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Nation Branding
Through Film

By Barry Natusch

Films can be part of a nation’s cultural legacy, especially for acountry as unique as Japan. Scenic spots, food noted for being
healthy and tasty, clothing designed with flair, drama from age-old
Noh to the avant-garde, sports such as karate and sumo, visual arts
showcased in art museums: these all draw tourists and theirfascination can be enhanced through films. Projecting a positive
image of a country on film is the focus of this essay, what we mightcall nation branding through film.
Nation branding is a timely topic for Japan, busy with preparations
for the Tokyo 2020 Olympics when the country will be in theinternational spotlight. Japan is trying to attract more foreign tourists
and workers from other countries with the government of Prime
Minister Shinzo Abe targeting 40 million tourists at the time of the
Olympics. Along with this is a refocusing of its national identity andadjusting its international image, a commendable strategy in thecontext of a declining population and waning international influence.
Promotional films about a country, even advertising spots, used
for big events like expositions or sports events are examples ofbranding. But Simon Anholt, who popularized the concept of “nation
branding”, has a “Be careful what you wish for” warning. He saysthat nation branding is much more difficult than corporate branding,and that nation branding is not something which is achieved simply
through advertising campaigns and catchy slogans. Rather, it issomething that requires careful study of a culture, listening to theopinions of citizens of a country and people outside it, and then finetuning the cultural essence of the nation.
Then there are documentary films which can highlight certain
events or aspects of people or culture. Stories in feature films canalso highlight a country’s history, culture and people. Japan isrenowned for its world-class animation films ranging from thesensational to inspirational. TV dramas can also attract anenthusiastic following. We have seen the recent rise of social media
videos, notably on YouTube, where filmmakers post contemporary
and informal snapshots of culture and behavior. In all these genres,the filmmaker can create lasting images which audiences might
regard as authentic depictions of a country.

Promotional Films
New Zealand offers a prime example of successful nation branding
through film, after an iconic promotional film, This Is New Zealand,
turned the country’s image into a clean, green adventure playgroundhttps://www.jef.or.jp/journal/

Author Barry Natusch

for tourists, and ultimately invigorated the national economy. Shownat the Osaka Expo in 1970, it attracted one million viewers. One
particular scene in the film that still gives me a thrill, even 50 years
after seeing it, was shot from a helicopter soaring up the back ofMount Cook, New Zealand’s highest mountain, accompanied by theoverture from the Karelia Suite by Sibelius. The scene concluded
with the view dropping away thousands of feet below to create thefeeling that you, the viewer, had just plunged off the mountain, as if
you were skydiving. It became an iconic image for New Zealand’s
scenic grandeur, demonstrating masterful matching of image tomusic.
So a first conclusion for making a promotional film is to locate an
iconic symbol of the country, shoot it with innovative
cinematography, with aerial shots adding some excitement, andmatching it to a memorable soundtrack. This particular scene wasthe climax of the film. As is true with any narrative medium, be itstories, poetry, or news items, beginning and ending a film well is
crucial.
Additionally, there has to be strong culture, and particularly art andliterature carry powerful images. Personally, that was what firstbrought me to Japan in 1973 — the ukiyo-e scenes of Hokusai andHiroshige, films such as Akira Kurosawa’s Seven Samurai andYasujiro Ozu’s Tokyo Story. Coming from New Zealand, with a similar
geography but vastly different culture, it was like arriving in a parallel
universe.

A Winning Japanese Promotional Film
The Tokyo promotional video played its part in winning thenomination for Tokyo. In 2013, three cities were on the shortlist to
host the 2020 Olympic Games: Tokyo, Madrid and Istanbul. Three
promotional videos were made — in Japan, Spain and Turkey — tosummarize what each country had to offer. From a persuasive pointof view, the Tokyo promotional video checked all the criteria boxes(Table).
We now have a second conclusion about making a successfulpromotional film: great visuals, music and sound effects,
cinematography, characters captured in heroic actions, edited to flow
along at a crisp pace, with a sense of rhythm, building to a climax
laden with emotion; these are vital components.

