A new book from Japan appeared on the scene, "The Other Persona" written by a Japanese-lady academic named Kenko Kawasaki. The book-cover at right shows Yoshiko (clockwise from top left) in her films "Escape at Dawn", "Japanese War Bride", and "Eternity". (if I am not mistaken, Kawasaki does not include "Eternity" in her analysis of Yamaguchi).Completed the Graduate School of Letters, Tokyo Women's University. Doctor (literature). Literary critic and Rikkyo University specially appointed professor. Major publications include "Their Showa-Kaitaro Hasegawa, Jiro, Hiji, Shiro" (Suntory Academic Award, Shiramizusha, 1994) (This data was published at the time this book was published.)
Introduction
Chapter 1, "Koran Lee" birth and "father" who
1 says Koran Lee - Yoshiko Yamaguchi interview
2 "Koran Lee" birth
3 father, someone from the Fumio Yamaguchi
Chapter 2 in search of Phantom in "China Night"
1 Mitsuru Film actress "Lee Koran" of birth
2 "China night" of censorship and the Greater East Asia Co-prosperity sphere
3 of wartime was seen in the United States, "China night" - propaganda analysis
"night of China" in the 4 GHQ occupation evaluation
Chapter 3 "My Uguis" [My Nightingale] and Russian Connection
1 "My Uguis" now in stock
2 Mystery of my best friend Luba
Chapter 4 Shanghai movie and her
1 Solitary island Shanghai-Gray Zone
2 Concession Shanghai movie and intelligence
3 Movie "Shanghai Woman"-Transposition and Reorganization of Representation
Chapter 5 "Li Kaoran"-Exposure and Mythical Desire
1 Body spanning the whole day
2 "Li Kaoran" Japanese theory penetration power
Chapter 6 Taijiro Tamura and her
1 Two people under wartime
2 Censoring facts – What is “Spring Woman”
Chapter 7 Birth of “Shirley Yamaguchi”
1 She during the GHQ Occupation
2 USA for
Chapter 8 “ Birth of "Noguchi Yoshiko"
1 Girl in a Hollywood movie
2 Pearl Buck and her
3 Ayako Ishigaki and her
Chapter 7 Red-hunting America and her
1 From "Yoshiguchi Yamako File" held by the American Archives-"Russian Christmas Case"
2 Father and China
3 Canon Organization
Chapter 8 Hong Kong Movies "Li Kaoran"
1 Post-war "Li Kaoran" boom
2 Collaborative movie "White Mrs. Youkoi" [ie, Madam White Snake]
Afterword
Main References
Main Person Index
- Book: 251 pages
- Publisher: Iwanami Shoten (2019/3/27)
- Language: Japanese
- ISBN-10: 4000253247
- ISBN-13: 978-4000253246
- Release Date: March 27 , 2019
- Package size: 19.6 x 13.8 x 2.4 cm
[Comments by John M.]: Although I have not had a chance to read the book, it seems from book reviews and other reader comments (below), there are some serious questions raised about (1) historical details of Yamaguchi's life as recounted in her memoirs, and (2) her relationship with Kawashima (the so-called 'other' Yoshiko). Kawasaki Kenko claims to have drawn a new portrait of Li Xianglan based on various sources. It will be interesting to see if she credits this website with some of the information she uses in her book (since there is no other website on the net which reveals so much about Yamaguchi's actual life).
The impression I get is that Kenko feels that Kawashima received 'the short end of the stick' from history, and she thinks Yamaguchi had something to do with that by providing intelligence which helped to seal Kawashima's fate (ie, being executed in 1948).
Kawasaki also states there are no trial documents; there was only the briefest of proceedings and not really a trial as such, and that Kawakita had arranged the acquittal in advance with the head-judge of the court. If I'm not mistaken, Kenko also states there was only this one man acting as judge and jury, and not a ten-person court (all of which significantly reduces the dramatic portrait of escaping the death penalty which Yamaguchi draws in her memoirs). However, I would like to mention that Yoshiko is quite candid in her memoir about the fact that Kawakita was dealing directly with the chief-judge (and even names Chief Justice Ye several times in her memoirs), so this particular point is not in dispute).
