Hostname: page-component-78c5997874-s2hrs Total loading time: 0 Render date: 2024-11-06T23:31:15.225Z Has data issue: false hasContentIssue false

Champion of Justice: How Asian Heroes Saved Japanese Imperialism

Published online by Cambridge University Press:  23 October 2020

Extract

With a catchy theme song and exotic scenery from the South, Kaiketsu Harimao (“Fast Thief Harimao”) made its debut in Japan on 5 April 1960. The first domestically produced television movie broadcast in color and the first to have locations overseas (notably in Angkor Wat), Harimao ran until June 1961, with a total of sixty-five episodes. Harimao opens with a procession of native men—their nativeness marked by their sarongs and painted dark skin—walking warily along the beach. They are vigilantly guarded by British soldiers with guns and whips to enforce the march. The opening scene not only establishes the exotic locale of the south but also accentuates the opposition between master and slave, between white and nonwhite races. As a soldier strikes down with a whip, the camera cuts to the lower torso of a man wearing a gun holster with a tiger-figured buckle and then moves up as the man pulls his gun and ires. Our hero wears a white turban and dark sunglasses. His shots send the soldiers' weapons flying. He mounts his horse as the camera zooms out to show him on a distant cliff, underscoring his extraordinary marksmanship. After the startled soldiers ask, “Who's there, who's that?” in unison with the hopeful natives, they shout, “Harimao, Harimao, it's Harimao!” and the airy and melodious theme song begins. As the credits roll, Harimao and his followers defeat the British soldiers and free the natives. The lead-in ends with the natives waving gratefully as Harimao and his men gallop off in triumph.

Type
Theories and Methodologies
Copyright
Copyright © Modern Language Association of America, 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Ching, Leo. “Japan in Asia.” A Companion to Japanese History. Ed. Tsutsui, William. Malden: Wiley, 2009. 407–23. Print. Blackwell Companions to World Hist.Google Scholar
Halliday, Jon, and McCormack, Gavan. Japanese Imperialism Today: “Co-prosperity in Greater East Asia.” New York: Monthly Rev., 1973. Print.Google Scholar
Fujio, Nakano. マレーの虎 ハリマオ伝説 [Tiger of Malay: he Legend of Harimao]. Tokyo: Bungei Shūnshū, 1994. Print.Google Scholar
Eiji, Oguma. 「民主」と「愛国」:戦後日本のナショナリズムと公共性 [“Democracy” and “Patriotism”: Nationalism and the Public Sphere in Postwar Japan]. Tokyo: Shinyōsha, 2002. Print.Google Scholar
義賊 「マレーの虎」 死の報恩 昭南に薫る [Righteous Bandit, “the Tiger (Harimao) of Malay.” Restitution through Death. Expires in Singapore]. Yomiuri Shimbun 3 Apr. 1942: 2. Print.Google Scholar
Shimizu, Hajime. Southeast Asia in Modern Japanese Thought: The Development and Transformation of “Nanshin Ron.”Canberra: Dept. of Pacific and Southeast Asian History, Research School of Pacific Studies, Australian Natl. U, 1980. Print.Google Scholar
Takashi, Yamamoto. ハリマオ: マレーの虎 六十年後の真実 [Harimao: Tiger of Malay, the Truth after Sixty Years]. Tokyo: Taishūkan Shoten, 2002. Print.Google Scholar
Tūru, Yano. 南進の系譜 [The Genealogy of the Southern Advance]. Tokyo: Chūōkōronsha, 1975. Print.Google Scholar