After the Japan 3/11 Disaster: Slow Violence and Slow Living in The Land of Hope and Homeland

Drawing from Sino Sono's 2013 film The Land of Hope and Kubota Nao's 2014 film Homeland, this paper points to the psychological traumatic problems that have afflicted the victims of nuclear explosion and radiation in Fukushima, Japan, since March 11, 2011. The tsunami and radiation leaks have transformed the Fukushima area (towns) into what CNN news has called a ＂ghost town.＂ In the Pacific side of the Tōhoku regions, ＂the end of nature＂ (Bruno Latour) has been highlighted and many living in the affected areas become ＂the dispossessed.＂ Based on the films, in which both directors spent time filming in the affected area and interviewing the residents, this paper explores how objects have an impact on people's living before/after the radiation leaks and whether narratives of recovery from elemental ecocriticism are workable in both films. My question is when calamities or toxicities become irretrievable, what does ＂home,＂＂sense of place,＂＂native-soil,＂ mean to those living in of ＂the land of hope (lessness),＂ especially when craving to return back ＂home＂ is shown in Kubota Nao's Homeland. How credible and trustworthy is the information from the public media and government when something jeopardizes authoritarian patronages? By examining the narratives of recovery in both films, the paper will see how the ＂pastoral＂ landscape has been transformed to the (post-)traumatic landscape (The Land of Hope) and how the post-traumatic landscape can presumably be traced back to a ＂therapeutic landscape＂ (Homeland).

關鍵字

Fukushima ； tsunami ； radiation ； slow violence ； post-traumatic landscape

並列摘要

史洛維克父子所編纂的《數字與神經：數據世界中的資訊、情感和意義》一書提問人們為何對某些訊息高度敏感、對某些訊息則無動於衷？當訊息以不同的方式呈現時，是否較具警世的功用？循著這樣的思路，本文檢視在2011年3月11日在東日本所發生的地震與海嘯所引發的核災事件中的心靈麻痺、假性無效率、慢思、和跨層級想像。園子溫在2012年所拍攝的《希望之國》和久保田直於2014年的《家路》皆至災區拍攝電影、並訪問災區居民、探討受到核輻射污染被迫離鄉背井的太平洋岸的日本東北地區的受災居民的心理和生理層面的煎熬，以及檢視這兩部生態電影如何協助人們理解「憐憫的算術」這樣的概念。《希望之國》講述的是不同世代面對核災的故事，核災發生時，離開還是留下成為兩代人最生離死別的痛，並召喚出人們面對輻射災民的心靈麻痺等議題。而《家路》則採用不同的攝影手法，除了聚焦於核災後住在組合屋的辛酸艱難之外，也讓回「家」似乎成為一種慢活的選擇，也帶出「家」對於災民的意義似乎超越科學所定義的毒物環境。本篇論文主張兩部關於日本311災難事件的劇情片不但呈現脆弱的力量的故事，也認為此兩部劇情片可以「再魅」人們重新思索人類紀下的兩面刃的科技問題。

並列關鍵字

福島核電站；海嘯；核輻射；慢暴力；后創痛的景觀

參考文獻

Ahad, Abdul. “Haunting 'Land of Hope' Partly Shot on Location in Fukushima.” Agence France-Presse (AFP). 10 Sep. 2012. Web. 20 February 2017.

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Bell, Nicholas. “The Japan Syndrome: Sono Puts Human Face to Tsunami Tragedy.” Ioncinema.com. 17 Sep. 2012. Web. 18 March 2017.

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Harmon, Katherine. “Japan's Post-Fukushima Earthquake Health Woes Go Beyond Radiation Effects.” Terra Daily. 2 March 2012. Web. 27 February 2017.

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Homeland. Dir. Nao Kubota. Edko Films Ltd., 2014. DVD.

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Jiang, Sijia. “Film Review: Homeland Examines the Aftermath of Fukushima.” South China Morning Post. N.d. Web.18 Feb. 2017.

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國際替代計量

After the Japan 3/11 Disaster: Slow Violence and Slow Living in The Land of Hope and Homeland

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