Editing Cinema of Japan (section)

====American occupation====
After the [[surrender of Japan]] in 1945, wartime controls and restrictions on the Japanese film industry were abolished, and the [[Supreme Commander for the Allied Powers]] (SCAP) established the [[Civil Information and Education Section]] (CIE), which came to manage the industry. All film proposals and [[screenplays]] were to be processed and approved by CIE. The script would then be processed by the [[Civil Censorship Detachment]] (CCD), which was under the direct control of American military.{{sfn|Hirano|1992|p=6}} Pre-war and wartime films were also subject to review, and over 500 were condemned, with half of them being burned. In addition, [[Toho]] and [[Daiei Film|Daiei]] pre-emptively destroyed films they thought to be incriminating.{{sfn|Richie|2005|p=108}} In November 1945, CIE announced that it would forbid films deemed to be: 
 
# infused with [[militarism]];
# showing [[revenge]] as a legitimate motive;
# [[nationalistic]];
# [[chauvinistic]] and anti-foreign;
# distorting historical facts;
# favoring [[Racism in Japan|racial]] or [[religious discrimination]];
# portraying [[fealty|feudal loyalty]] or contempt of life as desirable and honorable;
# approving [[suicide]] either directly or indirectly;
# dealing with or approving the subjugation or degradation of women;
# depicting brutality, violence or evil as triumphant;
# [[Criticism of democracy|anti-democratic]];
# condoning the exploitation of children; or
# at variance with the spirit or letter of the [[Potsdam Declaration]] or any SCAP directive{{sfn|Hirano|1992|p=45}}

A major consequence of these restrictions was that the production of ''[[jidaigeki]]'' films, especially those involving [[samurai]], became effectively impossible.<ref>{{cite book |last1=Yomota |first1=Inuhiko |title=What Is Japanese Cinema?: A History |date=2014 |publisher=Columbia University Press |location=New York and Chichester |isbn=9780231549486 |page=101}}</ref> A notable case of censorship was of the war film ''[[Akatsuki no Dassō|Escape at Dawn]],'' written by [[Akira Kurosawa]] and [[Senkichi Taniguchi]], which was re-written over a dozen times at the request of CIE, largely erasing the original content of the story.<ref name="yomota107"/> On the other hand, the CIE favored the production of films that reflected the policies of the [[Occupation of Japan|Occupation]], such as [[agricultural reform]] and the organization of [[labor unions]], and promoted the peaceful redevelopment of Japan and the [[Human rights|rights of individuals]].

[[File:Yoko Sugi and Setsuko Hara in Aoi Sanmyaku.jpg|thumb|150px|''[[Aoi sanmyaku]]'' (1949) starring [[Yōko Sugi]] and [[Setsuko Hara]]]]
Significant movies among them are, [[Setsuko Hara]] appeared in [[Akira Kurosawa]]'s ''[[No Regrets for Our Youth]]'' (1946), [[Kōzaburō Yoshimura]]'s ''[[The Ball at the Anjo House|A Ball at the Anjo House]]'' (1947), [[Tadashi Imai]]'s ''[[Aoi sanmyaku]]'' (1949), etc. It gained national popularity as a star symbolizing the beginning of a new era. In [[Yasushi Sasaki]]'s ''[[Hatachi no Seishun]]'' (1946), the first kiss scene of a Japanese movie was filmed. The [[Mainichi Film Award]] was also created in 1946.<ref>{{cite web |script-title=ja:毎日映画コンクールとは |url=http://mainichi.jp/enta/cinema/mfa/etc/about.html |publisher=mainichi.jp |language=ja}}</ref>

The first movie released after the war was ''Soyokaze'', directed by [[Yasushi Sasaki]], and the theme song ''[[Ringo no Uta (1946 song)|Ringo no Uta]]'' was a big hit.<ref>{{cite book|first=Christine Reiko|last=Yano|title=Tears of Longing: Nostalgia and the Nation in Japanese Popular Song|location=Cambridge|publisher=Harvard University Press|year=2010|page=39|isbn=978-0-67401-276-9}}</ref>

[[File:Yoshiko Kuga 530406 Scan10007.JPG|thumb|left|150px|[[Yoshiko Kuga]]]]

The first collaborations between [[Akira Kurosawa]] and actor [[Toshiro Mifune]] were ''[[Drunken Angel]]'' in 1948 and ''[[Stray Dog (film)|Stray Dog]]'' in 1949. [[Yasujirō Ozu]] directed the critically and commercially successful ''[[Late Spring]]'' in 1949.

In the later half of the Occupation, the [[Reverse Course]] came into effect. [[Left-wing]] filmmakers displaced from the major studios in the [[Red Purge]] joined those displaced after suppression of the [[Toho strikes]], forming a new [[independent film]] movement. Directors such as [[Fumio Kamei]], [[Tadashi Imai]] and [[Satsuo Yamamoto]] were members of the [[Japanese Communist Party]]. Independent [[social realist]] dramas saw a small and temporary boom amid the wave of sentimental war dramas produced after the end of Occupation.<ref name="yomota107">Yomota (2014), pp. 107, 109.</ref>