By Meng Xu
[Picture: 2012 China anti-Japanese demonstrations in Beijing]
In China, the Second Sino-Japanese War during the Second World War—commonly referred to as the War of Resistance Against Japanese Aggression—has long been a central theme in television dramas, films, and other forms of artworks. These productions typically focus on the Japanese militarist invasion, telling stories of the Chinese people’s resilience, courageous struggles, and ultimate victory, deeply rooted in patriotic sentiment. The continued prevalence of this theme in Chinese television and film can be attributed to two primary reasons. For one thing, such works are regarded as “politically safe,” as they are less likely to face restrictions under the censorship of the CCP.(1) Additionally, they enjoy widespread popularity, consistently attracting large audiences.
This article argues that the enduring appeal of anti-Japanese-themed productions is largely driven by nationalistic factors, as they depict and reflect a collective nationalism, and they could serve as a mobilisation tool for CCP’s patriotic indoctrination.
Firstly, the Second Sino-Japanese War represents a formative collective memory for the Chinese nation. As Jeffrey C. Alexander’s study on cultural trauma suggests, the collective memory of a group following a major traumatic event often results in changes to its self-perception. Through the narration and understanding of trauma, the group identifies the source of its suffering, fostering closer emotional bonds and a stronger sense of unity.(2) Anti-Japanese war dramas, as a cultural response to the major trauma, help Chinese audiences process and understand this historical pain by recounting history, depicting heroic figures, and expressing shared emotions. In doing so, they play a key role in shaping collective sentiments, enhancing social cohesion, and reinforcing a sense of national pride as well as shaping and strengthening China’s collective identity.
Additionally, under the CCP’s discourse of ‘national rejuvenation’ and the ‘hundred years of
humiliation,’ the historical pain and patriotic sentiments stemming from the War of Resistance Against Japanese Aggression are employed as tools for patriotic education and mobilisation, reflected in the China Television Drama Development Plan by the National Radio and Television Administration in 2022, which designates the War of Resistance Against Japanese Aggression as a key theme,(3) as they strengthen a form of collective and participatory nationalism and further enhancing societal cohesion. As Xiong and Zhang noted, anti-Japanese dramas possess a distinct ‘indoctrination’ effect, with “almost all episodes conveying an ‘emphatic’ emotional tone of ‘patriotism,’ ‘unity,’ and ‘devotion.’”(4)
However, in recent years, certain anti-Japanese dramas being derisively labelled as ‘anti-Japanese god dramas’ (抗日神剧) had appeared. These dramas are filled with exaggerated plots and unnecessary vulgar elements that deviate from reality, while simultaneously fuelling nationalistic sentiments and exacerbating ethnic divisions. One notorious plot, for example, depicts a Chinese warrior is depicted spinning in mid-air to dodge bullets from a Japanese soldier standing 10 metres away. As Chinese scholar Li suggests, such dramas reflect a form of historical nihilism, distorting authentic history. The consequence of this is inevitably a weakening of society’s prevailing historical perspective and the authenticity of the War of Resistance Against Japan.(5)
Built upon an unbalanced historical narrative, the ‘anti-Japanese god dramas’ fail to nurture rational, responsible citizens for a modern society. Instead, they foster paranoid tastes and bigoted worldviews among blind followers. As Ernest Gellner states, nationalism based on false consciousness forms “myths invert reality,” fostering paranoia and division through the establishment of distorted historical narratives.(6) These low-quality productions construct a social memory that is deeply irrational. The national identity shaped under such a framework, as Gai Qi argues, is “unhealthy and unreliable, and cannot even be called a ‘national identity.’”(7) In fact, the growing negative reception of these dramas among Chinese audiences not only highlights their harmful impact on historical understanding but also reflects the increasing doubt toward the official historical narrative.
Moreover, these productions promote superficial hatred in Chinese popular culture, unleashing extreme nationalist sentiments. With the fluctuating nature of Sino-Japanese relations over the last decade—particularly following tensions over the Diaoyu Islands—these dramas amplify irrational nationalism, and to some extent, increase anti-Japanese sentiment in China through ideological infiltration. For instance, during the 2012 Diaoyu Islands anti-Japanese protest, popular slogans such as ‘beat down with little Japan’ and ‘swear to defend to the death’ were commonly used lines in anti-Japanese dramas.”(8)
Overall, while anti-Japanese dramas have revived the memory of the War of Resistance Against Japanese Aggression in contemporary society—shaping audiences’ understanding of historical trauma and fostering nationalist sentiments—the ‘anti-Japanese god dramas’ amplify the self-righteousness of extreme nationalists in China, and their lack of authentic historical representation inhibits healthy and constructive dialogue about China’s past. Consequently, these dramas cannot positively contribute to the development of Chinese society or international relations.
Author Disclaimer: All Chinese sources have been translated by the author.
Image Sources:
• “2012 China anti-Japanese demonstrations in Beijing” by Dong Fang, Voice of America,
Public Domain via Wikimedia Commons.
Bibliography:
1. Gai, Qi. “Reconstructing National Trauma Memory Through Visual Media: Reflections on the Value of Recent Film and Television Productions on the War of Resistance Against Japan.” Cultural Studies, no. 3, 2013.
2. Alexander, Jeffrey C. Cultural Trauma and Collective Identity. Oakland, CA: University of California Press, 2004. Online edition, California Scholarship Online, 22 Mar. 2012. https://doi.org/10.1525/california/9780520235946.001.0001. Accessed 24 Dec. 2024.
3. National Radio and Television Administration. Notice on the Issuance of the “14th Five-Year Plan for the Development of Chinese TV Dramas”. February 8, 2022. Document No. [2022] 9. https://www.gov.cn/zhengce/zhengceku/2022-02/10/content_5672956.htm.
4. Xiong, Fang, and Zhang, Aijun. “A Three-Dimensional Perspective on Nationalism in Anti-Japanese War Dramas.” Journal of Xiangtan University (Philosophy and Social Sciences Edition), no. 6, 2020, pp. 143–149. https://doi.org/10.13715/j.cnki.jxupss.2020.06.022.
5. Li, Anfeng. “Reflections on and Overcoming the Historical Nihilism in New-Era Anti-Japanese Dramas.” DOI: 10.16583/j.cnki.52-1014/j.20190927.036.
6. Gellner, Ernest. Nations and Nationalism. Ithaca, NY: Cornell University Press, 1983. p. 124.
7. Gai, Qi. “Reconstructing National Trauma Memory Through Visual Media: Reflections on the Value of Recent Film and Television Productions on the War of Resistance Against Japan.” Cultural Studies, no. 3, 2013.
8. Sun, Chao. Demonstration Against Japan’s Occupation of Diaoyu Island in Beijing. 25 Sept. 2012. YouTube, https://www.youtube.com/watch?v=uDFi6ELI9AY.
Identity Hunters 