A final excerpt from Ian Buruma’s chapter on the U.S. Occupation period in his book Inventing Japan: 1853-1964 (Modern Library Chronicles, 2003), highlights two unintended consequences of occupation policy:
State intervention in the economy was one area where New Dealers, Japanese bureaucrats, and the Marxists saw eye to eye. In 1947 and 1948, Japan had its first socialist prime minister. One of the most sweeping reforms, encouraged by the Americans but planned and carried out by Japanese bureaucrats, was the redistribution of land from big landowners to their tenants. It was at once a progressive measure, applauded by the Left, and a way to avert the kind of rural unrest that was helping the communists in China. Poor tenant farmers, brutalized by their wretched lives, had been the harshest foot soldiers of Japan’s holy war. Now a new class of rural smallholders was born, with the unintended consequence of helping the conservatives remain in office until this day.
Another thing that cannot have been intended was that SCAP reforms boosted Japanese bureaucrats at the expense of elected politicians. The newly created Ministry on International Trade and Industry (MITI) was put in charge of central economic planning. New Dealers were also convinced that private big business was largely to blame for Japanese imperialism. The solution, as they saw it, was to take these businesses out of the hands of the families that owned them. This task, too, was left up to the bureaucrats, the same bureaucrats, in fact, who had integrated the zaibatsu into the war economy, often against the private owners’ wishes. Unwittingly, American left-wingers, because of their instinctive hostility to big business, were handing over more powers to the very institutions that helped to drive Japan toward war. As a result, politicians were reduced to being brokers between corporate and bureaucratic interests.
Here’s another selection from Ian Buruma’s chapter on the Occupation–“Tokyo Boogie-Woogie”–in his book Inventing Japan: 1853-1964 (Modern Library Chronicles, 2003).
Demokurashii was to be instilled in the Japanese people as though none of them had heard of the concept before. This involved, among other things, the “three S’s”: sex, screen, and sport. Baseball was encouraged as an intrinsically democratic game. American tutors were concerned about the feudalistic relations between Japanese men and women, who never held hands, let alone kissed in public. Kissing scenes in prewar Hollywood movies had been censored in Japan. So the occupation authorities decreed that henceforth there should be kissing in Japanese films. The first movie to take the plunge was entitled 20-Year-Old Youth and created a sensation. One zealous occupation officer had the smart idea that square dancing would be an ideal way to liberate Japanese from feudalism and introduced this novelty to some rural folks.
There was a great deal of idealism, as well as naïveté, in the American attempt to bring democracy to Japan. As always, idealism breeds hypocrisy. For even as the Japanese were lectured on their right to free speech, criticism of occupation policies was banned. Satirical cartoons of SCAP were forbidden. And SCAP officials were so keen to present the United States and its citizens as models of virtue and probity that unfavorable views were censored. The Grapes of Wrath, John Steinbeck’s novel about American poverty, was banned, as were books and films about the bombings of Hiroshima and Nagasaki. Much as kissing, hand-holding, and dancing were to be encouraged among the Japanese, photographs of GIs fraternizing with local girls were out of bounds. However, since the right to free speech was part of the American way, mention of occupation censorship was also strictly forbidden.
The lessons of American culture were most effective when they were imparted on an unofficial and thus voluntary basis. After almost ten years of cultural deprivation and military propaganda, most Japanese were hungry for anything foreign and upbeat. During the war, “films about personal happiness” had been expressly forbidden in Japan. So Glenn Miller and Betty Grable probably did more for Japanese liberation than any number of high-minded lectures on demokurashii. Not since the late 1920s and early 1930s had there been such a taste for ero guro nansensu, the erotic, the grotesque, and the absurd: Strip shows were popular, as were pinup magazines with such exotic titles as L’Amour, Liebe, Nightclub, and Neo-Riberal (sic). Millions of people were hungry and homeless. Orphans were sleeping in the railway stations. But the big hit of 1948 was entitled “Tokyo Boogie-Woogie.”