of pride” [3]. In 1975, the graphic designer Peter Brauchli reproduced this painting
as a poster, replacing the top of the building with the cooling tower of a nuclear
reactor.
1 The poster was shown in 1979 in the context of an anti-nuclear campaign
in Switzerland [4]. It symbolizes the technological excesses and the catastrophes
that nuclear power could lead to.
The image that this picture paints reflects societal fears that were materialized by
the 1986 Chernobyl accident. It happened again, 25 years later, with the Fukushima
Daiichi accident. Commentators evoked a tragedy, for example in the article entitled “The Japanese Nuclear Industry, or a Punishment for Hubris” [5]. The media
noted that there would be no end to the Japanese disaster, which became a very
controversial element in debate about the industry. Some representations, which
had been mothballed when the dust of the ‘battle of Chernobyl’ had settled, were
reactivated in the collective consciousness and were reflected in novels, films and
comic books. In turn, this material, collectively termed ‘cultural objects’ [6]
interacted with existing images and produced new ones.
This chapter shows what cultural objects can teach us about the representation of
accidents and the nuclear industry. The first section defines the terms ‘representation’, ‘socio-technical controversy’ and ‘cultural object’. The second describes the
characteristics of the object, as both a representational product and agent. Finally,
the third section examines French documentaries about Fukushima, and discusses
the consequences of the nuclear accident on representations.
2 Social Representation, Controversy, and Cultural
Objects
The literature on social representations reveals analytical models that are based on
several types of data. Representations may relate to a controversial technology,
such as nuclear energy. The controversy arises from identities and practices that
impact the production and reception of cultural objects. Works related to nuclear
accidents therefore have several things in common: they dramatize it; they often
confuse civil and military applications; and they therefore have a more-or-less close
relationship with reality.
2.1 Social Representation
The analysis of representations in the social sciences has led to many definitions.
Nonetheless, a certain degree of consensus emerges, such as Gaffié, “A social
1
Bruegel executed at least two versions of The Tower of Babel. The first (1563) was shown in
Vienna, the second (1568) in Rotterdam. It is the Viennese version that was used by Brauchli.
138
A. Portelli
as a poster, replacing the top of the building with the cooling tower of a nuclear
reactor.
1 The poster was shown in 1979 in the context of an anti-nuclear campaign
in Switzerland [4]. It symbolizes the technological excesses and the catastrophes
that nuclear power could lead to.
The image that this picture paints reflects societal fears that were materialized by
the 1986 Chernobyl accident. It happened again, 25 years later, with the Fukushima
Daiichi accident. Commentators evoked a tragedy, for example in the article entitled “The Japanese Nuclear Industry, or a Punishment for Hubris” [5]. The media
noted that there would be no end to the Japanese disaster, which became a very
controversial element in debate about the industry. Some representations, which
had been mothballed when the dust of the ‘battle of Chernobyl’ had settled, were
reactivated in the collective consciousness and were reflected in novels, films and
comic books. In turn, this material, collectively termed ‘cultural objects’ [6]
interacted with existing images and produced new ones.
This chapter shows what cultural objects can teach us about the representation of
accidents and the nuclear industry. The first section defines the terms ‘representation’, ‘socio-technical controversy’ and ‘cultural object’. The second describes the
characteristics of the object, as both a representational product and agent. Finally,
the third section examines French documentaries about Fukushima, and discusses
the consequences of the nuclear accident on representations.
2 Social Representation, Controversy, and Cultural
Objects
The literature on social representations reveals analytical models that are based on
several types of data. Representations may relate to a controversial technology,
such as nuclear energy. The controversy arises from identities and practices that
impact the production and reception of cultural objects. Works related to nuclear
accidents therefore have several things in common: they dramatize it; they often
confuse civil and military applications; and they therefore have a more-or-less close
relationship with reality.
2.1 Social Representation
The analysis of representations in the social sciences has led to many definitions.
Nonetheless, a certain degree of consensus emerges, such as Gaffié, “A social
1
Bruegel executed at least two versions of The Tower of Babel. The first (1563) was shown in
Vienna, the second (1568) in Rotterdam. It is the Viennese version that was used by Brauchli.
138
A. Portelli