Furthermore, there is little by way of denial by representatives of the Japanese side.
When the film as representation of reality is taken into account, it is interesting to consider the tension between the presentations of the present as opposed to the past. The present is represented as the reality that it is; with the women displaying the current state of their injuries and explaining the effect of the events upon them. Since no footage remains of the events in questions, actors must necessarily reenact the events of the past, which casts some uncertainty over verisimilitude. Also, the events being related could be the result of distorted memory or the desire to create a shock effect that resembles the shock and horror the women experienced when being abducted from their homes and their lives.
While it appears plausible, therefore, that many of these women were lured from their homes and schools by promises of work and money, other accounts might be somewhat embellished. Some of the more outlandish accounts include how the women were forced to bayonet Chinese civilians and even eat human flesh. Interestingly, the past is also represented by archival film, still black and white photographs, and footage of soldiers and the dead. This relieves some of the tension created by credibility concerns.
It is highly unlikely that any of the women openly lied, or even embellished their stories. Indeed, there is as little evidence to suggest this as there is to suggest that they are speaking the truth. However, the way in which the film is set up as representative of the suffering that occurred during the war, suggests some challenges to its verisimilitude. This challenge might be met by arguing that the first-person accounts are provided individually, without coaching and without any external influence. Furthermore it might also be argued that the impenetrable Japanese culture would do little to divulge helpful information to lend more balance to the film. The filmmaker therefore...
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