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The Fukushima Fiction Film: Gender and the Discourse of Nuclear Containment
Published online by Cambridge University Press: 14 March 2025
Abstract
This article examines the systems for designating and containing both the contamination from the March 2011 Fukushima nuclear power plant (NPP) accident and the fear of radiation. This discourse of containment appears in the cinematic images of two fiction films: Land of Hope (Kibō no kuni, 2012) and The Tranquil Everyday (Odayaka na nichijō, 2012). I look at the films' portrayals of the female characters who struggle to confirm and assess radiological danger in so-called “safe” zones. When they voice their fears and challenge the illusion of safety, they themselves are contained and made invisible by the diagnoses of radiophobia, hysteria, and paralyzing fatalism.
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- Research Article
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- Copyright © The Authors 2018
References
Notes
1 Japanese Chief Cabinet Secretary, Edano Yukio used this phrase on March 16 after explosions at reactors 1, 2, and 3 and a fire at number 4. He repeated this phrase on seven occasions. See Noriko Manabe, The Revolution Will Not Be Televised: Protest Music After Fukushima (New York: Oxford University Press, 2015), 49. Also see Manabe for a list of officials who said the conditions were safe post-meltdown. Manabe, 125. Edano's “tadachi” (immediate) was nominated for buzzword of the year. Manabe, 139.
2 See the trailers here and here
3 Odayaka na nichijō□Uchida Nobuteru, accessed October 6, 2017.
4 “Intabyū: Odayaka na nichijō,” Eiga.com, December 20, 2012.
5 Kristina Iwata-Weickgenannt, “Gendering ‘Fukushima’: Resistance, Self-Responsibility, and Female Hysteria in Sono Sion's Land of Hope,” in Fukushima and the Arts: Negotiating Nuclear Disaster, ed. Barbara Geilhorn and Kristina Iwata-Weickgenannt (London; New York: New York: Routledge, 2017), 114.
6 Iwata-Weickgenannt, 120.
7 In Land of Hope, the patriarch Mr. Ono is a major exception to this gendered response, but he remains in an area that is clearly marked in relation to the contaminated zone. This article focuses primarily on the problems women encounter well outside of the no-go zones. See Iwata-Weickgenannt for more on the male characters in Land of Hope.
8 Fujiki notes that the standard for a ‘safe area’ in post-3/11 Japan is one affected by less than 20mSv of radiation, but the ICRP advises such a high level as acceptable only in “exceptional cases.” 1mSv is the normal standard. Hideaki Fujiki, “Problematizing Life: Documentary Films on the 3.11 Nuclear Catastrophe,” in Fukushima and the Arts: Negotiating Nuclear Disaster, ed. Barbara Geilhorn and Kristina Iwata-Weickgenannt (London; New York: Routledge, 2017), 92.
9 Fujiki, 92. For more on the 3/11 disaster and privatization of risk, see Majia Holmer Nadesan, Fukushima and the Privatization of Risk (Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2013).
10 See for example Funahashi's Futaba kara tōku hanarete = Nuclear Nation (2012), Kamanaka's Surviving Internal Exposure (Naibu hibaku o ikinuku, 2012) and Little Voices from Fukushima (Chisaki koe no kannon - sentaku suru hitobito, 2015), Fujiwara's No Man's Zone (Mujin chitai, 2012), Mori's 311 (2013) and Ash's A2-B-C (2013).
11 I am thankful to Ryan Cook for this information. Sono was criticized for using such footage. For more on Sono, see Iwata-Weickgenannt, “Gendering ‘Fukushima’: Resistance, Self-Responsibility, and Female Hysteria in Sono Sion's Land of Hope,” 112.
12 Genkaiken and Iida Ichishi, “Joron hajime ni,” in Higashinihon daishinsaigo bungakuron, ed. Genkaiken (Tokyo: Nan'undō, 2017), 11.
13 Odayaka na nichijō: Uchida Nobuteru. For more on the distribution of these documentary films, see Fujiki, “Problematizing Life: Documentary Films on the 3.11 Nuclear Catastrophe.”
14 For more on Sono's comments see Iwata-Weickgenannt, “Gendering ‘Fukushima’: Resistance, Self-Responsibility, and Female Hysteria in Sono Sion's Land of Hope,” 110–12. She also suggests that the influence of the nuclear village has restricted the fictionalization of 3/11 in Japanese cinema.
15 Fujiki, “Problematizing Life: Documentary Films on the 3.11 Nuclear Catastrophe,” 106.
16 Namie was divided into three evacuation zones. “Fukushima's Namie Sees No-Go Zone Designation Lifted,” The Japan Times Online, April 1, 2013.
17 Sarah Phillips, “Fukushima Is Not Chernobyl? Don't Be so Sure,” Somatosphere: Science, Medicine, Anthropology (blog), March 11, 2013. Philips questions why the Japanese government did not apply the knowledge from Chernobyl and US nuclear testing about the “uneven and patchy” nature of radiation fallout in order to map the evacuation zones “according to the actual radiological data.” The concentric circle model is standard for nuclear evacuation zones.