"Another Persona --- Lee Kaoran / Yoshiko Yamaguchi / Shirley Yamaguchi" by Kenko Kawasaki
Iwanami Shoten, March 2019
Review by Yoshino
Sugahara - Kansai University Faculty of Letters / Chinese-speaking film
history
Eizōgaku, No.104, pp.264-268, 2020 © 2020 The Japan Society
of Image Arts and Sciences
In "Kangde 5 Years" and "Manchukuo Film
Association Guide" published in 1938 AD, one of the missions of
"Manchukuo" is "Once an emergency occurs, borrow a movie and
fight domestic and foreign thoughts! It is said that it is clearly stated that
"we will fight the publicity war! Lee Kaoran, who made her debut as an
actor in "Mitsuzuki Kaisha" that year, hid that she was a Japanese
"Yoshiko Yamaguchi", and she was a "pro-Japanese" Chinese
actor in "ideal warfare" and "promotion warfare". It was
decided to stand on the front line. In two autobiographies published after the
war by Yoshiko Yamaguchi, also known as Lee Kaoran, "Living Kaoran My Half
Life" and "Living" Lee Kaoran "-My History", as Lee
Kaoran with deep and intense remorse, and apology. A living half-life was
recollected.
Kenko Kawasaki's "Another Girlfriend --- Lee Kaoran /
Yoshiko Yamaguchi / Shirley Yamaguchi" (hereinafter, "this
book") was created through Yamaguchi's autobiography, "Abandoned the
actress" Lee Kaoran "who was used for national policy and pretended
to be Chinese despite being Japanese, and started again as Japanese Yoshiko Yamaguchi.
"(Page 6 of this book).
" Lee Kaoran Myth "(page 82 of this book), is an
effort that has been enormously and elaborately annotated from the perspective
of information warfare. The technique of skillfully using multi-archival
materials was also wonderful, and there were many things for the reviewer to
learn. This book also reconsiders Lee Kaoran and related representations as a
continuous "text" (page 120 of this book) that runs through the
postwar and prewar days, on a magnificent scale that crosses the Pacific Rim and deconstructs the "Li Kaoran
myth". It is also a book. Excellent book reviews have already been
published in the fields of Japanese film research and Japanese literature
research, but in this paper, I would like to read this book with some notes
from the standpoint of the Chinese-speaking film history, which is the
specialty of the reviewer.
Suitable for the thrilling theme of information warfare with
Lee Kaoran, this book begins by carefully pulling out the thread from her
slightly visible historical "Horobi" between the lines of Yoshiko
Yamaguchi's autobiography. The most dramatic scene in "Li Kaoran
Myth", the "Hanjian Trial" in February 1942, and the
"escape drama" of the death from it do not match the actual history
of the Hanjian Trial. From the autobiography of Li Kalan, "something seems
to have been told down" (page 4 of this book), the author pulled the
thread of "Horobi" one after another, and gradually sewed the seam of
the fabric called "Li Kalan myth". Open to.
Chapter 1
presents the possibility that his father, Fumio Yamaguchi, and his two adoptive
fathers, Li Jichun and Pan Shugui, had a mutual relationship in the network of
information warfare during the Sino-Japanese War, and the birth of actress Lee
Kaoran. Previously, the aspect of "The speculation of the Sino-Japanese
Information War was awkward" (p. 22 of this book) is presented.
"Li Kaoran," who was born between the information
warfare between Japan and China, will become a symbol of "ideal
warfare" and "promotional warfare," which will gradually spread
throughout the Asia Pacific War.
In Chapter 2,
we will clarify the real image of Lee Kalan's masterpiece "China
Night", in which multiple versions different for each country or region to
be distributed were produced, and concretely the movie as a tool for
information warfare. The existence is carefully demonstrated. Here, the
reviewer recalled Daika, who was operating as a Japanese film specialty theater
in Shanghai under Japanese occupation.
(Roxy) This is a record left by Shunichi Chiba, the director
of Daigiin. According to the "Daika Daigiin Report" written by Chiba
himself, the selection of Japanese films at the hospital excludes Japanese
people and those who may have a "bad" image of Japan, or
"inconvenient" scenes. Was screened by cutting it out by Chiba
himself. When it came to "China Night," he even told Tsuneo Hazumi of
China Film, "I don't know if you're the director or the director, because
I'm going to make a movie without permission." (China Film Research
Institute, 1944, p.11). Now there is no way to tell if that famous slap scene
was the target of the excision, but in any case, which version is currently
known for the "Chinese Night" screening in Shanghai? It is different
from the version, and it is highly possible that the content was modified to
"consider" the intentions of the Chinese audience in Shanghai.
Therefore, it can be said that the existence of multiple versions of
"China Night" examined in this chapter raises the need to reexamine
the actual situation of "movie warfare" in Japan from an empirical
point of view.
The information war between China and Manchukuo during the
war also cast a strong shadow on the production process of "My
Nightingale," which has long been regarded as a "phantom movie."
