Update: another American soldier has raped a woman in Okinawa. Here's a picture of the American, Mr. Castellanos:
Here's the link, including pictures of the Japanese continuing to protest Zionist occupation.
"Kenneth Franklin Shinzato, 32, told police on Thursday that he strangled and stabbed 20-year-old Rina Shimabukuro, an office worker from Uruma..."
The occupation of England effects the occupation of America effects the occupation of Japan. Here's a picture of the American rape-murderer:
This American, like the Germans who committed the recent mass rapes in Cologne, is given access to victims whom he would never get near if not for the vampires' careful ministrations.
Pre- and Post-Occupation
What a delightful opportunity was given us by Akira Kurosawa, who was responsible for two propaganda films made within two years of each other during the "second" "world" war. It's not uncommon to see a politician adopt directly contradictory opinions within a short period, e.g., Obama's and Clinton's support for and animosity, respectively, to traditional marriage. After the Great Chemical War for the Founding of Israel, many a propagandist was named a propagandist rather than an artist, and many more were liquidated by Roosevelt or Stalin.
In Japan, where impressions of Mongoloid genetics spared the population from an occupation as brutal as Stalin and Roosevelt's ethnic cleansing of Germany, we find the amazing example brought up at the beginning of this post: a paid propagandist for fascist Imperial Japan becoming a paid propagandist for the American military government, inside of two years, while still retaining (and increasing!) all his prestige and income and artistry. This would be like Hermann Göring not only being pardoned in 1945, but hired back by Stalin or Roosevelt to direct anti-German movies. Yes, Occupied America did force many Nazis to come work on weapons systems to allow Israel to begin its cleansing of the Middle East and Africa, but German artists were either too committed to the truth of their work, or too dead, to be permitted to produce anti-nationalist propaganda immediately after the war.
The works in question are Kurosawa's The Most Beautiful and No Regrets for our Youth, released in 1944 and 1946: when Japan was still trying to prevent the occupation, and when Japan had been forced to accept it, respectively. Wikipedia, humorously and predictably, calls The Most Beautiful a propaganda film, offering a brief and pointless summary, while No Regrets for our Youth gets DVD-cover-style celebratory quotes for insulting the nation and acceding to the occupiers' wishes.
What is interesting about these films, when juxtaposed, is not the fact that they're by the same man, or made so closely to one another, or occasionally borrowing actors and sets, et cetera--those facets serve merely as controlled variables for the truly interesting questions, which deal with the ways nationalist Japan versus occupied Japan wishes to present itself. Or rather, the ways in which the Japanese wish to present themselves, versus the ways the internationalist, bureaucrat-banking, African-exterminating, European-exterminating, Israeli-establishing (sic) occupiers wish the Japanese to think of themselves. With both perspectives crammed through the same man's camera in the same short time period, we have a great basis for comparison.
When we look at the two works side by side, we see, naturally, a national message of hope, belonging, love, responsibility, defense, and future, followed by a rootless, bitter, vindictive, selfish, sterile deathscape. In Beautiful, Yôko Yaguchi plays Tsuru Watanabe, president of a group of women's workers who have volunteered to work in an optics factory to supply Japan's military forces, which are attempting to defend the nation from western invasion. Shortly after the military occupation of the American South, the forces of the Stateless Zone Columbia sailed to Japan, invading the islands with advanced warships, murdering political leaders, and forcing trade agreements on the Japanese. The proto-Zionist American government forced Japan to be its puppet for a planned series of colonizations of Korea and China, building up Japan's military and "encouraging" (forcing) its use in a way that foreshadowed later Jewish puppetmastering of Iran and Iraq during the horrific war over a hundred years later. Led by America into conflict with Imperial Russia over China and Korea, Japan won, weakening the Russian Tsar and smoothing the way for his murder at Bolshevik hands not soon after. China, Korea, Vietnam, and other regions began to feel the sting of this "Japanese" ("American") colonization too, helping spread the mid-1800s communist revolutions to Asia.
After the Russo-Japanese War, America kept selling military technology to Japan, furthering the careers of compliant leaders and officials to draw Japan into war with China, Korea, and other local nations, and giving it a green light that would, again, foreshadow later techniques in the Middle East--such as April Glaspie's Bush-spawned trick against Saddam Hussein prior to the 1990 invasion of Iraq. Japan was somewhat compliant, but not completely--the Japanese people wanted to be independent, and although most probably weren't averse to having an empire (as it was explained to them by helpful "American"-"Japanese" joint propaganda), they still wanted to be Japan, rather than Japan, Inc., a subsidiary of Zion, Inc. Ergo they moved too slowly for the frothing madmen who had plans for the twentieth century.
