Fukushima used to be a wonderful place. Unfortunately, since March 11, 2011, “Fukushima” has been forced to be replaced by another name: Nuclear Disaster Zone. Six years have passed, but over 80,000 Fukushima residents still cannot return home, nor return to their former lives. In their eyes, what is “revival”? What is the meaning of “rebirth”?
Our crew went all over the coastal areas of Fukushima, recording the stories of the residents each finding their own ways to help themselves.
One singer uses his voice to support his native land, refusing to forget; on a big, empty field overgrown with weeds, a retired professor begins to build a large-scale solar panel facility; a group of intellectuals vow to tell the world in objective fact that they are “helping themselves”; the youth with their bodies and actions take up the role of pioneers of the community’s revival; a rancher protests the lies of the government with a clear and firm faith, and fights to the end.
As long as one doesn’t forget, as long as one continues to speak of it, Fukushima still remains a wonderful place.
靈感來自 Where comes the inspiration
當年加入港視獲分派第一個任務是負責【飄 - 日本福島】的製作，攝製組沒有人肯去，因為核電廠事故輻射洩漏，結果外聘敢死隊，幾個「唔死都半世人」老鬼去拍攝，回來後器材也沒有攝製組人員肯接收，要負責器材維護的同事「清洗後確保沒有輻射」才可以送回攝製組基地。
我怕不怕輻射？怕！但事前做足資料搜集，理解過狀況，知道在甚麼環境下的輻射才會對身體有影響，就可以放下多餘的恐懼。 原本是開台系列節目，結果因為失落免費電視牌照，到在網絡（hktvmall.com）播出時已是 311 大地震後四年多。
Was assigned my first production “ Gone With the Wind - Fukushima” when I joined HKTV. No one from station production team was willing to go because of the nuclear plant incident and radiation leakage. Eventually a freelance crew, a no fear “death squad”, was recruited for the shooting. The station production team even refused to collect the equipment returned from the trip. Finally the equipment were taken to the maintenance department to make sure they were “cleaned and did not carry any radiation” before they were returned to the crew base.
Am I afraid of radiation? Yes of course! But good pre-production research, understanding of local conditions and knowledge of what radiation scenarios affect health, can remove unnecessary fears. This series was meant as one of the debut shows for HKTV but because HKTV was rejected free TV licence so it ended up being streamed online at hktvmall.com 4 years after the 311 Earthquake only.
Around the same time, after the Umbrella Movement, helplessness filled the air in Hong Kong, reminding me of the Fukushima victims interviewed during the shooting, hopelessness and desperation on their faces. How did they come through all these? Reconstruction work was slow. After a few years there were still a lot of “evacuees” being locked out from their homes. People saving their own community by civil means; how did they manage to rebuild and restore their mind and heart? Did civil self help initiatives restore only what was lost? Or could it resurrect the place into a better community. Would such experience help or inspire the Hong Kong civil society awakened from the Umbrella Movement?
我們如何由0到1開始 How do we start from 0 to 1
我很想就這個方向再去福島拍攝，延續一個未完的故事，或者說，延續我的電視生命。【飄 - 日本福島】的資料撰稿可兒對我的計劃也有興趣，於是我們嘗試將這個構思申請港台外判製作，可惜未能通過遴選。我們都有一個心思，只要有旅費資助，願意無償將這個拍攝計劃實踐。離開港視之後，我大部份時間處於無業狀態，沒有固定收入，要自資拍攝實在是有困難，但器材齊備，後期製作可以一手包辦，加上精通日文的可兒負責聯絡日本方面以及資料搜集，我覺得雖只二人也可以完成。
I very much wanted to return to Fukushima to do a shooting again along this direction, to finish an unfinished story. Or rather to extend my TV life. Real Cheung the researcher/ scriptwriter of “Gone With the Wind “ was interested in this project. Together we worked out an outsourcing proposal to RTHK. Unfortunately it didn’t go through. We both had the thought that as long as the expenses could be covered by sponsorship, we would go ahead with the project without earning for ourselves. I had been out of job most of the time after HKTV. Without steady income, it would be tough to self-fund the shooting. Fortunately I had the essential equipment and I could handle all post production work myself. And as Real is fluent in Japanese she can take up all liaison and research work. Although there were only the 2 of us, we believed this could be done.
After it was decided, another ex colleague Martina Mak took leave from her regular job and joined in to help for free. The 3 of us formed a crew but a presenter was still needed to stand in front of the camera. I boldly approached Clarisse Yeung who did not know me; we were happy to get her yes to help “pro bono”. So, her view became the subjective voice in presenting the people, circumstances and thoughts in the Fukushima disaster area as she saw it.
我們遇到的挑戰 Challenges we face
【311 Revival】proves that quality TV shows can be produced without the backing of a TV station. However without the resources of a TV station, it is necessary to get substantive support of viewers. A like-minded sponsor covered the travelling expenses. As such, the TV dream of us 3 ex HKTV-ers linger. More funding still needs be gathered for further post production work, audio mixing and dubbing, releasing the show at various community venues, DVD distribution … to let more people have a chance to watch this non TV station produced TV show.
需要的資源及人力 Resources and Manpower needed
A series of releases are organized; hopefully we can stretch our community releases to more districts so that this meaningful documentary can reach more people. Open to any type or form of collaboration with anyone who can help find a venue for community release.
Fund raising through free donation along with any release would be appreciated for further postproduction work on this documentary.
我們是誰 Who are we?
A documentary by independent production, presented by Clarisse Yeung, a Wanchai district councillor., with production team members Horatio Tsoi (Ex HKTV producer), Real Cheung (script writer) and Martina Mak (Production Assistant) revisited Fukushima in 2017.
We walked through the coastal areas of Fukushima and documented the plans and countermeasures by the residents, stories of self help.