In Chapter 3 "My 鶯"
and Russian Connection, "Manchukuo" is a multi-ethnic nation that has
both white and red Russians in addition to the "Five Races" in the
process of producing "My 鶯". It depicts a mixture of various intelligence
networks in "Sukoku". In addition, her network also included a
Russian nanny, Liuba, who had a great influence on her childhood Yoshiko
Yamaguchi. And behind the anecdote that Liuba, who happened to appear in
Shanghai, saves Yoshiko Yamaguchi, who was in trouble during the "Hanjian
Trial", the climax of "Li Kalan Myth". It is suggested that there was an inevitable
intellect beyond "innocent friendship" (p. 80 of this book).
In Chapter 4
"Shanghai Films and Her", the post-war Yoshiko Yamaguchi starring
"Shanghai Woman" [Shanhai no onna] is reread from the perspective of
the "wartime period" that forms the basis of this book. Published in the fall of 1943, "Mansei
Ryuho" made the name of Lee Kalan, who became known in Shanghai for the
popular "Sushu Yakyoku" at the beginning of the year, even more
famous. The Shanghai film industry is a "magic city" swirling with
the speculations of all parties and ethnic groups, such as her CC sect of the
Kuomintang, "Green Gang", Chongqing sect, and Toa Dobunkan, which was
an educational institution but also responsible for intelligence activities. It
was. In a movie magazine in Shanghai, Lee Kalan was actively introduced as an innocent
actress of "long eyelashes" and "her beautiful voice like a
bell" from "Manchuria" after "Mansei Ryuho". However,
contrary to that image, the author suggests in this chapter that Lee Kalan was
not unrelated to Shanghai's multi-layered intelligence network. Furthermore,
the author "represents intelligence activities that cross Japan and China
during the Sino-Japanese War, or between the Chinese Nanjing government and the
Chongqing government" (pages 119-120 of this book),
"Woman in
Shanghai" Is re-evaluated as a work "located at the node of
Japanese-Chinese film exchanges in the'Kansen period'" (p. 119 of this
book), and complete proof is virtually impossible for her Lee Kaoran and her
intelligence. Attempting to complement the relationship with the network.
Chapter 5
focuses on the situation in which the "Li Kalan Japanese Theory" was
widely disseminated from an early stage, albeit in a limited way. While it was
pointed out that Lee Kalan herself was also skillfully using the "Li Kalan
Japanese theory", both Japanese and Chinese had a strong desire for Lee
Kalan to be Chinese, and he (Mr. Li, a film executive] said, "Don't
destroy our dreams [by revealing you are Japanese]. It is persuasive to point
out that she not reveal her origin "to meet the expectations of those who
want it." In the wake of Wang Rong's treatise, Lee Kalan's statement that
"super-ethnic ambiguity matched the image of a unified Asian community in
political promotion" also made the highlight of this chapter. It can be
said that it is. As far as the reviewers are concerned, the real name of Lee
Kalan was published in newspapers and magazines in Shanghai and Beijing in the
first half of 1940.
It was often reported
that she had multiple notations such as "Toshiko Yamaguchi" and
"Toshiko Yamaguchi". One of the most interesting reviews that the
reviewer saw was an article published in Shanghai's "Shen Bao" on
January 10, 1943, just before Roxy Daigiin opened as a Japanese film specialty
theater. "Yamaguchi", the Chinese name is "Shan kou", and the Manchurian name is "Li
Kalan". (Zhou, 1943). This situation suggests that her representation of
Lee Kaoran, who is unevenly distributed across China, Japan and
"Manchukuo", is consumed in the media, rather than her nationality
being questioned. It is the fact that it was done. Perhaps it can be said that
"she" played her Lee Kaoran while being fully aware of that.
The "Li Kaoran myth", in which "Li
Kaoran" disappears with the defeat and she regenerates as "Yoshiko
Yamaguchi" after the war, spreads one after another after Chapter 6. Her
image of Lee Kalan has not disappeared, and as she continues her variations,
she is ubiquitous in occupied Japan, Hollywood, and Hong Kong.
Chapter 6 "Tamura Taijiro and Her," focuses on the
relationship of Yoshiko Yamaguchi and Taijiro Tamura, who had a relationship
with her family. Taijiro Tamura, who was dubbed the "physical
faction," [ie, Physical Literature] is also known as the author of the novel
"Shunpu Den," [Story of a Prostitute]. Yoshiko Yamaguchi's postwar
work "Akatsuki no Dassou," [Escape at Dawn] was based on Shunpu Den, but
the work was revised by CIE censorship [ie, the story was changed to ‘entertainer’
instead of prostitute] "Revision" was requested, and the
intention of the original and the image of the Korean comfort women were
greatly changed.
