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Transnational Images of Hiroshima and Nagasaki: Knowledge Production and the Politics of Representation

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Transnational Images of Hiroshima and Nagasaki: Knowledge Production and the Politics of Representation TRANSNATIONAL IMAGES OF HIROSHIMA AND NAGASAKI: KNOWLEDGE PRODUCTION AND THE POLITICS OF REPRESENTATION A Dissertation Presented to the Faulty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Yuko Shibata August 2009 ○c 2009 Yuko Shibata TRANSNATIONAL IMAGES OF HIROSHIMA AND NAGASAKI: KNOWLEDGE PRODUCTION AND THE POLITICS OF REPRESENTATION Yuko Shibata, Ph. D. Cornell University, 2009 This dissertation explores how knowledge on the atomic bombings has been produced in relation to postwar reconstruction, the formation of national discourses, and memories of war and colonialism. By examining cinematic representations of Hiroshima and Nagasaki in Japanese, European, and American films, such as the canonical Hiroshima, Mon Amour and the Japanese documentaries used within it, the dissertation argues that while engaging in an open dialogue with each other in the form of refutation, divergence, and affirmation, these films respond to historical changes in the idea of a human being and the postwar world order resulting from the collapse of Japanese and European colonialisms and the emergence of the US as an atomic superpower in the Cold War. It also contends that the ostensible disjunction between Japanese and Euroamerican discursive spheres precisely constitutes a structure of interdependence substantiated by the complicity of nationalisms. This is a process of an active creation rather than a direct suppression and preclusion of knowledge. Chapter One examines the discrepancies in knowledge about films on the atomic bombing by tracing a variety of ways in which they are consumed, questioned, neglected and censored, while participating in the on-going debates about the disciplinary limitations of Japanese film studies. Chapter Two discusses how the creation of the epic world and the narrative of martyrdom that appear in Japanese films on Hiroshima and Nagasaki have contributed to the isolation of atomic victimization as a “Japanese” tragedy by locating them within a genealogy of these films made in the 1950’s and the prewar and postwar histories of these cities. Chapter Three analyzes cinematic strategies to approach the atomic bomb victims, especially the performative aspect of victimization, the automaton-like human beings found in the ruins, and post-bombing victimization, in conjunction with a discussion of the plausibility of film narratives. Chapter Four reconsiders Hiroshima, Mon Amour by redefining the signification of Hiroshima in this film. It posits that what this film has portrayed is not a Hiroshima haunted by the memory of the bombing, but rather a Hiroshima obsessed with the memory of occupation, the on-going reconstruction, and prewar colonial legacies. BIOGRAPHICAL SKETCH Yuko Shibata was born in Yamaguchi, Japan during a summer typhoon. After receiving a B. A. in International and Cultural Studies at Tsuda College, Tokyo, she worked as a journalist for the Asahi Shimbun until 1994, principally covering the issues of minorities, media, and wartime histories. She moved to Hong Kong in 1995 and taught Japanese while studying at the University of Hong Kong, where she earned an M. A. in Literary and Cultural Studies in 2000. In 2002, she learned Mandarin at the National Taiwan University in Taipei, and between 2005 and 2008, was a visiting researcher at the Gender Studies Institute at Waseda University. She will join the faculty at the College of Saint Benedict and Saint John’s University in Minnesota this fall. iii For Atsushi iv ACKNOWLEGDEMENTS The convention of the acknowledgement cannot do justice to my personal debts to many people and institutions for their broad support in a project like this. First thanks go to my advisor, Professor Naoki Sakai, whose intellectual stimulus and pioneering work greatly inspired my research and professional path. During my years at Cornell, I benefited considerably from his profound insights and constructive criticism, as well as from discussions in a group of students who flocked from around the world to work with him. I can never thank Professor Brett de Bary enough for the kindness she extended to me on countless occasions both intellectual and personal. She always gave me the best advice possible with a fullness of wisdom and goodness. I was extremely fortunate to have such a great role model and true leader close at hand within my intellectual circle. I also want to acknowledge the immensely supportive role played for me by Professor Shirley Samuels. She always helped me by promptly providing incisive comments, practical advice, and invaluable guidance when I confronted hardships at several stages of my graduate life. Professor Dominick LaCapra taught me how to consider the relationships between literature and history, research and teaching, and professors and graduate students by his own perfect example of being simultaneously a great scholar and great teacher. I am grateful for Cornell’s