Before and during World War II, most countries did not recognize the legitimacy of Manchukuo. In September 1932, the League of Nations voted 42 to 1 at the convention to deny the legal status of Manchukuo and demanded that Japan, the occupying power, return it to China. Therefore, Japan was eager to strengthen international recognition of the legitimacy of Manchukuo to achieve further political goals. Japan invited Puyi, the last emperor of China which it had installed as 'emperor of Manchukuo', to meet in Tokyo in 1935 and 1940 respectively. This was a premeditated political show with a performative nature. Puyi's visit provided an opportunity for Japan to showcase the collaboration between Manchukuo and itself. For propaganda purposes, both domestically and internationally, it was part of Japan's efforts to strengthen its control over Manchukuo.

By comparing two films taken in 1935 and 1940 when Puyi was invited to visit Tokyo, analyzing the similarities and differences in the information conveyed by the archival documentary, it can be seen that the two itineraries recorded in it are consistent. The key locations, main characters, and vehicles in the films all basically match, creating the impression of a well-designed political show.

In the 1940 video, multiple close-ups of the massive military parade were added. Simultaneously, it records scenes of the Emperor, Prime Minister, and the royal family welcoming Puyi, including close-ups of handshakes and military salutes. Contrasting footage from his first visit to Japan in 1935, these added cuts make the message more politically impactful and persuasive.

This project situates the film within a strictly continuous cinematic sequence, converting each frame of dynamic footage into a still image, systematically inventorising each interruption, and compares the films from the two time periods in parallel and analyze how the film serves as a performative political means to deliver content.