In the meantime, of course--from the 1850s onward--the same American delegations had been urging Korea to go crazy, and China to go crazy, and then the Bolsheviks took over Russia and it started going crazy without any outward urging. The communist revolution, though, simply didn't spread to Japan. This was a problem: the Bolsheviks had seized Russia around the end of WW1, Germany was under Weimar occupation, banking revolutionaries were fighting in China and Korea, Britain was under Zionist occupation and committed to spend as many of its children as it took to seize Palestine from the Ottoman Empire, and France and the U.S. had both fallen sway to the Reuters news service, their populations committed to demonizing the nations that hadn't yet accepted externalized banking controls. The warmongers in Russia and the U.S. stepped up their infiltration of China and Korea, toppled a few smaller republics here and there, and began closing off raw materials to Japan in preparation for yet another invasion. And yes, we know what happened then--Korean and Chinese "settlers" both began establishing footholds in territory closer to Japan, fighting each other and threatening various little revolutions, and Russia and the U.S. began preparing to move in and establish bases even closer to Japan. Japan, seeing the writing on the wall, sent in a peacekeeping force and established a government in Manchuria. Russia and the U.S. massively increased their anti-Japanese propaganda, moved military forces into readiness to go after Japan, and continued seizing little military bases nearer the nation, while blockading Japan to weaken it for an attack. And then Stalin's man Hopkins and the rest of the Zionists preparing America to seize the Middle & Far Easts, Day of Deceit, and four years later, Stalin has half of Germany, the Jews have invaded Africa again, and America has all the Japanese military bases it wanted to prepare for controlling east Asia. Fancy that.
Anyhoo, in 1944, the women in Kurosawa's fictional optics factory were cheerful, hard-working, and, unintentionally foreshadowing their soon-to-be occupation by blended-Mongoloid forces, singing songs of the 1281 Kublai Khan invasion of the Far East, which destroyed the Chinese Song Dynasty, but which was repelled by Japan. Like that time around, Japan would be badly burned by the festering sources of the Black Plague, and Truman and his blended-Mongoloid handlers would non-metaphorically atomize Japan, but though the Maoist genocide of dozens of millions took China, Japan managed to remain more intact--again, shielded from the hellstorm and the Holodomor by its non-white status. A great loss for the Forsaken vampires, but without that sacrifice, they wouldn't have been able to eliminate western freedom of association.
In The Most Beautiful, the factory workers each bring a scoop of soil from their hometown to build a garden near their dormitory, which helps them get to know one another better, remember their past, and feel their connection to their land and people, including parents and other relatives left behind. They form friendships, encourage one another to perform better, and speak often of how easy they have it in their factory compared to the boys dying on ships to prevent the Jewish firebombers from reaching their families. They hate taking sick days, working hard to cover one another's mistakes and begging the nurses and managers among them to conceal minor illnesses to allow them to continue contributing. At the same time, they struggle to balance the expectations of their parents and society. Torn between the demands of traditionalism and the demands of modernity--in the midst of yet another invasion from the blended Mongoloids who simply won't leave them alone--they put off until later the dreams of marriage, children, and community-building outside the factory dormitory. It's much like American WW2 propaganda films about Rosie the Riveter, but without the horrid taint of Mammon, steroidal denialism, Junior Antisex League, or the vulgarity of Otherism seen in America's pointy-hatted or buck-toothed racial characterizations of Zion's current enemy.
These women are infinitely better humans than bankrolled trash like George Takei, who did honor to his people by graduating from Zionist concentration camps and joining the Jewish masters Kirk and Spock at the helm of an imperial fleet bringing democracy to the galaxy. Their work is done out of necessity, in the common defense against yet another invasion, struggling to keep the Judeo-Bolsheviks and Judeo-New-Dealers and Crypto-Maoists from seizing the small island chain that has been the target for Judeo-western "free trade" ever since it was discovered by the first royally-financed raiding parties.
It's funny because it's true. Moving on to No Regrets for our Youth, we see a much different Kurosawa emerge. The propaganda glove is on the other hand as Kurosawa, under western guns and dollars, revises the time period he'd previously addressed in The Most Beautiful, duly satisfying pre-AIPAC elements. This is also the point in his career when he begins churning out hackney samurai and martial-arts movies to appease western tastes, presenting the Allies' faux-victorious citizens with what they want to see of Japan's past.
