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- Convenors:
-
Tino Bruno
(Kyôto Sangyô University, IFRJ-MFJ)
Maika Nakao (Hiroshima University)
Akihiro Yamamoto (Kobe City University of Foreign Studies)
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- Discussant:
-
Masaya Nemoto
(Japan Society for the Promotion of Science/ Ritsumeikan University)
- Stream:
- Media Studies
- Location:
- I&D, Piso 4, Multiusos 3
- Sessions:
- Thursday 31 August, -
Time zone: Europe/Lisbon
Short Abstract:
This panel aims at analyzing how the images of both the peaceful atom and military nuclear power were represented by the Japanese mass media and popular culture during the first half of Cold War, at a time when the nuclear arms race was set into motion and nuclear power programs developed worldwide.
Long Abstract:
The Fukushima Daiichi nuclear disaster reminded that Japan had developed one of the most advanced commercial nuclear power programs despite the atomic bombings of Hiroshima and Nagasaki (1945). It is however the Daigo Fukuryū Maru tuna fishing boat incident (1954) that had perhaps the biggest impact on the image of nuclear energy in Post-war Japan. The boat that was exposed to radioactive fallout from a thermonuclear test conducted in the Bikini Atoll announced the coming of a new order determined by "atomic tuna" and "radioactive rain", when Japan would live in fear of the after-effects from "death's ashes". But this event paradoxically happened right when the Japanese government had just approved the first budget for nuclear energy development, with the scientific and political elite strongly supporting the civilian nuclear power program.
This panel aims at analyzing how the images of both the peaceful atom and military nuclear power were represented by the mass media and popular culture during the first half of Cold War, at a time when the nuclear arms race was set into motion and nuclear power programs were developed around the world. Focusing on the main Japanese newspapers Asahi Shinbun and Yomiuri Shinbun, it looks first into how the Japanese daily press helped make the peaceful atom acceptable against increased fear of radioactivity following the Daigo Fukuryû Maru incident. It then examines how the fear of radiation was depicted in Kamei Fumio's Sekai wa kyôfu suru (1957). By analyzing the documentary, for which some scientists had cooperated, and the debate it generated, it presents the original ways radiation effects were pictured at a time when popular imagery was largely suffused with physical abnormalities. Finally, it explores Tokusatsu television series of the 1960's and 1970's to look into how nuclear power facilities, often under the threat of evil organizations, were represented, stressing out the links between nuclear energy and Japanese society.
Accepted papers:
Session 1 Thursday 31 August, 2017, -Tino Bruno (Kyôto Sangyô University, IFRJ-MFJ)
Paper short abstract:
This paper looks into how Asahi and Yomiuri newspapers helped to ensure public acceptance about nuclear energy at a time when fear of atomic radiation was at its height, after the Daigo Fukuryû Maru was exposed to radioactive fallout from a thermonuclear test conducted in the Bikini Atoll in 1954.
Paper long abstract:
In the Aftermath of Fukushima Daiichi nuclear disaster, the so-called activist role played by newspapers in promoting civil nuclear energy in Japan has received criticism. Simultaneously, the fact that despite the atomic bombings of Hiroshima and Nagasaki Japan had one of the largest nuclear generating capacity was (re)discovered, to the astonishment of many. It is however the Daigo Fukuryû Maru incident in 1954 that had the biggest impact on the representations of nuclear energy in post-war Japan. The fishing boat that was exposed to radioactive fallout from a thermonuclear test conducted in the Bikini Atoll ushered a new era overshadowed by "atomic tuna" and "radioactive rain", when Japan would live in fear of the after-effects from "death's ashes". The incident paradoxically coincided with the approval of the first budget dedicated to nuclear energy development in the country, which included the construction of the very first Japanese nuclear reactor.
This paper looks into this turning point period to analyze how nuclear energy was presented and represented in the main newspapers, the Asahi Shinbun and the Yomiuri Shinbun. It will essentially deal with the following question: how did those newspapers, well-known for their vested interest in the development of civil nuclear energy, helped to ensure public acceptance at a time when fear of atomic radiation was at its height?
