“九一八”事变后,伴随着日军武力侵略东北,日本利用电影达到宣抚目的的文化侵略也尾随而至。日本电影迅速充斥东北电影市场,日本电影人也涌入东北制作和兜售他们的所谓“国策电影”。1937年,“七七卢沟桥”事变,全面抗日战争爆发。这一年,伪满国务院通过电影国策案,成立伪“满映”(株式会社满洲映画协会)。以伪“满映”为电影文化基地,展开美化日本对华侵略战争的殖民电影拍摄。然而,以配合侵略战争为目的的殖民电影拍摄从一开始就遇到麻烦。电影以侵略者的视角、宗主国的立场虚构日 After the September 18 Incident, with the invasion of the Northeast by military force in Japan, the cultural aggression by Japan that used the film to fulfill the goal of proclaiming others followed. Japanese films quickly flooded the northeast movie market, and Japanese filmmakers poured into the so-called “national strategy movies” that the Northeast made. In 1937, the “Seventy-seven Lugou Bridge” incident, an all-out war of resistance against Japan broke out. This year, the State Department of Puppet Manchuria established a pseudo-state “Full Screening” (Manchuria Co., Ltd. Association) through the national policy of movies. To pseudo “Man Ying ” as the film culture base, launched the beautification of Japan’s war of aggression against China, the colonial filming. However, colonial filming for the purpose of a war of aggression ran into trouble from the beginning. The film is based on the invaders’ perspective and the sovereign state’s fictional day