Mitsuyo Wada-Marciano is Professor of Cinema and Media Studies, and Director of Joint Degree Transcultural Studies (JDTS) Graduate Program in Kyoto University, Graduate Studies of Letters. She is the author of Nippon Modern: Japanese Cinema of the 1920s and 1930s (2008), Japanese Cinema in the Digital Age (2012), No Nukes: Power of Cinema and Contemporary Art in Post Fukushima Japan (in Japanese, 2021). She is also the co-editor of Horror to the Extreme: Changing Boundaries in Asian Cinema (2009), and the editor of Theorizing “Postwar” in the 1950s Japanese Cinema (in Japanese, 2012) and Rethinking the Media Discourses in Post-3.11 (in Japanese, 2019). Her research interests include Japanese cinema and media culture, East Asian Cinema, queer cinema, and archive film in the digital period.

"Wada-Marciano’s passion makes for compelling reading— detailing Japan’s antinuclear cinema, she joins its refusal of the one-party democratic state’s culture of enforced forgetting and simultaneously challenges privileging the arty and obscure in Japanese Film Studies." . Professor Chris Berry, Dept. of Film Studies, King’s College London "Wada-Marciano’s insightful on-the-ground interviews and astute analysis of cinematic content and techniques —in front of and behind the camera— introduce hard-to-find postdisaster films and argue persuasively for the urgency of the anti-nuclear as a theme in Japanese documentary film." . Rachel DiNitto, Dept. of East Asian Languages & Literatures, University of Oregon

• Acknowledgements, List of Figures: Captions for the Illustrations, Introduction, Chapter 1: No Nukes before Fukushima: Postwar Atomic Cinema and the History of the Safety Myth, Chapter 2: Striding over 3.11: The Political Power of Ashes to Honey, Chapter 3: Resistance against the Nuclear Village, Chapter 4: The Power of Interviews, Chapter 5: Learning about Fukushima from the Margins, Chapter 6: The Power of Art after 3.11, Appendix: Interview from Film Workshop with Director Hamaguchi Ryusuke, Bibliography

Mitsuyo Wada-Marciano is Professor of Cinema and Media Studies, and Director of Joint Degree Transcultural Studies (JDTS) Graduate Program in Kyoto University, Graduate Studies of Letters. She is the author of Nippon Modern: Japanese Cinema of the 1920s and 1930s (2008), Japanese Cinema in the Digital Age (2012), No Nukes: Power of Cinema and Contemporary Art in Post Fukushima Japan (in Japanese, 2021). She is also the co-editor of Horror to the Extreme: Changing Boundaries in Asian Cinema (2009), and the editor of Theorizing “Postwar” in the 1950s Japanese Cinema (in Japanese, 2012) and Rethinking the Media Discourses in Post-3.11 (in Japanese, 2019). Her research interests include Japanese cinema and media culture, East Asian Cinema, queer cinema, and archive film in the digital period.

"Wada-Marciano’s passion makes for compelling reading— detailing Japan’s antinuclear cinema, she joins its refusal of the one-party democratic state’s culture of enforced forgetting and simultaneously challenges privileging the arty and obscure in Japanese Film Studies." . Professor Chris Berry, Dept. of Film Studies, King’s College London "Wada-Marciano’s insightful on-the-ground interviews and astute analysis of cinematic content and techniques —in front of and behind the camera— introduce hard-to-find postdisaster films and argue persuasively for the urgency of the anti-nuclear as a theme in Japanese documentary film." . Rachel DiNitto, Dept. of East Asian Languages & Literatures, University of Oregon

• Acknowledgements, List of Figures: Captions for the Illustrations, Introduction, Chapter 1: No Nukes before Fukushima: Postwar Atomic Cinema and the History of the Safety Myth, Chapter 2: Striding over 3.11: The Political Power of Ashes to Honey, Chapter 3: Resistance against the Nuclear Village, Chapter 4: The Power of Interviews, Chapter 5: Learning about Fukushima from the Margins, Chapter 6: The Power of Art after 3.11, Appendix: Interview from Film Workshop with Director Hamaguchi Ryusuke, Bibliography

Mitsuyo Wada-Marciano is Professor of Cinema and Media Studies, and Director of Joint Degree Transcultural Studies (JDTS) Graduate Program in Kyoto University, Graduate Studies of Letters. She is the author of Nippon Modern: Japanese Cinema of the 1920s and 1930s (2008), Japanese Cinema in the Digital Age (2012), No Nukes: Power of Cinema and Contemporary Art in Post Fukushima Japan (in Japanese, 2021). She is also the co-editor of Horror to the Extreme: Changing Boundaries in Asian Cinema (2009), and the editor of Theorizing “Postwar” in the 1950s Japanese Cinema (in Japanese, 2012) and Rethinking the Media Discourses in Post-3.11 (in Japanese, 2019). Her research interests include Japanese cinema and media culture, East Asian Cinema, queer cinema, and archive film in the digital period.

"Wada-Marciano’s passion makes for compelling reading— detailing Japan’s antinuclear cinema, she joins its refusal of the one-party democratic state’s culture of enforced forgetting and simultaneously challenges privileging the arty and obscure in Japanese Film Studies." . Professor Chris Berry, Dept. of Film Studies, King’s College London "Wada-Marciano’s insightful on-the-ground interviews and astute analysis of cinematic content and techniques —in front of and behind the camera— introduce hard-to-find postdisaster films and argue persuasively for the urgency of the anti-nuclear as a theme in Japanese documentary film." . Rachel DiNitto, Dept. of East Asian Languages & Literatures, University of Oregon

• Acknowledgements, List of Figures: Captions for the Illustrations, Introduction, Chapter 1: No Nukes before Fukushima: Postwar Atomic Cinema and the History of the Safety Myth, Chapter 2: Striding over 3.11: The Political Power of Ashes to Honey, Chapter 3: Resistance against the Nuclear Village, Chapter 4: The Power of Interviews, Chapter 5: Learning about Fukushima from the Margins, Chapter 6: The Power of Art after 3.11, Appendix: Interview from Film Workshop with Director Hamaguchi Ryusuke, Bibliography