Imamura's documentary presents history from the perspective of a person who, by virtue of gender, occupation, and location, is on the periphery of history as it is traditionally conceived. The story of Etsuko Akaza, a prostitute and barmaid in a Yokosuka establishment catering to foreigners, nonetheless can be said to parallel that of modern Japan. Her personal prostitution echoes what for some was the nation's prostitution under the U.S. occupation. As Joan Mellen observed, Akaza, like Japan, is “both a victim and a willing participant in (her) own victimization.” Imamura's cinema verité–like interviews with Akaza are mixed with more official versions of history: newsreel footage of General MacArthur's arrival in Japan, the Korean and Vietnam wars, and demonstrations in the seventies. As the film progresses, the differences between Imamura's and Akaza's interpretations emerge, as Imamura underscores the difference that point of view makes in the construction of the past.