Even the opening title of dedicating to the "spirit of
the compatriots" who became the "sacrifice of the war of
aggression" was inserted. However, what Yoshiko Yamaguchi played there was
nothing but her Ji, who is an image of her Lee Kaoran who speaks Chinese and
shows off her beautiful voice.
In Chapter 7,
The Birth of “Shirley Yamaguchi". the stage name "Shirley Yamaguchi"
was already mentioned when Yamaguchi later advanced to Hollywood in the close
friendship between the GHQ Occupation Force and Yoshiko Yamaguchi. It is
carefully proved that it was used. The author points out that this
"American name" is "a symbolic unique name that tells the
reverberation of" Lee Kaoran "and life extension and rebirth."
Not only that "Shirley Yamaguchi” in a cheongsam at a performance in
Sacramento in 1950. She sang "Chinese Night". Continuing from the
previous chapter, this chapter also clarifies the collapse of the "myth"
that Lee Kaoran disappeared with the defeat of Japan, and highlights the
continuity of the war and before and after the war from the perspective of the
war period.
Chapter 8
"Until the Birth of'Noguchi Yoshiko'" has a lot of evidence about the
inseparable relationship between "She" who started working as
"Shirley Yamaguchi" who came to the United States in 1950 and
"Li Kaoran" before the war. Stacked. The author is Yoshiko
Yamaguchi's "Higashi wa Higashi" [Japanese War Bride] and "Tokyo
Dark Street " [House of Bamboo], both of which are melodrama in which
women from defeated countries are connected to men from victorious countries,
and there is a continental trilogy played by Lee Kaoran. It leads to finding
continuity with the part work. She [Kenko] concludes that "Shirley
Yamaguchi" was released from the wartime national film, but "was not
free from the contradictions and conflicts between nationalism and
gender."
In Chapter 9,
while unraveling the "Yoshiko Yamaguchi File" containing documents
created by both CIC and FBI, which is held by the National Archives and Records
Administration of the United States, we will discuss the words and actions of
Yoshiko Yamaguchi after 1947. Information is reviewed. While pointing out the
deficiencies in the CIC investigation, the author finds the fact that CIC was
paying attention to the relationship between Yoshiko Yamaguchi's father, Fumio,
and the Chinese intelligence authorities. As she suggested at the beginning of
this book, Fumio Yamaguchi appears to be
an important figure in intelligence activities in wartime China, but in the
"Yoshiko Yamaguchi File" and in other related official documents , the
real image is not clear. However, the existence of such a father is always a
pair of intelligence before and after the war, despite the fact that he is
"not aware or self-conscious of her as an agent" in intelligence
activities.
By the time Yoshiko Yamaguchi, who became an elephant,
behaved as "selecting a partner, managing information, responding to
cross-examination, diversifying risks, all skills are excellent" (p. 209
of this book), "I will train her.
(Page 210 of this book). And she is also stepping into
Yoshiko Yamaguchi's complicated feelings toward [her] such a father.
In the final chapter,
"Hong Kong Movies Li Kalan", while following several important recent
research results, after confirming that "Li Kalan" has caused a boom
again in postwar East Asia and Southeast Asia, Japan-China relations. It is not a "plan" limited to
"binary relations", but "a continuous change from the
Sino-Japanese War period to the Cold War period in the Chinese cultural sphere
spreading to Southeast Asia such as Hong Kong, Taiwan, and Singapore. (Page 228
of this book) is pointed out. Then, the focus was on the boom of Lee Kaoran in
postwar Hong Kong, and the transformation to the Japanese-Hong Kong joint movie
"The Legend of the White Serpent" and Japan's first color feature
animation "The Tale of the White Serpent". Closed with a
never-ending, lasting image.
According to Chinese media reports during the war, Lee Kalan
skillfully manipulated Chinese, Japanese, and English, repeated cross-border
movements using flying planes, trains, and steamers, and was enthusiastic about
vocal and piano lessons. The appearance of always working was emphasized. Often
in interviews with Lee Kalan her ‘busyness’ was described in a document style. During the
interview, the phone suddenly rang and started a meeting in Japanese (Lu, 1944,
p.24), and suddenly Lee Kaoran, surrounded by foreign reporters, showed off her
feat of responding simultaneously in three languages. There was even an article
telling how [she did] it.
(Chen, 1943, p.41). In the representation of Lee Kalan in
the Shanghai era, the images of "busy", "cross-border", and
"multilingual" are over-produced. In this way, Lee Kaoran undoubtedly
played "The image of a star that fits the style of Daitoa" (p. 135 of
this book), and was active in the center of the movie work of "Greater
East Asia Co-prosperity Area".
