Yu-Fang Cho

Abstract

This paper examines two recent Godzilla-themed cultural artefacts that highlight the entanglement between nuclear weaponry and nuclear energy: first, the 60th anniversary Godzilla exhibit at the Tokyo Metropolitan Daigo Fukuryū Maru Exhibition Hall; second, the 2014 American Godzilla directed by Gareth Edwards. This paper frames these two distinctive post-Fukushima cultural texts as memory work that mediates post-WWII genealogies of nuclear weaponry and nuclear power as constitutive elements of U.S. militarism and transpacific technological modernity. Specifically, this paper foregrounds how these two recent cultural texts, produced at different Pacific shores, bring the complexity of the often-absented Pacific back into focus. By enacting what Rob Wilson and Chris Connery call ‘worlding’ to make sense of divergent representations of the tragic Lucky Dragon/Bikini incident that decidedly informed the creation of the original Japanese Gojira [1954. Film. Directed by Honda Ishiro. Japan: Toho Co., Ltd.], this paper analyses geopolitical figurations of the Pacific and its peoples in both the specific context of this tragic incident and the broader formation of transpacific nuclear modernity. In so doing, this paper unravels the ways in which these divergent representations grapple with nuclear modernity’s reordering of necropolitics and biopolitics and its effects: specifically, the ways in which the renarration of death-making nuclear technology as a technology of good life conveniently erases the victims of nuclear weapons, radioactive fallout, and nuclear waste that the reproduction of U.S. nuclearism depends on and continues to produce.

Keywords

U.S. militarism, nuclear modernity, transpacific critique, memory work, Anthropocene, Godzilla

From: Cultural studies 2019 33 (1)

Editor: Wang Yi