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Xin Zhonghua huabao (New China Pictorial) cover, September 1944
This cover image from the Xin Zhonghua huabao (New China Pictorial) 6.9 (September 1944) shows Chen Juanjuan. Chen was a film celebrity active in wartime Shanghai. The New China Pictorial was a bilingual (Chinese-English) magazine published from 1939 through 1944 in Shanghai by the occupation journalist Wu Linzhi for distribution in China and throughout Southeast Asia.
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Xin Zhonghua huabao (New China Pictorial) cover, November 1943
This cover image from the Xin Zhonghua huabao (New China Pictorial) 5.11 (November 1943) shows an unattributed painting of the Beijing opera actress Huang Yuhua. Huang starred in Pansi dong (The Cave of the silken web), an opera film produced by the North China Film Company (Huabei Dianying Gongsi) in 1943. The image used here is from promotional material relating to that film. The New China Pictorial was a bilingual (Chinese-English) magazine published from 1939 through 1944 in Shanghai by the occupation journalist Wu Linzhi for distribution in China and throughout Southeast Asia.
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Xin Zhonghua huabao (New China Pictorial) cover, July 1942
This cover image from the Xin Zhonghua huabao (New China Pictorial) 4.7 (July 1942) shows Nancy Chan (Chen Yunshang). Chan was one of the most popular film celebrities in wartime Shanghai, and was favoured by the occupation regime in pro-government media, despite emulating Hollywood stars in terms of her dress and public image. The New China Pictorial was a bilingual (Chinese-English) published from 1939 through 1944 in Shanghai by the occupation journalist Wu Linzhi for distribution in China and throughout Southeast Asia.
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RNG leaders on steps of Government Headquarters, November 1940
Flanked by civilian and military staff, Wang Jingwei, Zang Shiyi (the Manchukuo ambassador to the RNG) and Chu Minyi (RNG foreign minister) pose for photographs in front of the ceremonial hall (litang) in the national government compound in Nanjing after the signing of the Japan-Manchukuo-China Joint Declaration on 30 November 1940, through which RNG China recognised Manchukuo.
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Park in Wuhan, spring 1943
Photograph of a park in Wuhan festooned to “Celebrate the 3rd anniversary of the founding of the Hankou Municipal Government” (Qingzhu Hankou tebie shi zhengfu san zhounian jinian). While Wuhan is often remembered as a centre of anti-Japanese resistance in the early war years, it was also incorporated into the RNG realm in 1940, and became a major political and cultural centre for that administration. Interestingly, the ROC flag shown here still includes the RNG pennant (which read “peace, anti-communism, and nation building”, and which had been added to the flag in 1940), even though Chinese authorities in occupied areas were, from January 1943 onwards, not obliged to include this pennant.
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Rural Pacification cadre making a speech
Photograph of a member of the RNG Central Propaganda Group’s Number 2 Rural Pacification Propaganda Team as he addresses a rural audience. The photograph was possibly produced by the RNG’s Central News Agency, which increased its capacity for photography in 1942 to compete with the propaganda work of Chiang Kai-shek’s Nationalists in Chongqing.
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《華南畫報》封面裡，1941年1月
這張封面照片出自《華南畫報》3.1（1941年1月）。這張照片運用了日本於日佔中國的標準宣傳理念，例如日本和中國女子相處融洽。這個理念源自於滿州國的宣傳理念以及「五族協和」，並且女性化日佔中國的形象。值得注意的是日本女子如何呈現略高於其中國同伴的形象。
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Huan women Dong Ya ren benlai de mianmu (Restore to we East Asians our original countenance)
This unattributed print was produced in a special 1941 booklet commemorating Wang Jingwei’s visit to Japan in June of that year. The phrase “Huan wo Dong Ya ren benlai de mianmu” (Restore to we East Asians our original countenance) is a deliberate play on the expression “Huan wo heshan” (Return to us the rivers and mountains). The latter was probably the single most commonly used phrase in the wartime propaganda of the resistance. The print is taken from Huang Qingshu (ed), Wang zhuxi fang Ri jinian huakan (Special pictorial in commemoration of Chairman Wang’s visit to Japan) (Nanjing: Xuanchuanbu, 1941).
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《新中華画報》封面，1944年3月
這張封面影像出自《新中華画報》6.3（1943年11月），呈現王丹鳳的彩色照片。王丹鳳是上海戰爭時期一名頗受歡迎的影視名人。《新中華画報》是雙語（中英）刊物，由日佔時期新聞工作者伍麟趾於1939年至1944年時期在上海出版，並發送至中國及東南亞地區。
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褚民誼在汪精衛墓前
汪精衛國民政府外交部長褚民誼督導南京梅花山上、汪精衛墳墓附近的梅樹種植工作。梅花象徵中華民國的國花，而汪精衛墳墓附近的梅花則象徵著其於1944年末逝世後人民所表現的愛國情操。極少數的汪精衛墳墓相片遺留至今。
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兒童作品，二
這是一系列由讀者提供予《兒童画刊》9.10（1941年4月）的精選圖片（多數為鉛筆畫）。這些圖畫讓我們一窺日佔中國官方對於日佔中國生活層面的認知，而這些想法均反映在汪精衛國民政府首都孩子的創作中。值得注意的是對於黎明的描繪，例如對日本人的刻畫，以及當中某些圖片包含恬靜的中國鄉村景緻。儘管籃球出自美國，該項運動仍為日佔南京官方所認可的運動項目。
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《長江畫刊》封面，1945年1月
這張封面影像出自武漢當地的畫報《長江畫刊》16期（1945年1月）。此影像由日本作家三浦乃亞繪製，這名作品豐富的日本畫家與日軍報道部頗有淵源，其同時亦為日佔中國的中國漫畫協會的創始會員之一。