On the other hand, it is known that in the foreign
production of Japanese films, neither Shanghai nor the south could come up with
effective countermeasures against American films. In fact, in an interview
article in Shanghai, Lee Kalan replied that her favorite movies were "Gone
with the Wind" (1939) and "Rebecca" (1940).
(Road, 1944, p.23). "Gone with the Wind" was a big
hit in Shanghai after the establishment of China Film, and it is a work that
left behind a kind of trauma for those involved in China Film. If the new star
of Manchukuo, who picks up such an "enemy movie" as her favorite
movie, has survived in the intelligence network as this book suggests, then
"she" is At what node of the network of intelligence did you stand?
And how many standing positions were there? "She" may leave room for
further pluralization.
Literature Sources
Chang Hu and Koizumi, Manei: Aspects of National Films,
translated by Takeshi Yokochi and Fusako Ma, Pandora, 1999, p. 33. Zhou Yu,
"Toa-like Asterist (1) Lee Kaoran," Shinshinho, January 10, 1943, p.
4.
Chunghwa Telecom Research Institute, "Daihua Daigiin
Report --- Japanese Film Specialty Museum Contrast Chinese", Chunghwa
Telecom Research Institute, 1944.
Chen Yi "Press Conference Lee Kaoran",
"Shinkage-ryu" first issue, 1943, p. 41.
Road Life "Li Xiaohui Theory", "New
Gindan", Volume 3, Phase 1, 1944, pp. 22-24.
Lu Wu, "Li Kaoran Singing, Business, Love and
Marriage," "Shanghai Kagedan," Vol. 1, 11th Period, 1944, pp.
24-25.
[this is one of the best Book Reviews I have been able to find - John M.]
========================================================================
https://book.asahi.com/article/12495888
"Another Girl, Li Kaoran / Yoshiko Yamaguchi / Shirley Yamaguchi"
by Yousuke Mamiya - Asahi Shimbun of June 29, 2019
Aoyama Gakuin University Project Professor = Socioeconomics
Born 1943. Professor emeritus at Kyoto University. His books include "Economics as Moral Science", "Keynes and Hayek", "Corporate Firms and Contemporary Capitalism", and "Reading Maruyama Masao".
"She" is active in Manchuria, Japan and the United States and has many names. Based on the new material, she comprehensively recaptures her life, her place of living, and the trajectories of her cross-borders, and draws a completely new image of "Li Kaoran." …
Another Girlfriend, Li Kaoran/Yoshiguchi Yamaguchi/Shirley Yamaguchi [Author] Kenko Kawasaki
The name Li Kalan was given by my father's friend, a Chinese adoptive father. It seems that few people doubted that she was born in Old Manchuria and speaks the same Chinese as her mother tongue is Japanese. Therefore, immediately after the defeat, she is put to trial in Hanbok, but at the last minute, she returns to Japan with the testimony of Japanese Yoshiko Yamaguchi. This is the climax of her autobiography (co-authored with Sakuya Fujiwara).
From Li Kalan to Yoshiko Yamaguchi. Her life as a single life was made into a myth as a story of a woman who lived in two eras during and after the war, and was often made into a drama.
The author of this book has not questioned that the autobiography depicts a life-size self without adaptation. However, there is another girlfriend in Lee Kalan who has left the life-sized Lee Kalan. It is, so to speak, "Li Kaoran" with brackets.
Japanese national policy film company (Manei) must hide that signboard actress Lee Kaoran is Japanese. Once that feature is exposed, the love story of men and women across nations becomes an outright Yarase movie. On the other hand, if she were Chinese, the heroine who fell in love with the Japanese would be an unbearable humiliation for the Chinese audience. The presence of a hanging man who is neither Japanese nor Chinese, and that's another girlfriend, "Li Kaoran."
Such a "Li Kalan" does not always disappear even if Li Kalan returns to Yoshiko Yamaguchi. It was the Japanese role of the war bride who first advanced into Hollywood after the war. The stage name Shirley Yamaguchi is a rhyme of the former Li Li Shanlan in both name and role.
Discussing "another girlfriend" is to open the myth of the self-contained human Li Kalan to the outside. It can be said that it is an attempt to analyze the symbol "Li Kanglan" that floats away from the body. This book is a work that was born where "two girlfriends" met, an academic effort to describe what an autobiography could not tell.
◇
Kawasaki Kenko Literary critic. Rikkyo University specially appointed professor. Her books include "Girls' Day", "Their Showa" and "Takarazuka".