Japan SPOTLIGHT • January / February 201941

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Photo 1: Wikimedia Commons

TABLE

Olympic bid promotional films forTokyo, Madrid & Istanbul○ = Outstanding, △ = Average

Tokyo

MadridIstanbul

Heroic Characters

○

△

△

Story

○

△

△

Cinematography

○

○

○

Music

○

△

△

Editing (pacing)

○

○

○

Special Effects

○

○

○

Emotive○△△

Kon Ichikawa

Source: Compiled by the author

Documentary Films
A Tokyo 2020 Olympic documentary film is a chance to create anational legacy highlighting Japanese culture and technology. At thesame time, another parallel event held in conjunction with theOlympics, the Paralympics, is also an opportunity for Japan toprovide leadership in how it organizes and supports the event.
Technology, social services, and improvements in access,highlighting the needs of minority groups, could all be part of a film
record.
A classic example of a documentary film about Japan, and the
Olympics, is Kon Ichikawa’s 1964 Tokyo Olympiad (Photo 1).
Ichikawa’s film became a subtle and sympathetic branding of thecountry and a positive portrayal of Japan. This was a film which was
highly praised by critics because of its direction, vignetting,cinematography and editing. Producing a film about the Olympics is
not easy, and there have been only a handful of Olympic
documentary films which have been critically acclaimed, but
Ichikawa’s film, together with Leni Riefenstahl’s film of the Berlin
Olympics in 1936, are at the top of the list.
In Tokyo Olympiad, Ichikawa mixed Olympic history and ritual withJapanese culture to portray Japan as a modern nation rebuilding
itself after World War II. Ichikawa deployed considerable resources:
164 cameramen, 100 cameras, 250 different lenses, and 57 soundrecordists. To create the unique atmosphere of the film, he used
telephoto lenses to show dramatic psychological insights and artistic
effects focusing on the struggle of athletes through vignettes,
highlighting their pain and triumph, as well as candid shots ofspectators.
Ichikawa’s film was criticized by some officials of the JapaneseOlympic Committee and politicians initially for not being sufficiently
nationalistic. But over time, the framing of the scenes and thevignettes he interwove resulted in a poignant portrait of Japan, andthe Olympics, at the time.
Framing how a story is told is all about what facts are included
42 Japan SPOTLIGHT • January / February 2019

and which ones are left out. In film, framing and cropping the shots
also help focus the story. The camera, the telephoto lens, and thepost-production editing may capture close-ups which bring theviewer into intimate contact with the subject. Or the subject may beframed as far-off, in a public space, to suggest loneliness orvulnerability. Ichikawa, possibly as a result of his early training as afilm animator, was a master of framing and used telephoto lenses togreat effect focusing on athletes and spectators against a blurred or
bokke background.
Aside from Ichikawa’s filming of the Olympic events and thespectacle of ceremonies, glimpses of Japan in the film portrayed it
as an exotic destination to attract visitors. The use of aerial shots ofHiroshima, the runners carrying the Olympic flame through theJapanese towns and villages, shots along the coast, the Shinkansen
passing by Mount Fuji, Japanese faces at the Olympics, flashes ofJapanese streets and shops: these were scenes as intriguing andinspiring as footage of the Olympics themselves, and elicitedreactions such as “Wow, that’s a place I’d like to visit.”
The Tokyo 2020 Olympics is an opportunity for another great film
to be made to showcase Japan. Much has changed on the political,
funding and technical sides of filmmaking since the 1960s so
production variables are likely to result in a very different film to
Ichikawa’s. Naomi Kawase was recently named as the director of theTokyo 2020 Olympics documentary which suggests that the Tokyo
2020 film will be directed differently too. It may even include more
attention to Paralympic events. The art of Ichikawa ensured his film
would remain a classic, so the director of the Tokyo 2020 film will
have big shoes to fill. Ichikawa had considerable funding andtechnical resources with many professionals and equipment to create
more than 70 hours of footage to edit. The Japan Olympic
Committee will oversee funding but it would not be surprising to seecommercial sponsorship and crowdfunding also. There is also thepossibility of crowdsourcing to encourage other professional andamateur filmmakers to contribute their experience, expertise andextra footage.
Aside from Japanese athletes winning Olympic events, the locationof Tokyo, and the opening and closing ceremonies create anSpecial

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opportunity for a filmmaker to showcase aspects of a national
culture. Opening ceremonies tend to be formal and ceremonial
affairs, closing ceremonies by contrast can turn into spontaneousparties full of surprises. The host country’s language, national
figures, anthem, flag and other cultural artifacts are in the world
spotlight during openings and closings.

