This chapter examines television dramas and films that tackle the triple disaster of March 11, 2011. It focuses on the possibilities and limitations of these fictional genres with regard to taking a critical stance. The first section addresses television dramas that either avoid mentioning the nuclear disaster or lack any criticism about how it was handled. This is in contrast with two films that describe a fictional nuclear disaster that occurs after Fukushima. Both films convey the message that Japan has learned nothing from the Fukushima catastrophe, since the fictional disaster is handled in the same problematic way.

Introduction

The triple disaster of the earthquake, tsunami and nuclear catastrophe that struck Japan on 11 March 2011—often referred to as 3.11—became the topic of many different genres in media and popular culture. Several documentaries were produced soon after the disaster, the majority of which “are critical of the government and nuclear industry to a greater or lesser extent” (Fujiki 2017, 93). In terms of popular culture, manga (Japanese comics) were probably the first to deal with the disaster. However, manga artists have obviously been afraid “that bringing up the topic of Fukushima in the mainly entertainment-oriented form of manga might further traumatize the people who lived or still live in the region afflicted by the disaster” (Maser 2015, 560). Creators in different genres might have had similar concerns. Although it is characteristic of Japanese television dramas to tackle current social problems, very few dramas dealing with the 3.11 catastrophe have been produced. Furthermore, most of these dramas focus on the flood disaster, avoiding mention of the nuclear accident and contamination. Producers may have worried that it would be difficult to find sponsors for dramas addressing the nuclear disaster due to opposition from the “nuclear village” (genshiryoku mura)—“the institutional and individual pro-nuclear advocates who comprise the utilities, nuclear vendors, bureaucracy, Diet (Japan’s parliament), financial sector, media and academia” (Kingston 2012).

While creators may have generally avoided tackling this difficult subject, some television and film productions have addressed issues related to 3.11, either directly or indirectly. This chapter analyzes some of these examples, with the aim of answering the following questions:

• • What are the possibilities and limitations of dramas and films as entertainment genres with regards to depicting the nuclear accident?