========================================================================
The following are 4 reader reviews posted on amazon.jp followed by other reviews:
The basic concept is to solve the contradictions and questions of the recollections that Yamaguchi Yoshiko wrote in her life, based on various materials. One of the materials is the national institutions such as OSS (predecessor of CIA) and FBI. It is by the investigation data. It is said that some of the materials were smeared even after more than half a century.
For the American authorities, who had changed from the common-minded [concerns] of the Roosevelt era to a moral panic of fear of communism, "Kilan Lee" was a delusion to the public. You can read the part about movie making in wartime China together with Eiji Otsuka's "Tezuka Osamu and Wartime Media Theory". As a closing of this book, I also touched on Yoshiko Yamaguchi's appearance in Hong Kong movie and the re-acceptance of "Li Koran" in Southeast Asia, and how the recognition that the disappearance of Imperial Japan and the disappearance of Lee Koran are equal is local to Northeast Asia. I know if there isn't, but I wanted you to devote a little more pages here.
The question I personally have is whether there was a re-acceptance of "Lee Xi Lan" in South Korea. As is well known, Korea has long prohibited commercial screening of Japanese movies, but Hong Kong movies were imported to fill the gap. Did Hong Kong's Lee Hong Lan movie not be imported in Korea, which has become a new market for Hong Kong movies?
As an aside, a Chinese Malaysian rock'n'roller song called "Elvis of Malaysia" clearly has a love song with English lyrics in the same melody as "Yorika". As a test, when I tried to write "'Yorika"?" in the comment section of the video posted on YOU TUBE, a Chinese answer came after a while. If you read the text without knowing it, it seems that it is well known that the song is an adaptation of "Yorika". The world is wide.
"She" was not only an actress of a movie star with an exceptional appearance, a talented singer but also appeared on TV, and was found by Kakuei Tanaka, and "successful" as a politician for the 18yr term of the Upper House. [Her] life is Manchuria, China, Japan, and America on the horizontal axis, and from prewar to wartime and the occupation period to postwar time on the time axis. It was deeply related to political warfare, advertising warfare, and information warfare. Yamaguchi herself has written a number of "autobiographys" ("Li Kaoran: My Half Life", "Living on Li Kaoran-My Resume", "War, Peace and Song-Li Kaoran Road"). However, what was said in [them] contained a number of neglects, arrogances and deceptions, as sharply pointed out in this book. Was [she] at the mercy of the war, or did you go against it? There are various hints and metaphors instead of simple <good and evil> <light and shadow>. It is also a challenge to the reader's insight and knowledge.
Since the reviewers know little about the history of film, there is no qualification to review it. There is some knowledge about history and intelligence, so I would like to discuss it to that extent. Her three fathers played an important role in the modern history of Japan and China.
Her father Fumio Yamaguchi, studied at the Beijing Academy and worked at Mantetsu in a political strategy. Became the "adopter" of General Li Liu Chun, a warlord on the Japanese side due to the Manchurian Incident, and became the source of the stage name "Li Kaoran". In addition, she became the adoptive daughter of Pan Yugui, who became a mayor of Tianjin after graduating from Waseda University.
How do you see the existence of these three fathers? Moreover, Japanese military intelligence personnel who appeared in the surrounding area; Kenji Doihara, Sadaaki Kagesa, Ryo Yamake, etc. Japanese intelligence agencies ran rather badly to rely on conspiracy-based activities such as assassination, kidnapping, monetary awarding, profit guidance, and position security, rather than simple and straightforward intelligence activities. However, there were many cases where the Chinese side, who had a deeper sense of luck, took the ball and ended up in a bad condition. In addition to the anecdote that the interpreter Alexander, who was associated with the movie "My Ugui", was a Soviet spy, another story of the Russian friend Luba, who was a "best friend," proclaimed "I am Bolshevik". I don't want you to end it.
I would also like to request access to the Russian Archives, which was opened after the collapse of the Soviet Union. Also, the anecdote of J. Cannon of G2 of the GHQ in the Occupation period in Japan, who followed her, would not end with <no love>. It is a surprising fact that she was able to visit the US and live in Hollywood and Broadway despite the occupation period. What [she] met there was the "red [influenced]", Eitaro Ishigaki and Ayako, and the destined painter/sculpter Isamu Noguchi.
There are three names in the title of the book, but there are two more names in the marriage of painter Isamu Noguchi and diplomat Hiroshi Otaka. Hiroshi Otaka is in a surprising relationship with Shin Onodera's relative (the son of his second daughter), who had been relegated to the wartime military stationed in Sweden in the world of intelligence. I wonder if [she] ever met Onodera in China.
