Early Career and War Propaganda
In 1919, his first job in the film industry was as an assistant cinematographer at the Nippon Katsudou Shashin Kabushiki-kaisha (Nippon Cinematograph Company or Kokkatsu for short) in Kyoto, which later became better known as Nikkatsu. After serving as a member of the correspondence staff to the military from 1921 to 1923, he joined Ogasaware Productions. He was head cameraman on Hunchback of Enmeiin (Enmeiin no Semushiotoko), and served as assistant cameraman on Teinosuke Kinugasa's ground-breaking 1925 film, Kurutta Ippeiji (A Page of Madness).
He joined Shochiku Kyoto Studios in 1926 and became full-time cameraman there in 1927. He began using and creating innovative filming techniques during this period, including the first use of a camera crane in Japanese film. In the 1930 film Chohichiro Matsudaira, he created a film illusion by super-imposition. Thus began the work for which he would become known—special visual effects.
1930 was also the year of his marriage to Masano Araki. Hajime, the first of their three sons, was born a year later. During the 1930s, he moved between a number of studios and became known for his meticulous work. It was during this period that he saw a film that would point towards his future career. After his international success with Godzilla in 1954, he said, "When I worked for Nikkatsu Studios, King Kong came to Kyoto and I never forgot that movie. I thought to myself, 'I will someday make a monster movie like that.'"
In 1938 he became head of Special Visual Techniques at Toho Tokyo Studios, setting up an independent special effects department in 1939. He expanded his technique greatly during this period and earned several awards, but did not stay long at Toho.
During the war years (the Second Sino-Japanese war and World War II) he directed a number of propaganda films and produced their special effects for Toho's Educational Film Research Division created by decree of the imperial government. Those include Kōdō Nippon (The Imperial Way of Japan) (1938), Kaigun Bakugeki-tai (Naval Bomber Squadron) (1940), The Burning Sky (Moyuru ōzora) (1940), Hawai Mare oki kaisen (The War at Sea from Hawaii to Malaya) (1942), Decisive Battle in the Skies (Kessen-no Ōzara-e) (1943) and Kato hayabusa sento-tai (1944). According to legend, Tsuburaya's work on The War at Sea... was so impressive that General MacArthur's film unit is said to have sold footage of the film to Frank Capra for use in Movietone newsreels as actual footage of the attack on Pearl Harbor.
During the Occupation of Japan following the war, Tsuburaya's wartime association with such propaganda films proved a hindrance to his finding work for some time. He went freelance with his own production company, Tsuburaya Visual Effects Research (working on films for other studios), until he returned to Toho in the early 1950s.
Read more about this topic: Eiji Tsuburaya
Famous quotes containing the words early, career, war and/or propaganda:
“Very early in our children’s lives we will be forced to realize that the “perfect” untroubled life we’d like for them is just a fantasy. In daily living, tears and fights and doing things we don’t want to do are all part of our human ways of developing into adults.”
—Fred Rogers (20th century)
“Whether lawyer, politician or executive, the American who knows what’s good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.”
—Lewis H. Lapham (b. 1935)
“Peace to the shacks! War on the palaces!”
—Georg Büchner (1813–1837)
“Do not forget birthdays. This is in no way a propaganda for a larger population.”
—Gertrude Stein (1874–1946)