then notes that they entered Nanking on the 14th as mopping-up operations were being undertaken in the northern half of the city and that they heard bursts of gunfire which they assumed to be the Japanese Army battling remnants of the Chinese Army. Filming inside Nanking started on the 15th and even then mopping-up operations were still taking place in the vicinity of Yijiang Gate which they visited that day. On the 16th they shot footage of the foothills of Purple Mountain, the suburban recreational garden containing Sun Yat-sen Mausoleum, and a nearby concert hall where dogs were wanderingly freely. On the 17th they filmed the Japanese Army's victory parade through Nanking, the footage of which was immediately airlifted to Japan for presentation before Emperor Hirohito. According to Yonezawa's journal, the film crew witnessed the plight of Nanking's refugees to preserve the story in images, but also noted the kindness with which the refugees were treated by the Japanese Army. The journal also notes that the camera crew filmed the construction of water supply facilities and the provision of medical treatment to Chinese POWs. Yonezawa wrote in his journal that, while about 120 Japanese newspaper journalists and cameramen had entered Nanking at the start of the occupation and were doing reporting work there, among them it was Nanking's camera crew which was permitted unfettered access even in places where the press teams of newspapers were not allowed to take pictures because his camera crew was connected with the Military Special Affairs Department. On the other hand, cinematographer Shigeru Shirai stated in his memoirs that it was not the case that they filmed everything they saw and even some of what they shot was cut out. After Shirai arrived in Nanking on December 14 he saw long lines of Chinese who were being taken to the banks of the Yangtze River to be shot, but he was not allowed to start his movie camera. Shirai was stunned by what he saw and said that he suffered nightmares for many nights after. Staff Producer – Keiji Matsuzaki Guidance – Military Special Affairs Department Cinematographer – Shigeru Shirai On-site sound recorder – Shinichi Fujii Production clerk – Akiyoshi Yonezawa Editor – Ken Akimoto Sound recorder – Kinjiro Kanayama Music supervisor – Jiang Wen-Ye Commentator – Musei Tokugawa Reviews Kinema-Junpo Co.'s database introduces it as a highly discussed work relevant to the debate on