Feature Films
Films which tell a fictional story also help brand a country.
However, feature films are an indirect way for nation branding except
in countries which use them for propaganda purposes. A film is acombination of several arts: writing, performances, visuals, set
design, costumes, cinematography — all these elements cancontribute to cultural branding in the production. Japan experienceda heyday of filmmaking in the 1950s and 1960s. A 2018 survey ofthe 50 greatest films of all time by 846 critics, academics anddistributors included the following four Japanese films from that era,sometimes referred to as a golden age for Japanese cinema (Photo 2).
Japanese films in top 50 greatest films of all time chosenby 846 film professionals (2018)
Tokyo Story (1953) Yasujiro Ozu (ranked 3)
Seven Samurai (1954) Akira Kurosawa (ranked 17)
Rashomon (1950) Akira Kurosawa (ranked 26)
Ugetsu Monogatari (1953) Kenji Mizoguchi (ranked 50)
This is not to say that these films would act as promotional
material for modern Japan. They are too removed in time for thatnow. There are films which represent more modern aspects of Japan
Photo 2: Wikimedia Commonsand which portray positive aspects of Japanese society and mightspark people’s curiosity about the culture and perhaps to visit, suchas Katsuhito Ishii’s Taste of Tea (2004), or Hirokazu Koreeda’s Our
Little Sister (2016) or even films by non-Japanese filmmakers
highlighting locations in Japan such as Lost in Translation (2003) or
Jiro Dreams of Sushi (2011). However, the effect of contemporary
feature films helping brand Japan and attract visitors is not usually apriority in such films, but might be mentioned in a publicity
campaign.

Animation Films
Japan is recognized as a center of animation films, tracing their
manga roots back as far as ukiyo-e in the Edo Era. As with featurefilms, animation films are not generally made deliberately for nation
branding purposes. Of the top 20 great anime films of all time,
almost half are Japanese.
Japanese films in ranking of top 20 animation films (2018)
2. Akira (1988) Katsuhiro Otomo
5. Perfect Blue (1997) Satoshi Kon
6. Grave of the Fireflies (1988) Isao Takahata
7. Nausicaä of the Valley of the Wind (1984) Hayao
Miyazaki
8. Ghost in the Shell (1995) Mamoru Oshii
11. Princess Mononoke (1997) Hayao Miyazaki
13. Paprika (2006) Satoshi Kon
17. The Girl Who Leapt Through Time (2006) Mamoru
HosodaAmong the consistent performers is Hayao Miyazaki’s Studio
Ghibli which has a big international fan following, with animation
films such as Spirited Away (2001), My Neighbor Totoro (1988)(Photo 3), Porco Rosso (1992) and Castle in the Sky (Laputa)(1986).
Photo 3: Author

Do Japanese films of the 1950s match contemporary tastes?
(Seven Samurai)

Catbuses

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TV Dramas
TV serial dramas can also play an important role in branding acountry. Productions from the United States and the United Kingdom
particularly enjoy a big international following. Japanese TV dramas,
especially the NHK asadora, help brand Japan. A TV drama series
can capture a loyal following and according to NHK, some of its
asadora drama series are watched by 35% to 45% of its viewers.
However, Japanese TV dramas are less accessible and not as wellknown to international viewers because of language and culturaldifferences. Still, some foreigners use these dramas for learning
Japanese language because they provide regular, timed input, with
an emotive component, unlike drier pedagogical programs.
Hundreds of TV dramas have been screened over the years, butsome of the most watched ones include Oshin (a story of a woman
who became a supermarket chain owner), Kaseifu no Mita [I amMita, Your Housekeeper] (a family of a father and four children
whose mother died and took in a housekeeper) and Rich Man Poor
Woman (a workplace drama). As with feature films, branding Japanand attracting visitors is not a priority, but might be mentioned in a
publicity campaign.

Social Media & Amateur Videography
Videos posted on YouTube (Photo 4) attract quite startlingnumbers of viewers with some posts “going viral”. Other
videographers create a channel of movies for their followers to watch
whenever a new one is posted. These videos may be very
economically produced and if they attract millions of hits make avery cost-effective way of leveraging the visibility of the video
producers. At the same time, some videographers are tapping into
the interest in Japan as a travel destination and producing videos
which brand the country.
One young partnership, Rachel and Jun, were recently featured ina BBC article, which then increased the number of their alreadyseveral million followers. Not only did the producers gain publicity
for themselves, but Japan gained authentic informal branding
exposure. Their subjects typically have a cute focus such as cats orfoxes, or humorous yet thoughtful takes on cultural differences
between Japan and other countries. An approach like thisemphasizes the fun side of Japanese culture, reminiscent of how
Germany helped rebrand its national image from being an overly

serious culture to a more relaxed one prior to hosting the FIFA World
Cup in 2006. The rise of social media dramatically demonstrates thereach of social media in carrying a national branding message to avastly bigger audience than those attending a cinema showing of a
film.
Increasing Exposure
In 1970
Every year
Since 2001
Since 2012

1 million saw This Is New Zealand at
Osaka Expo
8 million visitors to Universal Studios
10 million visitors to Ghibli Museum
200 million have seen Rachel and Jun’sYouTube videos

