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Analyzing the “Photographic Evidence” of the Nanking Massacre

Analyzing the “Photographic Evidence” of the Nanking Massacre

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only in <strong>the</strong> Chinese edition <strong>of</strong> Timperly’s book but also in four o<strong>the</strong>r leaflets that becameavailable in China <strong>the</strong>reafter.It is now obvious that <strong>the</strong> story <strong>of</strong> <strong>the</strong> Rape <strong>of</strong> <strong>Nanking</strong> was a result <strong>of</strong> a joint wartimepropaganda project between <strong>the</strong> GMD propaganda bureau and some <strong>of</strong> <strong>the</strong> Westerners living in<strong>Nanking</strong> at <strong>the</strong> time. At <strong>the</strong> time, it was not an event recognized as documented fact.Investigation <strong>of</strong> 143 “atrocity” photosPhoto APhoto BPhotos A & B: See Chapter 2 for analysis.It is in <strong>the</strong> 1970s that <strong>the</strong> Rape <strong>of</strong> <strong>Nanking</strong>, conceived as wartime propaganda in 1938,resurfaced with <strong>the</strong> veneer <strong>of</strong> historical fact. Commentators who advanced this <strong>the</strong>sis have<strong>of</strong>ten presented photographic evidence to corroborate <strong>the</strong>ir contention. A simple questionprompted a research group <strong>of</strong> <strong>the</strong> Japan “<strong>Nanking</strong> Society” to start an investigation <strong>of</strong> <strong>the</strong>sephotos.Judging from <strong>the</strong> scenes captured in Photos A and B, it is obvious that <strong>the</strong> cameramanwho took <strong>the</strong>se images pointed his camera straightforward at close range at a man who wasei<strong>the</strong>r about to behead someone or had just finished doing so. Prior permission wasabsolutely necessary for that cameraman to take such images. One wonders who issuedpermission. If those executioners in <strong>the</strong>se photos were genuine Japanese soldiers, <strong>the</strong> cameracrew could not have been ei<strong>the</strong>r Westerners or Chinese, but must have been Japanese. But<strong>the</strong>se photos were printed in GMD sources—<strong>the</strong> Chinese edition <strong>of</strong> Timperly’s book and RikouBaoxing Shilu [Au<strong>the</strong>ntic Record <strong>of</strong> Japan’s Brutal Acts]—which were published as early asJuly 1938. It would have been impossible for a Japanese camera crew to obtain permission tocapture such photographic images for <strong>the</strong> purpose <strong>of</strong> serving <strong>the</strong> GMD’s propaganda needs.Also, <strong>the</strong> identities <strong>of</strong> <strong>the</strong> four Japanese servicemen in <strong>the</strong>se photos could have beeneasily verified at <strong>the</strong> time. In <strong>the</strong> case <strong>of</strong> so-called “100-men slashing contest,” Japanesemedia reported two second lieutenants, Mukai Toshiaki and Noda Tsuyoshi as war heroes for<strong>the</strong> purpose <strong>of</strong> wartime propaganda. The Chinese military court in <strong>Nanking</strong> tried and7

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