Published online by Cambridge University Press: 01 January 2025
This article investigates the rhetoric of the photographic object in the context of the 3.11 disasters in Japan, where this particular object became essential for both commemorating the loss and communicating to future generations about the danger of a large-scale disaster. Through ethnography of the two different subcultures of photographic laboratory, the article documents various sign processes of the disaster-related photograph and argues that in the context of a sudden disaster, both the duty to remember the past and the hope for alternative trajectories for the future are grounded in the same regimented meaning of a particular object which nonetheless can be used to express different subjectivities. As a free-floating object, the photograph is by its nature antisemiotic in that it resists interpretation unless its visual persuasion is domesticated by “ethnometapragmatics,” that is, the highly coded cultural talk about the sociocultural, political, and historical significance of the image or a set of images.
I wish to acknowledge the Michinoku Shinrokuden staff, especially Professor Akihiro Shibayama and Professor Fumihiko Imamura, for allowing me to be a part of the development of the archive. Moreover, I would like to acknowledge the many disaster survivors and volunteers whose patience and resilience are simply amazing. I could not have written this article without their unconditional encouragement of a student-researcher like myself. I am indebted to an editor of this journal, Richard Parmentier, who generously provided an opportunity to put together this article. Many insightful comments from a reviewer helped me to polish my often-convoluted arguments. Finally, but not least, I would like to acknowledge Beth Semel for helping me edit many versions of this article. All errors are strictly mine.