The analysis will thus show how both newspapers purposely distinguished between military and civil usage through a Manichean rhetoric that stressed out the dangers of atomic radiations - possibly leading to the end of Humankind on the one hand, and the bright promises of civil nuclear energy on the other. It will also point out how the Asahi Shinbun and the Yomiuri Shinbun made use of the scientific discourse around the health crisis that followed the Daigo Fukuryû Maru incident to familiarize their readers not only with the terminology of nuclear energy, but also with the technical sophistication of Japanese scientists, thus spreading the idea that Japan was able to set off on its nuclear journey.
Maika Nakao (Hiroshima University)
Paper short abstract:
This paper focuses on Kamei Fumio's anti-nuclear documentary film entitled The World Is Terrified (Sekai wa kyōfu suru, 1957) and discusses about the expressions of radiation exposure from the perspective on social movement and social construction of suffering.
Paper long abstract:
How did Japanese people express their fear of nuclear weapon, nuclear power plant, and radiation? There are a variety of expressions regarding nuclear fear. As it is well known, it was after the U.S. occupation when the visual images of atomic bomb casualties were shown in Japanese mass media (August 1952 issue of Asahi Graph). Soon afterwards, a Japanese tuna fishing boat Daigo Fukuryū Maru suffered radioactive fallout (white ashes contain strong radioactivity and soon dubbed as the "ashes of death") resulted from the American nuclear testing in Bikini atoll. This incident led to a Japanese anti nuclear movement in a national level. With this movement, many concerns regarding the danger of radiation exposure emerged in Japanese media. Among them was a documentary film The World Is Terrified: The Reality of the "Ash of Death" (Sekai wa kyōfu suru: Shino hai no shōtai, 1957) directed by Fumio Kamei. This film had a motivation to convey the fear of radioactive fallout and nuclear weapons. The film was made with widely support by Japanese scientists and there were plenty of scientific explanations about the danger of radiation exposure. It also carried out the images of malformed children of Hiroshima. This resulted in the press discussions regarding the freedom of expression and the discrimination of hibakusha. By analyzing how Kamei conveyed the fear of radiation exposure and the responses to the film from critics, activists, and scientists, this paper will discuss about the expressions of radiation exposure from the perspective on social movement and the social construction of suffering.
Akihiro Yamamoto (Kobe City University of Foreign Studies)
Paper short abstract:
This paper focuses on special effects programs of the 1960s and 1970s, and examines how nuclear weapons and atomic power plants were depicted then, at a time when Japanese nuclear power plants started to generate electricity and at a period when nuclear weapons continue to pose a serious threat.
Paper long abstract:
In Japan, a great number of special effects programs were broadcast on TV in the 1960's and 1970's. In many of these programs, atomic power plants were often targeted by criminal organizations. In the meantime, many monsters created by H-bomb tests appeared on TV shows to challenge the heroes. It is well known that Godzilla was the origin of Japanese special effects programs, and had strong ties with H-bomb Tests. However, not many studies have mentioned that there had been other emblematic characters which had ties with H-bomb tests.
This paper focuses on special effects programs of the 1960s and 1970s, and examines how nuclear weapons and atomic power plants were depicted then, at a time when Japanese nuclear power plants started to generate electricity for industrial uses and when nuclear weapons continue to pose a serious threat. For example, in Kamen Rider, an enemy monster created by an H-bomb test appears, and in Himitsu Sentai Goranger, atomic power plants are targeted by criminal organizations. In addition, the report looks at why these descriptions were born with the relationships between the collective memory of atomic bombings and the atomic dream.
Needless to say, the special effects programs were made by adults, but they were made for children. The images for the nuclear issues were stereotyped because the stories had to be easy enough for children to understand. The messages presented through these TV programs were as follows. Atomic power plants were dangerous and they were to be targeted by criminal groups. However, crises were avoided most of the time. Even if these atomic power plants were destroyed, descriptions of radiation contamination would almost never exist. On the other hand, when these programs were to mention nuclear bomb tests in the past, the producers made up monsters as effects of radioactive pollution. As a result, these TV programs brought two different consequences. The programs supported the myth of nuclear-power safety and at the same time they reinforced the Japanese identity as the only country to have ever suffered atomic bombings.