Book contents
- Frontmatter
- Table of Contents
- List of Illustrations
- Acknowledgements
- Introduction
- 1 No Nukes before Fukushima : Postwar Atomic Cinema and the History of the “Safety Myth”
- 2 Straddling 3/11: The Political Power of Ashes to Honey
- 3 Resistance against the Nuclear Village
- 4 The Power of Interviews
- 5 Learning about Fukushima from the Margins
- 6 The Power of Art in the Post-3/11 World
- Appendix: Interview from “Film Workshop with Director Hamaguchi Ryusuke”
- Bibliography
- Index
1 - No Nukes before Fukushima : Postwar Atomic Cinema and the History of the “Safety Myth”
Published online by Cambridge University Press: 13 February 2024
- Frontmatter
- Table of Contents
- List of Illustrations
- Acknowledgements
- Introduction
- 1 No Nukes before Fukushima : Postwar Atomic Cinema and the History of the “Safety Myth”
- 2 Straddling 3/11: The Political Power of Ashes to Honey
- 3 Resistance against the Nuclear Village
- 4 The Power of Interviews
- 5 Learning about Fukushima from the Margins
- 6 The Power of Art in the Post-3/11 World
- Appendix: Interview from “Film Workshop with Director Hamaguchi Ryusuke”
- Bibliography
- Index
Summary
Abstract: Chapter 1 focuses on films produced from the 1950s. The late film scholar Sato Tadao observed that, even before Fukushima, there were many films about nuclear power/energy. Iconic themes like atomic and hydrogen bombs, hibakusha (radiation victims), radiation, and nuclear power plants were recurring themes in the world of filmmaking. Even in the special effects genre, monster protagonists like Godzilla appeared in the aftermath of the nuclear bombings. Many films can be identified as referencing nuclear issues in the history of postwar Japanese cinema. This chapter analyzes what stances filmmakers chose to take within the myth of “safe nuclear energy” in postwar Japan.
Keywords: postwar atomic cinema; safety myth; Great East Japan Earthquake; compartmentalization of danger; faith in the media
Many documentary films produced after the Great East Japan Earthquake demonstrated a link with the past—i.e., Japan’s prolonged postwar period— through the issue of nuclear power. For example, X Years Later and X Years Later 2 (Hoshano wo abita X nengo; Hoshano wo abita X nengo 2, Ito Hideaki, 2012 and 2015) confront head-on the issue of nuclear power by layering the state of Japanese society after the Fukushima Daiichi nuclear disaster in 2011 against the backdrop of American nuclear tests conducted at Bikini Atoll from 1954 to 1958 and other radioactive contaminations and their aftereffects in the Pacific. These documentary films attempt to expose from a contemporary perspective the fact that tragic accidents caused by nuclear power, and many social issues associated with them, have been hidden from the public version of history in the name of the anti-communist policy under the Cold War regime—and, by extension, the Japan-U.S. Security Treaty.
This military alliance, in effect since 1951, stipulates, among other things, the presence of U.S. military forces in Japan for the security of both nations, and is sometimes referred to as the Japan-U.S. Alliance, or as the Anpo joyaku or just Anpo in Japanese. The 1960 revision of the treaty was highly disputed in Japan, and widespread opposition to its passage led to the massive Anpo protests, the largest protests in Japan’s modern history.
- Type
- Chapter
- Information
- Japanese Filmmakers in the Wake of FukushimaPerspectives on Nuclear Disasters, pp. 37 - 60Publisher: Amsterdam University PressPrint publication year: 2023