the Japanese military and contended that the Japanese were victims of post-war vindictiveness and viciousness. Such films have, however, been subject to protest for revisionism. The Eternal Zero (2013) narrates the tale of a Zero fighter pilot who is considered a coward by his comrades, as he returns alive from his missions. It broke the record takings for a Japanese live action film, and won the Golden Mulberry at the Udine Far East Film Festival, but was criticised for its nationalistic sympathy with kamikaze pilots. Subgenres Documentary The wartime authorities in both Britain and America produced a wide variety of documentary films. Their purposes included military training, advice to civilians, and encouragement to maintain security. Since these films often carried messages, they grade into propaganda. Similarly, commercially produced films often combined information, support for the war effort, and a degree of propaganda. Newsreels, ostensibly simply for information, were made in both Allied and Axis countries, and were often dramatised. More recently, in the Iran–Iraq War, Morteza Avini's Ravayat-e Fath (Chronicles of Victory) television series combined front-line footage with commentary. Propaganda Sergei Eisenstein's 1938 historical drama Alexander Nevsky depicts Prince Alexander's defeat of the attempted invasion of the Russian city of Novgorod by the Teutonic Knights. By April 1939 the film had been seen by 23,000,000 people. In 1941 the director and three others were awarded the Stalin Prize for their contributions. The film features a musical score by the classical composer Sergei Prokofiev, considered by artists such as the composer André Previn the best ever written for cinema. Russell Merritt, writing in Film Quarterly, describes it as a "war propaganda film". A 1978 Mondadori poll placed Alexander Nevsky among the world's 100 best motion pictures. During the Second World War, film propaganda was widely used. Kenneth Clark advised the British government that "If we renounced interest in entertainment as such, we might be deprived of a valuable weapon for getting across our propaganda"; he suggested using documentaries about the war and the war effort; celebrations of Britishness; and films about British life and character. Michael Powell and Clark agreed on a story about survivors of a U-boat crew, imbued with brutal Nazi ideology, travelling across Canada and meeting various kind, tolerant and intelligent Canadians, to encourage America into the war. The resulting film, 49th Parallel (1941), became the top film at British offices that year. Entertaining films could carry messages