The Heterotopia of Disaster in Post-Fukushima Film

This article examines Himizu (2012) by Sono Shion, analyzing the protagonist’s classroom and shanty house as key sites in post-3/11 Japan. Drawing on Foucault’s concept of heterotopia, the study shows how these spaces function as zones where discourses of reconstruction, wa, sontaku, kizuna, and gaman are enforced and contested. While the classroom shifts from ideological apparatus to heterotopia of deviation, the shanty house enables care amid exclusion. Overall, the article advances debates on post-disaster cinema and spatialized trauma.