Titlebook: Visualizing Nuclear Power in Japan; A Trip to the Reacto Morris Low Book 2020 The Editor(s) (if applicable) and The Author(s), under exclus

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,Seeing Reactors at Tōkai-mura, Trade Fairs, Department Stores and in Films: 1957–1971,r was afforded by the nuclear facilities under construction at Tōkai-mura in Ibaraki prefecture and elsewhere. Tōkai-mura became a sightseeing destination for special-interest groups and educators who saw the facilities as an opportunity for school trips that would reinforce narratives about Japanes

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Shaping the National Narrative: From Hiroshima to Fukushima and Beyond,such as the 1964 Tokyo Olympics and the 1970 Osaka Expo. Japan provided a developmental model for other nations in East Asia. North Korea looked to Japan’s introduction of the improved Calder Hall reactor at Tōkai-mura and its production of plutonium as a way of countering the threat posed by the US

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Conclusion,otest in post-Fukushima Japan. It argues that growing awareness of how the visual has been used to promote nuclear power has led to the emergence of “visual activism” and “cute direct action.” These are features of a Japanese protest culture that commentators are still only coming to terms with.

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Picturing Hiroshima,of what occurred at Hiroshima and Nagasaki. Their mural-sized paintings, begun in the late 1940s, toured throughout Japan. The Hiroshima panels formed the core of exhibitions that sought to address the use of the atomic bomb and to educate the Japanese public about the dangers and possibilities opened up by the atomic age.

農(nóng)學(xué)

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嚴(yán)厲譴責(zé)

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