Published on July 18, 2019.
This essay examines NHK’s historical documentaries, the Project JAPAN series, and its Constitution-related programs, criticizing the GHQ historical view, the demonization of the Japanese military, pro-constitutional indoctrination, and anti-Japanese editorial tendencies.
It argues that for a public broadcaster to keep producing one-sided programs on a nationally divisive constitutional issue amounts to privatizing the airwaves and raises fundamental questions about the license-fee system.

July 18, 2019.
In an important issue that divides national opinion, such as the Constitution, a situation in which a public broadcaster produces only programs biased toward one side cannot help but be denounced as privatization of the airwaves and theft of license fees.
The following is a chapter published on February 22, 2019.
It is from the original blog of a painstaking work I found online the other day, and the following is the continuation of the chapter I published.
Monitoring “the power of the media.”
Biased reporting by domestic and foreign media, poured out under the shield of “freedom of the press,” is tormenting Japan.
I am also fed up with information manipulation through “the freedom not to report.”
If the media make “monitoring power” their noble banner, then the internet must monitor “the power of the media.”
Please refrain from ethnically discriminatory comments.
There must be many people who are irritated by the biased nature of the historical documentaries that NHK produces by spending like water the license fees it forcibly collects from the people.
Japanese people are serious and obedient to rules, so while they snap and say, “I will never pay the license fee again,” in many cases they continue paying it out of inertia in one way or another.
However, NHK’s anti-Japanese programs are provided with English, Chinese, and Korean translations and are widely viewed overseas, so the concern is not merely that they are unpleasant, but that they may seriously damage the national interest.
The characteristic of historical documentaries produced by NHK is the thorough demonization of the Japanese military.
They have not progressed at all from GHQ’s propaganda program The Truth Is This, which said that the military was entirely to blame for the last war, while the people and the media were victims.
As former NHK member Nobuo Ikeda has pointed out, deviating from the victorious nations’ view of history has become taboo, so perhaps they have no choice but to portray defeated Japan and the military badly.
However, even regarding the victor, America, they have recently often produced programs condemning the atomic bombings and incendiary attacks on cities as war crimes.
The problem is that there are almost no programs criticizing the Soviet Army, the Chinese Nationalist Army, or the Eighth Route Army, and that Koreans are often elevated as pitiable “victims.”
When Japanese people are portrayed as “victims,” it is limited to cases in which the Japanese military or the U.S. military is the “perpetrator,” and there are almost no programs portraying the Soviet Union, China, or Korea as “perpetrators.”
The preceding text has already been published, so it is omitted.
Series “Project JAPAN.”
2009 to 2012.
When dramatizing Ryotaro Shiba’s historical novel Clouds Above the Hill, which has many conservative fans, the documentary makers, who are a nest of leftists, rebelled and, under the pretext of “maintaining balance,” produced what appears to be a lineup of anti-Japanese programs in large numbers as a counterweight, though of course this is only an inference.
Among them were programs that went too far, caused an uproar, and led to lawsuits.
The modern-history portion of the Japan and the Korean Peninsula series is also included.
Project JAPAN Prologue.
Directors: Hideya Kamakura, Shinji Yanagisawa, Yo Hashimoto.
Executive producers: Hideki Masuda, Nobuhiro Kono, Toshihiko Wakamiya, Hideaki Torimoto.
Note: It was fine until it depicted the diplomat Mineichiro Adachi, who became the first president of the International Court of Justice, but midway through it transformed into a pro-constitutional brainwashing program.
It is widely known that Article 9 of the Constitution was imposed on the Japanese government by MacArthur, but NHK, borrowing the words of Kyoto University professor Shinichi Yamamuro, insists that the sources of Article 9 are the Hague Peace Conference, the Paris Peace Pact, and the United Nations Charter.
The American side would line up various pretty words and official principles in order to hide the guilty conscience of imposing a war-renunciation clause on a defeated country, but its true intention was the weakening of defeated Japan.
Regarding Article 9, it was the single command of the war-mad MacArthur, and neither the private draft constitutions nor the Freedom and People’s Rights Movement had anything to do with it.
Do not fabricate history.
JAPAN Debut, Episode 1: Asia’s “First-Class Nation.”
Directors: Kenichi Hamasaki, Yusuke Shimada.
Executive producers: Masayasu Tanabe, Nobuhiro Kono.
Note: The testimonies of the Taiwanese people interviewed were intentionally edited in an anti-Japanese manner, leading to a lawsuit controversy.
