ABSTRACT
This chapter proposes a reading of Sono Sion’s film Land of Hope (2012) as an outspoken anti-nuclear critique. The director relies on an affirmation of traditional gender roles to communicate his criticism, which likely makes it more socially acceptable. I argue, however, that this strategy leads to the re-inscription of the social limitations that are placed on female protest, which is normally restricted to issues related to health and the home. Moreover, I show that the gendered depiction of disaster responses entails a reproduction of masculinist undertones of Japan’s post-‘Fukushima’ discourse on nuclear power. (94 words)
