Twice Bombed: special film screening

Tuesday, 16th August 2011   5.45pm – 8.45pm

5.45pm Twice Bombed (2006, 60 mins)
7pm   Twice Bombed: the Legacy of Yamaguchi Tsutomu (2011, 70 mins)
8.15pm Q & A with producer Hidetaka Inazuka

Both films in Japanese with English sub titles.

Khalili Lecture Theatre
School of Oriental & African Studies
Thornhaugh Street
Russell Square
London WC1H 0XG

Free. Booking recommended.

On the morning of 6 August 1945, Yamaguchi, a shipbuilder for Mitsubishi Heavy Industries in Nagasaki, suffered severe burns while on a business trip to Hiroshima when he was exposed to radiation from the nuclear bomb (3km from the epicentre).

On the following day he headed home on an evacuation train to be reunited with his wife and children. He arrived at Nagasaki station at midday on 8 August and received medical treatment.  On 9 August he reported for work at his marine architecture firm and, while telling of the horrors he had witnessed in Hiroshima, became for the second time the victim of an atomic bomb.

Twice Bombed: the Legacy of Yamaguchi Tsutomu (2011) tells his story and recounts the hard fought campaign of his later years against nuclear weapons. Also being screened is Twice Bombed (2006) about Yamaguchi and six other people who had been exposed to radiation from both bomb blasts.

We are delighted to welcome the film’s producer, Hidetaka Inazuka, who spent time with Yamaguchi until his death in January 2010 and is determined to pass on his legacy to viewers.

To reserve your place, please call the Japan Society office on 020 7828 6330, emailevents@japansociety.org.uk or submit the online booking form

In association with:

Midwife and Manga Heroine: Oine Siebold, Nagasaki and the Birth of Modern Japan

Midwife and Manga Heroine: Oine Siebold, Nagasaki and the Birth of Modern Japan
Ulrich Heinze, Sasakawa Lecturer in Japanese Visual Media

Sainsbury Institute and Centre for Japanese Studies, University of East Anglia

20 June 2011, London

School of Oriental and African Studies, University of London
Khalili Lecture Theatre, Thornhaugh Street, Russell Square, London WC1H 0XG

This lecture unravels the historical meaning of the city of Nagasaki for the cultural exchange between Japan and the West in the first half of the nineteenth century. To pursue this inquiry, Heinze will refer to three key source materials: David Mitchell’s new novel The 1000 Autumns of Jacob de Zoet, depicting the Phaeton-incident of 1808; Hendrik Doeff’s (1764-1837) Recollections of Japan, which is now available in English; and Masaki Maki’s manga Oine Siebold, on the career of the first female physician and obstetrician in Japan.
Dr Ulrich Heinze is Sasakawa Lecturer in Contemporary Japanese Visual Media. His position is jointly shared with the Sainsbury Institute for the Study of Japanese Arts and Cultures and the Centre for Japanese Studies at the University of East Anglia in Norwich. A sociologist, he received his Ph.D. at Free University Berlin and was an EU-Postdoctorate Research Fellow at the University of Tokyo where he also later held the position of Associate Professor. In 2004, he was awarded the venia legendi (habilitatio) in Sociology from the University of Freiburg. Specialising in Japanese media studies, intercultural communication and visual arts, Heinze’s research interests include Japanese popular culture, manga, television and film. His third book entitled Media Theory Update: Technical Acceleration and Communicative Action is forthcoming in 2012. Heinze has also worked as a journalist and broadcasting editor for North German Radio (NDR) in Hamburg.

Admission Free but Booking recommended. To book your place, please contact the Japan Society office on tel: 020 7828 6330 or email events@japansociety.org.uk.

History Repeats by Kenzaburo Oe

I decided to post an interesting and provoking article written by Kenzaburo Oe and published by The New Yorker on the recent events. Let me know your opinion.

By chance, the day before the earthquake, I wrote an article, which was published a few days later, in the morning edition of the Asahi Shimbun. The article was about a fisherman of my generation who had been exposed to radiation in 1954, during the hydrogen-bomb testing at Bikini Atoll. I first heard about him when I was nineteen. Later, he devoted his life to denouncing the myth of nuclear deterrence and the arrogance of those who advocated it. Was it a kind of sombre foreboding that led me to evoke that fisherman on the eve of the catastrophe? He has also fought against nuclear power plants and the risk that they pose. I have long contemplated the idea of looking at recent Japanese history through the prism of three groups of people: those who died in the bombings of Hiroshima and Nagasaki, those who were exposed to the Bikini tests, and the victims of accidents at nuclear facilities. If you consider Japanese history through these stories, the tragedy is self-evident. Today, we can confirm that the risk of nuclear reactors has become a reality. However this unfolding disaster ends—and with all the respect I feel for the human effort deployed to contain it—its significance is not the least bit ambiguous: Japanese history has entered a new phase, and once again we must look at things through the eyes of the victims of nuclear power, of the men and the women who have proved their courage through suffering. The lesson that we learn from the current disaster will depend on whether those who survive it resolve not to repeat their mistakes.

This disaster unites, in a dramatic way, two phenomena: Japan’s vulnerability to earthquakes and the risk presented by nuclear energy. The first is a reality that this country has had to face since the dawn of time. The second, which may turn out to be even more catastrophic than the earthquake and the tsunami, is the work of man. What did Japan learn from the tragedy of Hiroshima? One of the great figures of contemporary Japanese thought, Shuichi Kato, who died in 2008, speaking of atomic bombs and nuclear reactors, recalled a line from “The Pillow Book,” written a thousand years ago by a woman, Sei Shonagon, in which the author evokes “something that seems very far away but is, in fact, very close.” Nuclear disaster seems a distant hypothesis, improbable; the prospect of it is, however, always with us. The Japanese should not be thinking of nuclear energy in terms of industrial productivity; they should not draw from the tragedy of Hiroshima a “recipe” for growth. Like earthquakes, tsunamis, and other natural calamities, the experience of Hiroshima should be etched into human memory: it was even more dramatic a catastrophe than those natural disasters precisely because it was man-made. To repeat the error by exhibiting, through the construction of nuclear reactors, the same disrespect for human life is the worst possible betrayal of the memory of Hiroshima’s victims.

I was ten years old when Japan was defeated. The following year, the new Constitution was proclaimed. For years afterward, I kept asking myself whether the pacifism written into our Constitution, which included the renunciation of the use of force, and, later, the Three Non-Nuclear Principles (don’t possess, manufacture, or introduce into Japanese territory nuclear weapons) were an accurate representation of the fundamental ideals of postwar Japan. As it happens, Japan has progressively reconstituted its military force, and secret accords made in the nineteen-sixties allowed the United States to introduce nuclear weapons into the archipelago, thereby rendering those three official principles meaningless. The ideals of postwar humanity, however, have not been entirely forgotten. The dead, watching over us, oblige us to respect those ideals, and their memory prevents us from minimizing the pernicious nature of nuclear weaponry in the name of political realism. We are opposed. Therein lies the ambiguity of contemporary Japan: it is a pacifist nation sheltering under the American nuclear umbrella. One hopes that the accident at the Fukushima facility will allow the Japanese to reconnect with the victims of Hiroshima and Nagasaki, to recognize the danger of nuclear power, and to put an end to the illusion of the efficacy of deterrence that is advocated by nuclear powers.

When I was at an age that is commonly considered mature, I wrote a novel called “Teach Us to Outgrow Our Madness.” Now, in the final stage of life, I am writing a “last novel.” If I manage to outgrow this current madness, the book that I write will open with the last line of Dante’s Inferno: “And then we came out to see once more the stars.”