Last but not least, from the viewpoint of considering the modern history as the "war period" from the 1930s of the Showa Depression advocated by historian A. Gordon to the 1950s after the Asia-Pacific War, she would be a good subject. However, I honestly say that understanding from that point of view is still not easy.
If it were made into a movie, would it be
starring; Li Kalan
supporting; Luba, Yoshiko Kawashima, Isamu Noguchi, Pearl Buck, Taijiro Tamura, Masahiko Amakasu, Fumio Yamaguchi
As for me,
there was once a magazine with a sheet record called "Asahi Sonorama", and I was often struck by the voice of Yoshiko Yamaguchi about the North Peninsula that was divided into north and south in a certain issue. I remember [her] having a very beautiful voice.
The other was watching the DVD of the American movie "Bamboo House in Tokyo Underground" that Shirley Yamaguchi will give Americans a bath. It was a very beautiful actress.
I am very pleased to have published a research book about her, which has a deep insight that is incomparable to those of today's flimsy "beautiful woman".
For the author and author of "Rikkyo University Researcher Information," "Cross-borders of culture (literature, film, drama, performing arts) during the war, colonies, and GHQ occupation," Lee Kolan's research is at hand. It is a research book that has been packed with detailed reading over the years, but I am also endlessly interested in non-professionals like me. The intention of this book is "Turning off the biography." No matter how honest an autobiography is, as long as the person writes it, there should be unintended mistakes in addition to the intended omissions, concealment, etc., and I will try to reveal them in the surrounding situation. .
The difference from the autobiography "discovered" by the author in the order of writing is that the Khan Party government started the trial of "Hanjian" in the beginning of April 1946, but Li Xianglan returned home on April 1, 1946. , Has not been tried. The title of the shogun when she was adopted by Lee Ji-chun in 1933 was written as "Kojiya" by the governor of Shenyang Bank, which was founded in 1936. The first co-star with Kazuo Hasegawa in "Shina no Yoru" was in 1939, and the first encounter with the original author, Masao Kume, was in 1940. Lyuba, a close friend of Russia who suddenly disappeared from Mukden in May 1934, suddenly appeared at the "Li Kalan fantasy" music concert in Shanghai in May 1945. That's why I said "." In fact, Lyuba has been in Shanghai since 1942 and was in contact with the Japanese "Shanghai Army Press Department" film clerk, and was planning to import Soviet movies with the Japan-Soviet Non-Aggression Treaty as a shield. The author says that she must not know the flower-shaped actress Lee Kaoran of "Chinese movie" company. The area around Lee Kaoran suddenly becomes political.
This book lists everything from subtleties to "mistakes" that cannot be overlooked, but these are not simple errors by Yoshiko Yamaguchi, who was said to have been "the most ardent collector and reader of literature and materials" about herself. However, the one who was intentionally omitted is the father, Fumio Yamaguchi, a key person in the Chinese era. He has vague titles such as "Mitsutetsu Counselor" and "Fujun County Counselor" and was a lecturer of a Chinese night course at Mantetsu Institute, but he adopted his beloved daughter [to] a pro-Japanese giant called Li Ji-chun He had a relationship with him and introduced her to Yoshiko Kawashima, while he also had a friendship with a special agency in Japan. Even if the Chinese say "Pro-Japanese", it is not easy to say "each has its own speculation." It is possible to imagine the intelligence activity of Fumio, who had a deep relationship with both parties and had laid a "military telephone" at his home in Beijing, but no confirmation could be obtained.
Yoshiko Yamaguchi's memorandum describes the stunning encounters and relationships with people from all over the world, but it continues even after returning to Japan. Most of the autobiography was devoted to the Manchurian and Shanghai eras, and although there are few descriptions in occupied Japan, it is rich in content. First, Yoshiko and Nagamasa Kawakita, who arrived at Hakata, Unzen Maru, on April 1, 1946, are surprised to see a photo of two US military officers lined up. It is estimated that the US Army knew the return of the day and was waiting.
The movie starring Lee Kaoran was used as a good teaching material at Japanese [language and culture] schools in the United States. With that, a "gorgeous" friendship with US military officials begins. With that as a seed, there is a surprising transformation that actively publishes articles introducing American family life in women's magazines during the occupation period. SHe borrowed [money] from Toho for a family who returned to Japan two years later and built a house in Asagaya. Has seats for [a] band / the floor is full of about 20 tatami mats. It will be a spectacular appearance of a ballet like that." At this house, "Japanese people, American people, Chinese people, and people from three countries are often together". What on earth were you talking about?