The Most Beautiful offers a strikingly different take on its female character(s). While formerly sweet-hearted young girls who wanted to contribute to their friends, family, and communities, the new protagonist is a cold, bitter, loveless woman, who roves from job to job, relationship to relationship, disliking her parents and hating her country because of its aggression in Manchuria. As might be predicted under indirect Zionist occupation, Kurosawa's work makes Japan out to be the random fascist baddie, with no possible reasons except pigheaded greed for why it might have suddenly attacked China. Japan's military commanders, of course, knew that they could no more conquer China than they could Russia. For any other WW2-era power to call the pro-Japanese government in Manchuria a "puppet regime" would be like the pot calling the kettle black, except that it's much more reasonable to say that Japan had a genuine interest in both self-defense and humanitarian intervention by destroying the Chinese communists' forward invasion bases in the region, and freeing Manchuria from the centralized control of imperial China, respectively. Suitably ironic how the West today whines about the oppression of Tibet, without groveling at Japan's feet for a thousand years for firebombing Tokyo after Japan tried to save Manchuria from the dozens of millions (sic) of murders committed by the PRC.
(Chroniclers of Europe at the time will notice the similarity between Japan's need to prevent invasion via Manchuria and Germany's need to prevent invasion via Poland, which was then under the leadership of the insane Józef Piłsudski, both of which actions--Japan's and Germany's--earned a similar response from the union between Stalin, Roosevelt, and world finance. Sic. Coincidentally, Piłsudski was considered a hero of the Jews in Poland for protecting them from mass populist accusations of financial and governmental fraud, and for threatening to invade portions of Germany to establish a Polish empire. The Poles were later rewarded for their service by the Katyn Forest Massacre. I think the operative phrase is, "Thank you goyim.")
The characters of Kurosawa's pre-war and post-war women represent a great split between women being strong and capable prior to occupation, and women being miserable cubicle dwellers post-occupation. The Most Beautiful ends with its girls looking forward to rich, full lives, actually having no regrets for their youth, while No Regrets for our Youth ends with a barren older woman bemoaning her miserable, lonely life, but insisting (repeatedly and vocally) that it was all worth it and that she has no regrets because she realizes how it really was the right thing to assist the Maoist Chinese invasion. Only through protest, of course; she doesn't actually join ISIS so much as she hangs out with some of the men who urge surrender to ISIS. Unlike the factory workers in The Most Beautiful, the No Regrets... female lead Yukie has neither a stable job nor family, her only "friends" being the university co-protesters who immediately vanish after the protests, leaving her to waste away a despondent decade.
Yukie's life is cinematically characterized by miserable, righteous acceptance of the American occupation. Here, the propaganda is more subtle than in The Most Beautiful, and far more horrible. Even if the factory workers in The Most Beautiful lose the war, they see themselves accurately, as part of the long historical trend of Japan repelling Mongoloid invasions. Their love and respect for one another, their families, their hometowns, and their mission, gives them something valuable to stand for. These are women who will withstand the occupation, pass on their wisdom to a new generation, and be willing to punish the rapists who have invaded their country, and perhaps even to one day expel them entirely. Like women in occupied Europe who were raped by Stalin's forces or by the African rapists imported (mostly from Algeria) by the Zionist occupation in 1945, Kurosawa's first set of woman have the mettle to survive, and something to survive for and believe in. Yukie's life, by contrast, is not only lonely and pointless, but leaves her with no allies. Maoist China, for whom she supposedly sacrificed her youth, is busy liquidating people by the ton, and the "noble saviors" in America are already planning the next stage of the great game in southeast Asia, leaving behind garrisons of violent enlisted Africans, Aztecs, and the occasional Iowa farmboy to rape and slash preteen Okinawan girls for the next seven decades without consequence.
Kurosawa did his job well. The shift in focus of a life-goal--beauty, community, and togetherness being transmuted into noxious rootless loneliness and post hoc justification of an intangible good that ignores dozens of millions of dead people--telegraphs Hollywood's twentieth century work. The messages that had to be gently eased into American culture were instantly slapped in the face of occupied Japan, such that, in hindsight, we can see how efficiently and elegantly Kurosawa portrayed the horrors awaiting the Stockholm Syndromed citizenoid of the occupied future world. Unlike the drunken hobo and forger Oskar Schindler, the real-world Yukies were not even honored as Righteous Gentiles for trying to destroy their people from within and welcome the invasion of NATO's Algerian rapists or Stalin's secret police. Theirs is the true fate of those who believe the occupation is their friend: sterile misery in a crumbling land, with the scoops of soil from a forgotten hometown lying beneath the asphalt of a landing strip, which, on Friday nights, releases packs of feral imported rapists to cut apart the vaginas of those few girls who still remain.