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alt="images"/>kai, 1933), p. 69. Program schedules in Ikei, “1930 nendai,” pp. 149–152.

      36. Ikei, “1930 nendai,” pp. 167–168.

      37. For a stimulating discussion of myth making and imperialism, see Slotkin, The Fatal Environment, pp. 1–48.

      38. See Keene, pp. 259–299; Minami et al., Taish bunka, p. 128; and Gluck, japan's Modern Myths, pp. 135–136, 150, 171–173.

      39. Before Kingu, best-selling magazines had circulations in the 250,000- to 260,000-issue range. Kingu doubled this. Yen books: Minami et al., Shwa bunka, pp. 287–301; Kingu: Minami et al., Shwa bunka, pp. 303–305.

      40. The seven were T

kyd, Hokury, Tkaid, Ryomeid, Uedaya, T-seid, and Bunrind.

      41. In 1926 there were 1,056 theaters nationwide, or one theater per 60,000 people: Minami et al., Taish bunka, pp. 122–123, 128–129.

      42. Sg shuppan nenkan (Tosho kenky

kai, 1932), p. 963.

      43. Shuppan nenkan (T

kyd, 1933), pp. 2, 465–484; Sg shuppan nenkan (1932), p. 963.

      44. Shuppan nenkan (1933), pp. 85–89; Shuppan nenkan (1934), pp. 87–91.

      45. Sakurai Tadayoshi, “Mansh

issun shita hanashi,” Bungei shunj (March 1932), pp. 44–46.

      46. Lieutenant General Sat

Kiyomasa, “Mansh seid to kei-batsu,” Hanzai kagaku (March 1932), pp. 72–81.

      47. Tanihagina Haruo, “Ch

hei no saigo o kataru,” Kdan kurabu (April 1933), pp. 112–124; Mizuno Gon'ichi, “Thik shuki,” Kingu (July 1933), pp. 303–313.

      48. Sakurai Tadayoshi, “Kare no saigo,” le no hikari (August 1932), pp. 211–215.

      49. Araki Sadao, “Hij

ji! Nihon fujin no shimei,” Fujin kurabu (April 1933), pp. 110–113.

      50. Asahi nenkan (Asahi shinbunsha, 1933), p. 675.

      51. Other popular songs included “Mansh

shin kyoku” (Asia March), “Mamore Manm seimeisen” (Defend Our Manchurian-Mongolian Lifeline), “Manshk ressha” (Armored Train), and “Gunji tantei no uta” (Military Spy Song): see Asahi nenkan (1933), p. 675; Rekdo (February 1932), pp. 78,112, unpaginated advertisement; Rekdo (May 1932), unpaginated advertisement. For lyrics to several of these songs see Hamano Kenzabur, Aa Mansh (Akimoto shob, 1970), pp. 116–120.

      52. The productions discussed here are drawn from the movie and play listings in Eiga to engei, 1932–1933. Citation of entertainment reviews and advertisements in this magazine is complicated by the fact that many of the listings are unpaginated and/or lack a title or heading. References to Eiga to engei will therefore be cited as follows: Name of movie or play (with English translation in square brackets): title of review article (where available), title of magazine, date of publication, and page numbers (where available). Kagayaku kokki [The Glittering National Flag]: Eiga to engei (January 1932), p. 31; Kyokujitsu kagayaku Minami Mansh: Hten ichibanj [The First Step into Fengtian: South Manchuria Glitters under the Rising Sun]: “Sens

eiga,” Eiga to engei (April 1932); Hitobashira yonjshi [The Four Heroic Human Pillars]: Eiga to engei (May 1932); Ykannaru rappa [The Gallant Bugler]: “Gendaigeki,” Eiga to engei (June 1932). Other titles included in the film listings were Shanhai sensen yonjri [One Hundred Miles on the Shanghai Front]: Eiga to engei (May 1932), p. 16; Mansh kaishingun [The Great Manchurian Campaign]: Eiga to engei (April 1932); Seik daishugeki [The Great Air Assault]: “Gunji eiga,” Eiga to engei (June 1932).

      53. Sentar Mansh shussei [Sentar

Goes to the Front] and Shshrei [The Mobilization Order]: “Sens eiga,”Eiga to engei (April 1932). Ikeyo wagako [Go to the Front, Boys!]: “Gunji eiga,” Eiga to engei (June 1932).

      54. Aa Nanrei no sanjhachi yshi [Ah! The Thirty-eight Heroes of Nanling]: Eiga to engei (January 1932), p. 32; Hokuman no rakka: yamatozakura! [Japanese Cherries! The Fallen Blossoms of North Manchuria] and Tgen ni fuku ai [Love in the Frozen Plain]: “TСкачать книгу