The key person in the occupation era would be Colonel Jack Canon of the infamous Canon agency. This book is conservative, but the autobiography introduces the anecdote of driving together from Yukiya to Kamakura. Yoshiko hated [the] vulgar Canon and ran away, but only wrote briefly, "The reason they approached me must have been to gather information" (autobiography 3 at the beginning). It was dark about what she had talked [about] with the lieutenants of the lieutenant colonel.
This long book is not limited to the political situation surrounding the Yoshiko family. As a filmmaker, I can't miss the pride, regret, and criticism of the film as a filmmaker, but there is no definitive documentary testimony regarding the information warfare that attracted me the most, and the author's efforts are worth the effort of "weekly modern". It is regrettable that I stopped in my interest.
Unfortunately, the movie "Woman in Shanghai" (1952), which the author is [reviewing], is currently unavailable. In “China's Night,” which is said to have infuriated the Chinese (1940, the current version is a shortened version), after Hase hits Katsura orchid, holding his head, “Keiran, I At last I hit you. I lost. It was a punishment for believing in my power. I'm a humorous conceiter. Forgive me. And go wherever you want." The scene was impressive. In a blog dated February 8, 2009, a blogger who claims to be "Bikoran" replaced "Keilan" with "China" and replaced "hit" with "attacked," and the scene was an excellent "anti-war message." Yes, it is a table. On the other hand, the American soldiers who watched "China's Night" as a teaching material said that they enjoyed Hase, who was fascinated by Katsurachi, by replacing it with the composition of "US military officers admired by Japanese women." It's amazing that the movie has various visual senses, but maybe Yoshiko didn't have to regret this work too much.
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Kenko Kawasaki "Another Girlfriend Li Kaoran/Yoshiko Yamaguchi/Shirley Yamaguchi"/A heroine of a spy movie! What is the "shadow" of a seductive fairy?
Approaching the unwritten “shadow” of a seductive witch who lived between the virtual films - link to review - [notations by John M.]
Unlawful inspection
Since it appeared in the Nikkei book review, I read it with interest. I felt it was a good result. However, since it is assumed that the reader has already read her autobiography, "Li Kaoran, My Half-Life", there were some points that I could not follow well. When I watched it in a TV drama, I felt that neither my father nor her was an ordinary person in the first place, but this time, I realized that everyone was connected to the intelligence. I was impressed by the "forward attitude" including the author's enthusiasm for referring to the original text. It seems that such people are very talented.
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Kagetssai
One generation is a word of chaos. Before the war, Lee Kalan, after the war Yoshiko Yamaguchi, Shirley Yamaguchi. It's a life that is reminiscent of the Chinese traditional art Noh eyelid. Based on her autobiography, “Li Kaoran, My Half-Life”, we seek to find out who we are from the facts hidden between the detailed autobiography. During his childhood, he was a warlord, and was a Bolshevik to a nationalist executive and a white Russian. I was surprised by the closeness of my involvement, and even after the war, I moved to the United States and connected with people such as Pearl Back and the GHQ information department beyond the unconsciousness of the person. The author draws the term "wartime period", but a figure that looks exactly like it appears. It's a brilliant eye that is beyond the reach of "Chonnatsu", which is just as ordinary.
Kagetssai
Seen to have been tossed about, or was it an autonomous choice? I personally think it was the latter. Its appearance is somewhat similar to that of engineers and young bureaucrats who survived the war. It has a much higher ranking than them.
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Heck and pass
The cover says, "I will draw a completely new statue of Li Kaoran," but what I think after reading is the depth of confusion. The difference between the image imagined by autobiography and the overly complicated reality that the unexplained parts were unearthed one after another by the author. The mystery of history, which was narrated from the autobiography, will be the subject of the future. I'd also like to see a Hong Kong movie that starred after the war that the film was scattered. Only songs can be listened to on CD.
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Takeya
During the war, Li Kalan, who was active as a Chinese actress in Manchuria, started to play an active role as a Japanese following the defeat of Japan, and also advanced to Hollywood, USA. She has a number of names, but what is the true face she had during and after the war? Draw a new image of Lee Kolan, which emerges against the remaining autobiography and various materials.
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Rico_bosin
As an actress and singer, Lee Kaoran/Yoshiko Yamaguchi may have been underestimated for her role in international politics. The myth of Li Kalan may have acted as a mask for something larger. After carefully examining and stripping the testimony, of the veil of myth and the discrepancies of the primary material, this book reveals Lee Koran, a large star of the Chinese society spreading to Hong Kong, Taiwan, and Southeast Asia. It is an abundance and complicated eccentricity of the network including "Tachi", and it is also a "mystery" of international politics full of conspiracy. Who was she? I'm still [confused] after I read it.
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The following book contains information on Kawashima and Yamaguchi which is relevant:
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