Resumen
Science fiction (SF) developed as a self-identified genre in Japan in the 1950s and quickly underwent a boom in the 1960s. Throughout this period, SF literature, film, and television were tightly intertwined industries, sharing production personnel, textual tropes, and audiences. As these industries entered global circulation with the hope of finding recognition and success in the international SF community, however, they encountered the contradictions of the Cold War liberal cultural system under the US nuclear umbrella. Awareness of the discursive marginalization of Japanese SF in the Euro-American dominated global SF scene manifested in Japanese texts in the twin tropes of apocalypse and anxiety surrounding embodiment. Through a close reading of two SF films?The X from Outer Space (Uchu daikaiju Girara, 1967) and Genocide (Konchu daisenso, 1968), both directed by Nihonmatsu Kazui for Shochiku Studios?and Komatsu Sakyo?s 1964 SF disaster novel Virus: The Day of Resurrection (Fukkatsu no hi), I argue that, largely excluded from discursive belonging in the global community of SF producers and consumers, Japanese authors and directors responded with texts that wiped away the contemporary status quo in spectacular apocalypses, eschatological breaks that would allow a utopian global order, as imagined by Japanese SF, to take hold.