Michael A. Cazares
Japan 70
Anne Mc Knight
5 Page Literary Analysis
Momotaro's Sea Eagle by Mitsuyo Seo is the first image of Momotaro in the class. Seo's
portrayal of Momotaro's image as a boy, is definitely a classic government portrait of a Japanese
youth of the time. The image of Momotaro's face in the movie was an image that reflects the
characteristics of strength, determination and vision. Animal characters seemed to represent the
general populations of Japan, with emphasis on astrological characters. The realistic machines of
war were meant to acclimate future Japanese children with the realities of war. When asked,
"What do you think about the surprise attack on Pearl Harbor during the war?" some Japanese of
today, view Japan as being the best because they attacked first.
Seo's portrayal of Momotaro's image as a boy was geared towards the image of the time.
Because there had been a terrible loss during the war, Japan seemed to be gearing up for the long
haul. How do's one accomplish this task? You imbed the images of war and the notion of
comradeships into the minds of your youth. Propaganda was the way Japan sought to accomplish
this task, and did so with this film's release.
Specific facial characteristics in this versions pretrial of Momotaro as a character were
well thought out. With his sharper nose, thin upper lip, narrower face, and pointy eyebrows,
Momotaro was almost chiseled out of stone. With this image, a cold, stone-like impression is
smeared deep within the minds of the audience. He is definitely a power to be feared who wears
the colors of Japan a top his head. An emperor-like quality comes with this image, and
commands instant devotion and obedience of the Japanese people. His spatial orientation is
often one that places Momotaro as being above the audience and he is pertraid as being taller
than all of his fellow Japanese. This adds to the ideas of mission and goal orientation towards the
war effort and gives the Japanese people a symbol to distract them during times of hardship.
Animal characters are most easily correlated with the Japanese astrological calendar.
These characters are almost as a important as the various kanji of Japanese names. The
characters pertained in the anime, draw automatic connections between Japanese children and
the characters under Momotaro's command. This sends a message that encourages Japanese
children to be exposed to the notion of obedience to Japan. This idea implemented at a young
age, reinforces the nurturing aspect of psychological development in the Japanese children.
To further gear the Japanese people for war, the animation that Seo has chosen to go with
is very detailed when it comes to the machines of war. For example, the air planes in this movie
are so detailed that this forces the youth who watch almost be able to jump in one of these plains
at first sight, start her up and fly the it. It seems to be geared towards the imaginations of young
Japanese males, as certain stereotypes would predict.
Many Japanese people today can be asked, "What do you think about the bombing of
Pearl Harbor?" Even Japanese who are only in there early twenties or thirties can say that they
think "Japan is number one because they attacked first" and that "Japan is number one because it
took not one, but two massive bombs before their surrender". Propaganda of the early days
seems to have continued through to the generations of today.
The second pretrial of Momotaro was that of Iwaya Sazanami. This portrayal was more
of a traditional view point. Iwaya's portrayal of Momotaro, was written in a time of change in the
Japanese culture, and it reflects in his writing. Iwaya was from a not so poor family which gave
him the resources to produce such writings. In this portrayal, the image of family was instead of
comradeships was brought forth. The clothing were of old, more traditional Japanese style.
Messages of Japanese as a home were still among the major morals of the story, as all of the
Momotaro writings. Once again, the animal characters were reminiscent of astrological
characters of Japan's calendar.
Uncle Iwaya as he has been known as, wrote many of these stories amidst a time of
change. The traditional thought of patriotism was more dominant than in Sea Eagle. At this time
of change, Iwaya was rejecting change yet holding true to the fairytale that is Momotato. It
seems to be a move of nostalgia on Iways's part. Though instead of comradeships (like in Sea
Eagle), there still is a message of promoting a closed boarder society. For example, Iwaya writes,
"The distant waters are bitter! The near waters are sweet! Shun the bitter! Come to the sweet!".
This can be interpreted as the idea of keeping Japan closed to outside influences, as it once was.
Instead of comradeships as in Sea Eagle, the notion of loyalty to family is more
prominent. It can be argued that the ultimate goal was of going to Devil Island was for the sake
of preserving the family. Momotaro's parents were much too old to do it themselves and it seems
as though it's not as much a duty towards Emperor and country, but rather a duty towards the
honor of the family in this representation.
Unlike in Sea Eagle, the traditional clothing of the Japanese was in use. The Katana and
traditional Japanese clothing come from a time of honor. Though, Japan was at war with itself
for a very long time, there was still an instant solidity when speaking of the Dutch or the English.
One can speculate that if the WWII had been during the time of the Samurai, Momotaro might
have been leading on a modern battle ship wearing a Samurai outfit.
The third and final story of Momotaro was that of Arai Goro. Being published after the
war, seems to be a regression, back to Japans origins. The message of intended for youth and the
continuance of traditional Japanese moral. Images of this book, are not of the propaganda type.
The version of that is represented by Goro, is a slimmed down version of Momotaro. This
version seems to bring back the fairytale that is Momotaro.
In this version of Momotaro, Goro's themes seems to be a regression back to the old
ways, closed off to the outside world. Though there is a definite notion of sharing. In this story,
Momotaro shared his food with the animals to gain their support. In addition, when momotaro
returns to his parents, he is ready to share with them as well. This could be interpreted as a
message to Japanese youth who presumably are going to get pretty close and intimate with
foreigners in the coming years. Its seems that he simultaneously accepts it and rejects the ideas.
This slim version of Momotaro seems to bring back the fairytale that is Momotaro back from
dead. In addition to adding a new foreigner friendly style, it still retains the warning towards
foreigners.
Food throughout these stories is used in multiple ways. For one, in Sea Eagle it is used to
give the bomber crews strength. It is a Japanese style food and seems to be mocking the
American cartoon Popeye. In Popeye, the main character uses a can a spinach that instantly gives
him strength. This is recreated with some Japanese style food and in the same fashion appears to
give the crew member strength.
Iwaya's version which is said to be the official version of Momotaro, used food a form of
currency. Because the food was highly special and said to be the best in Japan, Momotaro bribed
his animal friends into supporting his campaign. This can be connected to the way a great lord or
Daimyo used to get people they ruled over to go to battle for them. It seems that once Momotaro
realized this new power, he began to use it to the fullest, as we saw with the bird.
Lastly, in Goro's version Momo simply shared the food and then the animals fallowed. It
seems as less bribery and more selflessness in this version. As I mentioned earlier, momo comes
home and shares his wealth with his family.
In conclusion, the three version of Momotaro all have been influenced by their times.
They all can be forms of propaganda in one way or another, it just depends on the messages they
carry. Though this is the case, much of the same idea's and ideologies have been carried over
from its original version. One in particular the warning towards all foreigners from abroad. In
addition, the greater picture of loyalty to Japan. Food in these three stories seem to all carry
weight. Food seems to be the link between the real world and the fairytale realm within its
readers.