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2007年7月23日 (月)

チェリャビンスク 3


Koutijoukouen7_3The cinema verite style encourages these disclosures.A woman talks casually in her own kitchen, Dr. Romanov in his office, Dr. Kosenko among her files.The people are unposed and unprepared to dissemble of put a good face on things.The camera allows us to see that the victims, who were so proud to live where the Soviet Union produced its first atomic weapon, to some degree collaborate in their own undoing: Faced with death and the increasing weakness of each generation, they do not move away, they do feel helpless, and they strive more for financial remuneration that for a cleanup or resettlement.In the final interview, Dr. Romanovinsists that nobody died as a result of the 1957 explosion.Because the interviews seem so informal both to the victims and their victimizers, the camera captures a glimpse not just of a black-and-white situation, but of something much more complex: The victims are not saints, and while the officials are unpleasant, they were also victims of the propaganda of the Cold War, fe d on patriotism, and, of course, threatened with labor camps should they reveal the secret of Mayak.


When they evacuated us... they made us sign a form saying that we wouldn't reveal state secrets. Of course, we knew what that meant... People knew where we were from, and were afraid of us; they thought we might be contagious.They shied away from us like people do now if you have AIDS. - Sofiya Khrylenko, retired teacher from an orphanage

彼ら(当局)が私たちを避難させたとき・・彼らは、私たちが秘密を明かさないという署名書式を私たちに書かせた。もちろん、私たちはそれが何を意味するか知っていた。・・人々は私たちがどこから来たか知っていたし、私たちを怖がっていた。人々は、私たちから接触感染するかと考えた。それで、人々は私たちからすばやく遠ざかった。まるで今、AIDSにかかった人に人々がするように。  ソフィア・クリレンコ、孤児院の退職教師

The reasons for making this film are clear: the story of these people needs to be told, and needs to be shown to the Western audience, as well as the Russian one.The film operates on three levels: the most immediate is that of a region in crisis, a region where people expect to live to be 50, perhaps 55, where as many as 90% of the children suffer from chronic illnesses.They deserve attention and help at least as much as the victims of Chernobyl.


But the story is also a cautionary tale.Because this is not one cataclysmic even, one explosion, one calamity resulting from short-term carelessness, but the effects of a long term policy of skewed priorities, the film also illustrates the dangers of allowing a government to put military secrets above its people.


Finally, it is a story about the dangers of nuclear power and the production of nuclear weapons.


Nobody knows anything about us.Chernobyl happened, but that's Europe.The pollution reached Europe, and the whole world was upset.But us, out here in the backwoods of Russia? Nobody knows about it, nobody in the world cares about the fate we've sealed for ourselves here. - Farida Shaimardanova, Muslyumovo teacher

私たちのことは誰も知らない。チェルノブイリは起きた。それはヨーロッパでのこと。放射能汚染はヨーロッパに届き、世界中の人々が憤った。けれど、私たちについては、ヨーロッパの外のロシアの僻地の私たちについては、どうでしょうか? 誰もそんなこと知らないし、ここで私たち自身が封じ込めた私たちの運命について、世界の誰もかまってはくれない。  ファリンダ・シャイマルダノフ、ムスリュモフの教師





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