Aftermarket Film Industry
Associated industries which link to film can attract tourists.
Universal Studios in California is a tourist site in its own right,
drawing around 8 million visitors each year. The New Zealandlocations of Lord of the Rings continue to draw visitors from abroad.
Studio Ghibli Museum has become a pilgrimage destination for
Miyazaki fans with 10 million visiting the museum in Mitaka, Tokyo
since it opened in 2001. Toys and mascots are spin-offs from films(Photo 5).
But not everyone travels to Japan for the same reasons. A recent
survey reported on which places in Tokyo tourists from a variety ofcountries like to visit. Indians go to Akihabara, Chinese to Ginza,
Taiwanese to Asakusa, Americans and Europeans to Shibuya. So
using film to brand a country to target tourists is complicated.
Japan’s film industry supports an enormous number of anime
productions. At the Olympic closing ceremony in Rio de Janeiro in2016, Abe made an appearance as Super Mario, an internationally
Photo 5: Author

Photo 4: Wikimedia CommonsFilm-specific tourism: Studio Ghibli Museum in Tokyo

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known animation character, emphasizing the strength of animation in
Japan’s international branding profile. It has been suggested that aparade of anime characters could be featured during the 2020
Olympics. Also associated with film is cosplay, or costume play.
Around Harajuku on weekends many tourists come to see young
Japanese dressing up in film-inspired costumes. While cosplay is
not a purely Japanese cultural phenomenon, some of the characters
portrayed originate in cinema, anime, and manga and find an appeal
among younger tourists.

Components of a Memorable Film
The content, the story that is told, is paramount. Moving images ofthe land, the people, and the culture can leave an indelible andlasting impression. The sounds add to this, whether it is language
captured in snatches of dialogue, or music to set an atmosphere, orsound effects added. Still images of paintings, sculptures, gardens,
landscapes, and cityscapes vary the pace and focus the attention.
Technical aspects of filmmaking such as close-ups, zoom shots, time
lapse or aerial photography are crucial in triggering strong feelings in
the viewer. Because that is what film does: as an emotive medium,its goal is to thrill the audience, or make them feel good (Chart).
Promotional, documentary, feature, animation and YouTube films
differ in their power to brand a country and persuade visitors tocome as tourists, students or for work. Promotional films generally

CHART

Components of a film to promote
positive feelings for Japanwell-paced
editingstrong story
building toclimaxvignettes &asidesmusic
matching
footageculturaldetails

atmosphericlighting

great
locationslenses withspecific
focus

Source: Compiled by the author

cameramovements& angles

adopt a hard-sell approach, like an advertising commercial, whereas
documentary films, feature films or TV dramas highlight aspects ofculture and thus carry a more subtle message akin to a soft-sell
approach.
In designing a promotional film, visuals, music, and vignettes
need to be trialed on pilot groups or focus groups before deploying
funds. As Anholt cautions, nation branding is not something which isachieved simply through advertising campaigns and revamped
slogans, and a promotional film for a country needs to be thoroughly
researched before the scriptwriter, director and cinematographer set
to work on the narrative.
Films are expensive to make and involve many people. A
government policy of arts support can help, and nowadays
filmmakers sometimes turn to crowdfunding for financial help.
Crowdsourcing footage can also help lower costs and democratize
the filmmaking process.
Those who commission films should not hasten to influence or
judge what creative filmmakers produce. The reactions of somepoliticians and the Japan Olympic Committee officials after Ichikawa
released his Tokyo Olympiad, in saying it should have been morenationalistic and less artistic, were proved wrong by the status thefilm achieved through not being overtly nationalistic and being madewith nuanced aesthetics.
The role of social media and YouTube and amateur video
production should not be ignored. Young people do not think like theolder generation and have different interests, as we have seen in thekind of animation films they are fans of. They also accessinformation and communicate in different ways than older
generations. Young people look for a different focus in a film, theway the story is told, and technical aspects of its direction.
Visual framing as used in filming was mentioned. But there isanother aspect to framing: a film’s release can be framed by timing,
location, and context. For example, the New Zealand film This Is New
Zealand was showcased at the Osaka 1970 Expo. Ichikawa’s film wasshown to the emperor, members of the Olympic Committee and thepress. Where, when and who gets to see a film (the framing of its
debut) is a critical factor in its reception.
A world event, like the Olympic Games, is an opportunity to leave amemory of a country in the international spotlight through a greatfilm. Japanese culture is not just sushi and sashimi; there are
abstract qualities which can be emphasized too in branding Japan,such as the sophistication of the society, that it is a safe place andthe people are well-known for their sincerity.

actors with
passionBarry Natusch is a professor at Nihon University, Tokyo. He specializes infilm studies and media productions.

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