generous institutional and financial support. Not only for research abroad, but also to write and present parts of this dissertation at conferences, I received Sage Graduate Fellowships, Robert J. Smith Fellowships in Japanese Studies, School of Criticism and Theory Fellowships, an East Asia Program Japanese Travel Grant, a Mario Einaudi Center Travel Grant, a Graduate School Conference Grant, and a Department of Asian Studies Conference Grant. I owe a special debt of thanks to Professor Fukuko Kobayashi for welcoming me in the v Gender Studies Institute at Waseda University and for allowing me access to abundant resources available at Waseda’s libraries during my research in Tokyo. I also appreciate Professor Toshio Nakano for generously accepting me as an exchange student between Tokyo University of Foreign Studies and Cornell. I am especially grateful to Kenji Shiraishi, Takao Nogami, Hideaki Ishibashi, and Tetsuji Ikemi, my ex-colleagues at the Asahi Shimbun. They gave me invaluable help for my research when I visited Hiroshima, Nagasaki, Fukuoka, Osaka, and Tokyo. It was delightful to reunite with these old “buddies,” too. In Hiroshima, I was also fortunate to meet and get support from the following people: Tadaomi Saito, a former director of the Hiroshima Peace Culture Foundation, Hiroko Takahashi and Kazumi Mizumoto at the Hiroshima Peace Institute of Hiroshima City University, Yoshihiro Harada, a doctor and son of the well-known surgeon Tomin Harada, who did everything he could to cure the keloid scars of the bomb victims, and Yukio Yoshiyama, who worked for the team of Alain Resnais in Hiroshima as a translator when Resnais was there to shoot Hiroshima, Mon Amour. I would also like to express my indebtedness to two unforgettable figures: Kim Soon-gil, a Korean forced laborer victimized by the atomic bombing of Nagasaki, whose life story I featured when I was at the Asahi. His death was one of the reasons that motivated me to pursue the theme of this project. Also, Nobuto Hirano, a schoolteacher of the second generation of the atomic victimization in Nagasaki. For many decades he has enduringly supported the activities of Korean bomb victims, and inspired me by his impregnable faith in justice, peace, and hope. I hope that this dissertation constitutes a response to them, no matter how delayed it is. I would also like to express my appreciation to Professor Jeremy Tambling, my advisor for an MA thesis at the University of Hong Kong. He introduced me to literary theory, and this encounter led me to pursue my scholarship further. Since that vi time, the lectures and instructions that he gave me have never ceased to be a great inspiration. The participation in the School of Criticism and Theory in the summers of 2003 and 2004 was one of my most enjoyable experiences at Cornell. I appreciate Professor Etienne Balibar who led a 2003 seminar, and Professors Srinivas Aravamundan and Rnjana Khanna who taught a 2004 one, as well as the participants of both seminars from North and South America, Asia, Europe, and Africa. There I learned the importance of intellectual interventions, sincere attitude, and wider perspectives through our fervent and lively discussions. For their mentorship and professional support and help, I want to thank Professors Tomiko Yoda, Robert McNeal, Bruce Rusk, Katsuya Hirano, Shelley Wong, Park Yuha, Naoko Yuge, and Chigusa Kimura-Steven. I appreciate the friendship of my fellow graduate students: Pedro Erber, Takeshi Kimoto, Chris Ahn, Travis Workman, Franz Hofer, Tarandeep Kang, Akiko Ishii, Seok-won Lee, and Chris Jones. I also want to honor the memory of Mihoko Kajikawa. My special thanks go to Gail Sakai, who not only checked my drafts, but also warmly cheered me up throughout the difficult period of my solitary writing process. I had opportunities to present and discuss parts of the dissertation and related issues in conferences, symposiums, workshops, and reading group meetings held in many venues: Tufts University, Kokugakuin University, Princeton University, the MLA Convention, Waseda University, and Ochanomizu University as well as Cornell. In addition to my appreciation of the organizers and participants of these events, I want to express my particular gratitude to these people: Setsu Shigematsu and Akio Nosaka for becoming discussants of my work; Hyon-joo Yoo Murphree, Yuki Miyamoto, and Youngmi Lim for organizing these occasions together with me; and Professor Michael Bourdaghs for participating in our reading group during his busy time in Tokyo. vii I dedicate this dissertation to Atsushi Shibata, my husband and best companion, since this accomplishment also belongs to him. His confidence and trust in me sustained my spirits in both good and difficult times during these long years. Without his persistent encouragement, the research and writing of this dissertation could never have been realized. I am grateful for the firm and long-standing commitment he has generously shown me. viii TABLE OF CONTENTS Biographical Sketch iii Dedication iv Acknowledgements v Introduction 1 1. Knowledge Production of Hiroshima, Mon Amour: Discrepancies, Complicity, and Beyond 18 2.
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