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寫信給父母
本照片取自一系列經過事先安排的照片，標題為「北京女子學校的生活」，拍攝地點位於日佔北京的北京自由學園。原本的標題寫道：「寫信給她們的父母描述她們在學校快樂的生活」。
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Villagers and soldiers pointing at poster
This (probably staged) photograph shows a group of villagers and soldiers reading an illustrated, A0-size propaganda poster celebrating the Kampuchea United Front for National Salvation (KUFNS, also known as FUNSK) [Front or Renakse]. The image provides a clear view of the poster and the photos on it. The poster’s title reads: “Fight for the Front” (or, more literally, “rush and struggle under the front’s flag”). The photos on the poster have captions in Khmer. One of the older villagers holds the upper right-hand corner of the poster. He has a folded poster in his other hand. Next to him, a young boy points his finger at the top picture, which shows the founding of the Kampuchea United Front for National Salvation in Kratie in December 1978. A female soldier points her finger at the caption below the picture. This photograph is part of the collection held by the Agence Khmère de Presse (AKP) and Cambodia’s Ministry of Information. This collection, which documents the early years of the People’s Republic of Kampuchea as photographed by the Vietnamese and a small team of Cambodian photographers, has not yet been classified or indexed.
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Motel in Sihanoukville
This modern-style motel pavilion is low, with two stone architectural elements and a seven-branch sculpture to the side. The photograph is part of the collection that was donated to the National Archives of Cambodia from the Library of the Royal University of Fine Arts by Darryl Collins and Helen Grant Ross in 2003. The collection was used by Collins and Ross for their research into urbanisation. The images were probably originally used to mount the Sangkum Reastr Niyum Permanent Exhibition at the Exhibition Hall, Bassac area, Phnom Penh. An image of the same pavilion was used to illustrate an article entitled “Discovering the Cambodian Riviera” in the monthly pictorial Kambuja no. 22 (January 1967): 44. The motel was described in that pictorial as “grand luxe” with a daily price of USD15.
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Map of display of Soviet military equipment at Win-Win Monument
This photograph shows a map of the open-air display of Soviet military equipment that is located on the southern side of the Win-Win Monument complex. The Win-Win Monument complex – photographed here in January 2020 – was inaugurated in December 2018 to mark the twentieth anniversary of the end of the post-Democratic Kampuchea civil war, with the final defection of the remaining Khmer Rouge factions, thanks to the DIFID policy (“Divide, Isolate, Finish, Integrate, Develop”) also known as the “Win Win” policy of Prime Minister Hun Sen.
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Win-Win Monument bas-relief
This photograph provides a view of the bas-relief on the 117-metre-long engraved base of the Win-Win Monument. It depicts the rebirth of Cambodia after 1979 with different sectors being represented (religion, agriculture, transport, etc.). Hun Sen is featured in the middle, and is larger in sizes than other figures. The Win-Win Monument complex – photographed here in January 2020 – was inaugurated in December 2018 to mark the twentieth anniversary of the end of the post-Democratic Kampuchea civil war, with the final defection of the remaining Khmer Rouge factions, thanks to the DIFID policy (“Divide, Isolate, Finish, Integrate, Develop”) also known as the “Win Win” policy of Prime Minister Hun Sen.
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民國新政
這張海報極可確定於1937年12月為中華國民國臨時政府成立而設計。北京的升日和城門發射光芒的設計理念顯然讓人聯想到滿洲國的宣傳刊物。值得注意的是，當中參考了殘破的國民黨黨旗之白日標誌。取而代之的「五星旗」由1937年成立的中華民國臨時政府所復甦，象徵著其早期的臨時政府，質疑國民黨的理念，以崇尚較為保守的儒家思想。又請注意其中這個政權對中國其餘地區亦充滿野心的設計（這名男子插上國旗象徵征服全中國，而非僅中華民國臨時政府實際統治的華北地區。
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簽署日本－滿州國－中國聯合宣言
現場兩側站著幾名隨從情況下，滿州國駐汪精衛國民政府大使臧式毅（坐在圖左）、日本駐汪精衛國民政府大使阿部信行（坐在圖右）、以及汪精衛（坐在圖中）於1940年11月30日簽署日本－滿州國－中國聯合宣言，汪精衛國民政府透過該宣言承認滿州國。該宣言附加於中日基本關係條約，日本透過該條約承認汪精衛國民政府。此二份文件皆於汪精衛國民政府南京綜合大樓簽署。日本、中國，以及滿州國的旗幟均掛在三人背後的牆上。
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《華南畫報》封面，1941年1月
這張封面照片出自《華南畫報》3.1（1941年1月）。這張照片經過事先安排，照片中運用了日本於日據中國的標準宣傳理念，李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」，還有女性化日據中國的形象。注意日本女子是如何塑造的略高於她的中國同伴。
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《新中華画報》封面，1942年12月
這張封面照片出自《新中華画報》封面4.12（1942年12月），封面為李麗華的光刻印刷影像。李麗華是上海戰爭期間數一數二受歡迎的影視名人，儘管她的穿著和公眾形象效仿好萊塢明星，其仍受到當時日佔政權時期親政府媒體的青睞。《新中華画報》封面是雙語（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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進入汪精衛國民政府總部
1940年11月，日本和中國士兵看守通往南京國民政府禮堂的主要入口。門上方是一塊匾額，由國民政府（非汪精衛國民政府）主席林森所提之：「忠孝、仁愛、信義、和平。值得注意的是當中「純正」的中國國民黨黨旗（為有1940年春天在日本脅迫下汪精衛國民政府附加上的黃色三角旗）在此處飄揚。
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Huanan huabao (South China Graphic) inside cover, January 1941
This image is taken from Huanan huabao (South China graphic) 3.1 (January 1941). The illustration deploys one of the standard tropes of Japanese propaganda in occupied China, i.e., that of a Japanese woman and Chinese woman fraternising with each other. This trope was derived from Manchukuo propaganda and the notion of “gozoku kyōwa” (“the harmony of the five races”), as well as attempts to feminise the image of an occupied China. Note how the Japanese woman is pictured as being slightly higher than her Chinese peer.
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Two girls picked flowers for the dinner table [sic]
From a collection of staged photographs produced under the title “Life at a Girls School in Peking”, and produced at the Peking Jiyu Gakuen in Japanese-occupied Beijing. The original caption reads: “Two girls picked flowers for the dinner table [sic]”.