaganda.
“A Japanese-Dutch Man Searching for His Father: The War That Does Not End,” 2017.
Director: Kanemoto Mariko (Tsubaki Pro).
Producer: Yamaguchi Tomoya.
Executive producers: Shiota Jun, Ota Koichi kdjskladsfal;skfalfkl;
“The Philippines: Desperate Urban Warfare, Manila Naval Defense Force,” 2008.
Director: Kanemoto Mariko (Tsubaki Pro).
Producer: Ikeda Toshiro.
Executive producers: Kitagawa Megumi, Ono Ryo.
“The War Engraved in 20,000 Negatives: The Reality of the ‘Greater East Asia Co-Prosperity Sphere,’” BS1, 2016.
Directors: Nitta Yoshitaka, Yamada Kojiro.
Executive producers: Itagaki Yoshiko, Nishiwaki Junichiro.
“The Pacific War in Color: 3 Years and 8 Months, the Record of the Japanese People,” 2015.
Director: Iwata Shinji.
Executive producer: Tsurutani Kuniaki.
“War in a Closed Room: Interrogation Recordings of Japanese Prisoners of War,” 2015.
Director: Katayama Atsushi.
Executive producers: Matsumoto Takuomi, Takakura Motoya.