By Rachel DiNitto
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.
Keywords: Fukushima Daiichi Nuclear Power Plant, 3/11 fiction film, gender, radiological danger, radiophobia, containment
In the aftermath of the nuclear meltdowns at the Fukushima Daiichi Nuclear Power Plant (NPP) in spring 2011, the Japanese government and plant owner Tokyo Electric Power Company…
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