18 The Japanese government released this data to the US military on March 14, nine days earlier. Phillips.
19 The Japanese government raised the acceptable level for annual individual radiation exposure from 1mSv pre-3/11 to 20mSv after the disaster. Phillips; Gabrielle Hecht, “Nuclear Janitors: Contract Workers at the Fukushima Reactors and Beyond,” The Asia-Pacific Journal 11, no. 1.2 (January 14, 2013); Vincenzo Capodici and Shaun Burnie, “Reassessing the 3.11 Disaster and the Future of Nuclear Power in Japan: An Interview with Former Prime Minister Kan Naoto,” trans. Richard Minear, The Asia-Pacific Journal 14, no. 18.1 (September 15, 2016); Adriana Petryna, Life Exposed: Biological Citizens after Chernobyl (Princeton University Press, 2002), xxiii.
20 Petryna, Life Exposed, xxvii.
21 Petryna, xix.
22 Yukako's husband Tatsuya is also silenced by his boss who uses similar arguments to dismiss Tatsuya's request for a job transfer to Kansai, saying the government has assured us the radiation will do no harm.
23 Lorie Brau, “Oishinbo's Fukushima Elegy: Grasping for the Truth About Radioactivity in Food Manga,” in Fukushima and the Arts: Negotiating Nuclear Disaster, ed. Barbara Geilhorn and Kristina Iwata-Weickgenannt (London; New York: Routledge, 2017), 177–98; Eiichiro Ochiai, “The Manga ‘Oishinbo’ Controversy: Radiation and Nose Bleeding in the Wake of 3.11,” The Asia-Pacific Journal 11, no. 25.4 (June 23, 2014).
24 Filmmaker Funahashi Atsushi spoke in Kariya's defense. See Funahashi Atsushi, “‘Oishinbo’ no hanaji mondai: teki o miayamatte wa ikenai,” Hafinton posuto, May 12, 2014.
25 Iwata-Weickgenannt, “Gendering ‘Fukushima’: Resistance, Self-Responsibility, and Female Hysteria in Sono Sion's Land of Hope,” 122–23.
26 Petryna, Life Exposed, 160, 177. See Petryna's quote from forensic psychiatrist Oleksandr Tolkach about the implementation of this new term and its use in solving “all emerging social problems” (177).
27 Carole Gallagher, American Ground Zero: The Secret Nuclear War (Cambridge, Mass: The MIT Press, 1993), xxx. I am grateful to Norma Field for this reference.
28 Petryna, Life Exposed, xv; For more on the application of this diagnosis to the Fukushima accident, see George Johnson, “When Radiation Isn't the Real Risk,” New York Times, September 21, 2015, sec. Science. Johnson quotes a medical physicist who argues: “It was the fear of radiation that ended up killing people.”
29 Petryna, Life Exposed, xv.
30 Sharon Stephens, “Bounding Uncertainty: The Post-Chernobyl Culture of Radiation Protection Experts,” in Catastrophe & Culture: The Anthropology of Disaster, ed. Susannah M. Hoffman and Anthony Oliver-Smith (Santa Fe, NM: School of American Research Press, 2002), 110. The nuclear industry has a bias against women, but according to the Gender and Radiation Impact Project, “the harm to girls and women is, overall, roughly twice that of boys and men.” “Gender and Radiation Impact Project,” accessed December 12, 2017. I am grateful to Norma Field for this reference.
31 David H. Slater, Rika Morioka, and Haruka Danzuka, “MICRO-POLITICS OF RADIATION: Young Mothers Looking for a Voice in Post-3.11 Fukushima,” Critical Asian Studies 46, no. 3 (July 3, 2014): 494-95.
32 This is the same term that was used in the Oishinbo controversy.
33 Slater, Morioka, and Danzuka, “MICRO-POLITICS OF RADIATION,” 497-98.
34 Slater, Morioka, and Danzuka, 503.
35 Slater, Morioka, and Danzuka, 505.
36 As mentioned above, Yukako's husband Tatsuya is also silenced.
37 “Intabyū: Odayaka na nichijō.”
38 Anastasia Smith, “KJ 81 Online Special: Filmmaker and Activist Kamanaka Hitomi,” Kyoto Journal (blog), accessed December 4, 2017. I am grateful to Norma Field for this reference.
39 Women activists were allowed to distribute pamphlets about the dangers of radiation as long as they did not include the words “nuclear energy.” For more see Slater, Morioka, and Danzuka, “MICRO-POLITICS OF RADIATION,” 502-3.
40 For more on the social limitations on female anti-nuclear protest in Japan see Iwata-Weickgenannt, “Gendering ‘Fukushima’: Resistance, Self-Responsibility, and Female Hysteria in Sono Sion's Land of Hope,” 114-16.
41 Odayaka na nichijō□Uchida Nobuteru.
42 Petryna, Life Exposed, xxiv.