After the end of the Allied occupation of Japan, in such fields as live-action film, manga, and animation, Japanese cultural workers turned aptly and quickly into making use of their own working media, attempting to extend their artistic and social expression. This essay is an interpretation of The Prince of the Sun: Hols Great Adventure (1968) in terms of Gramsci. It includes what surrounded the production of the film and the content of its narrative. Here, in relation to the post-war industrialization of Japan, I attempt to link the film’s political stance to the production crew’s efforts to identify the independence of their own country and its role to be assumed in international scenes.