The names of the two directors, Hamasaki and Shimada, were no longer seen afterward in documentary programs.
Recently, a comeback? jfldflgkl;gkd;lakd;f.
JAPAN Debut, Episode 2: The Emperor and the Constitution.
Director: Keiji Kurasako.
Executive producers: Arata Hayashi, Nobuhiro Kono, Toshihiko Wakamiya.
JAPAN Debut, Episode 3: The Frustration of a Trading Nation.
Directors: Tatsuo Kobayashi, Yohei Ogura.
Executive producers: Hideki Masuda, Nobuhiro Kono.
Note: A good work.
JAPAN Debut, Episode 4: Military Alliance: The Strategy of the State.
Directors: Yasuhiro Miyamoto, Noriko Misuda.
Executive producers: Arata Hayashi, Nobuhiro Kono.
Note: A good work.
World War Zero: The Russo-Japanese War and the Swirling Designs of the Great Powers.
Director: Takayuki Oshima.
Executive producers: Hiroshi Toriyabe, Masayasu Tanabe.
Japan and the Korean Peninsula, Episode 1: The Road to the Annexation of Korea: Hirobumi Ito and An Jung-geun.
Directors: Yasuhiro Miyamoto and Kenji Ono.
Executive producers: Jun Shiota, Nobuhiro Kono.
Japan and the Korean Peninsula, Episode 2: The March First Independence Movement and Pro-Japanese Collaborators.
Directors: Keiji Kurasako, Hiroshi Ikuta.
Executive producers: Akira Aiba, Nobuhiro Kono.
Japan and the Korean Peninsula, Episode 3: People Mobilized for War: The Era of the Kominka Policy.
Director: Tsukasa Kawaguchi.
Executive producers: Jun Shiota, Nobuhiro Kono.
Japan and the Korean Peninsula, Episode 4: Liberation and Division: The Postwar Years of Koreans in Japan.
Director: Unknown.
Executive producer: Unknown.
Note: Throughout the series, the content is pro-Korean and condemns Japan, but it is valuable as historical material because it depicts the process by which, after the war, Koreans in Japan joined with the Communist Party and ran wild, causing the incident in which they stormed the Hyogo Prefectural Government Office, the Hanshin Education Struggle, and as a result forced the Ministry of Education to recognize Korean schools.
Japan and the Korean Peninsula, Episode 5: How Japan-Korea Relations Were Built.
Directors: Yuzo Hamada, Yong-seung Jeon.
Executive producers: Jun Shiota, Nobuhiro Kono.
Constitution Feature Programs.
The Japan Broadcasting Corporation, which before the war had effectively been a state broadcaster and had vigorously incited war, restarted after the war under GHQ rule as the public broadcaster NHK.
Former NHK director Masaya Shimokawa boasts that NHK is “a wonderful existence born from the idealistic age of the postwar period.”
When one watches NHK’s historical documentaries, the pattern is to worship the victorious nation America as a liberating army and, like a fox borrowing the authority of a tiger, lecture the Japanese people with the face of a victorious nation.
Even after GHQ left, it is as though NHK secretly swore that its mission was to defend to the death the three remnants of GHQ: the Constitution, the Broadcast Act, and the Fundamental Law of Education, though when it comes to the Okinawa base issue, the U.S. military suddenly turns into evil.
NHK has persistently produced many programs related to the Constitution, but most of them are programs that guide viewers toward defending the Constitution, and there are no programs made from the viewpoint of Self-Defense Force members whose earnest wish is to make the Self-Defense Forces constitutional, nor are there any programs explaining the necessity of constitutional revision from the standpoint of national defense.
In order to sanctify the Constitution of Japan, many cases beautify the process of its enactment and use methods that are almost historical revisionism.
In an important issue that divides national opinion, such as the Constitution, a situation in which a public broadcaster produces only programs biased toward one side cannot help but be denounced as privatization of the airwaves and theft of license fees.
The producers of pro-constitutional programs often also have their names listed on programs that demonize the Japanese military.
The Birth of the Constitution of Japan.
2007.
Directors: Kotaro Teranishi, Tomoya Yamaguchi.
Executive producer: Jun Shiota.
A Draft Constitution Born from the Ruins.
ETV Special.
2007.
Director: Tomoya Yamaguchi.
Executive producer: Jun Shiota.
Note: The secret meeting scene between Herbert Norman and Anzo Suzuki was recreated as a drama. sdfajkfjaeiaieieie.
Tomoya Yamaguchi.
He has once been arrested in the act for molestation.
This article continues.