Visualizing the Hidden: A Digital Counter-Narrative of
Natural Disasters
Hiroko Hara
Abstract
Natural disasters have been rampant around the world. With the advancement of technology, disaster news spreads promptly on television and social media. On the other hand,previous studies have shown that the way of broadcasting is not neutral; evacuees tend to
be portrayed as victims in need of help, and diversity among them is undermined in the media narratives (Monahan & Ettinger, 2018; Sommers, et al., 2006). Some art practitioners/
researchers have demonstrated the potential of cellphilming (filmmaking with cellphones)
as an alternative storytelling method that can unsettle the dominant media discourse(Mandrona, 2016; Mitchell, et al., 2017). This paper introduces a case of collaborative
cellphilming practiced with twelve university students in Kumamoto, Japan. Kumamoto
was severely hit by huge earthquakes as well as heavy rain and floods successively, andmany residents were displaced. When digital youth gather together for collaborative cellphilming concerned with natural disasters, what do they capture with their phone cameras
and express in their film? How does cellphilming contribute to visualizing stories that areoften missing from the disaster media coverage? In September 2022, a collaborative cellphilming project began, and a film Kumavel (Kumamoto+travel) was completed in January
2023. Applying the concept of a “critical voice” discussed by Goldberg (2021), I argue that
cellphilming is effective as a digital counter-narrative for agitating the dominant media representation of those affected by natural disasters and expressing various views once hidden.
Keywords: disaster; filmmaking; media; representation; youth
Introduction
In recent years, natural disasters have caused great damage around the world, including
floods in the United Kingdom, hurricanes in the United States, earthquakes in Indonesia, andwildfires in Australia. While people obtain disaster news worldwide easily and immediately with the advancement of technology, the existence of the dominant media representation71

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should not be overlooked. As disaster evacuees tend to be depicted as victims in need ofhelp, their vulnerability is stressed, and furthermore, diversity among them is underminedin the media narratives (Monahan & Ettinger, 2018; Sommers, et al., 2006). For instance,
Monahan and Ettinger (2018) investigate the characteristics of mass media dealing with disasters and indicate that “… media tend to devote a great attention and detail to unusual or
violent accounts while giving much less or no attention to the mundane …” (p. 487). They
also problematize the mainstream media (re)producing certain fixed images: “Research has
consistently shown that media coverage of disasters tends to be rife with misinformation
and reinforces myths about race, social class, violence and criminal activity” (Monahan &Ettinger, 2018, pp. 492-493). Focusing on the case of Hurricane Katrina, Sommers et al.
(2006) uncover the problematic media representation and its effects on the viewers:
Automatic associations between “Black” and “criminal” likely color the perceptions of journalists and news producers even if they do not harbor explicit prejudice.
Moreover, beliefs about which stories will interest an audience may also be affectedby race. For instance, the extent to which a Black suspect at-large is viewed as agreater public safety threat than a White fugitive may influence the coverage his story receives. Such portrayals can then bias public perceptions, reinforcing preexisting
beliefs about race and crime …. (p. 45)
While the prompt dissemination of disaster news leads to speedy rescue and aid activities,
the way of delivering it is not neutral.
To tackle such issues, as demonstrated by some art practitioners/researchers (Hogan& Butterfly Peace Garden, 2018; Jones, 2018a, 2018b), it is crucial to work creatively incollaboration with those who are under the influence of disasters. Hogan and Butterfly
Peace Garden (2018) proclaim the importance of “… engaging in the making of living art,
through imagination, story, painting, music, song, dance, ritual and theater” (p. 245) andoutline their achievements:
Inspired by lessons learned during 40 years of experience working with communities
affected by war, natural disaster or disability in Canada, Sri Lanka and Cambodia,
the Garden Path curriculum transforms dissociation and despair among young people into empathy and engagement with community renewal through practice andHiroko Hara: Visualizing the Hidden: A Digital Counter-Narrative of Natural Disasters

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cultivation of the arts. (p. 263)
In this way, the previous research has placed emphasis on working together with thoseaffected by disasters without simply labeling them as victims. Moreover, Jones (2018a)
attaches importance to their self-expression:
By practicing our “visual voicing” skills in safe groups, we begin to build the necessary self-esteem to speak up about our needs, and speak out about our perspectives,
performing acts that resist injustice and demand change. … The expressive arts help
us practice the sharing of trauma, the expression of pain and anger, and even disobedient discourse. This can move us forward into creating better futures. (p. 298)
Thus, the scholars have exhibited the validity of art-making with disaster evacuees. On theother hand, little attention has been given to the potential of art practices employing digital
media such as cellphones/smartphones and tablets. In the midst of natural disasters, cellphones/smartphones are widely used to gain and share information, seek help, and record
what really happens (Paul et al., 2021). Some researchers have pointed out the significanceof cellphilming (i.e., filmmaking with cellphones) as an alternative storytelling method thatcan unsettle the hegemonic narrative (Mandrona, 2016; Mitchell et al., 2017). Therefore, it
is time to pay attention to the practice of cellphilming in relation to natural disasters.
Kumamoto, Japan has undergone huge earthquakes as well as heavy rain andfloods successively. Because of these disasters, the infrastructure has been damaged, andnumerous residents have been displaced from their homes (Cabinet Office of Japan, 2021).
Among the evacuees, there is the digital generation using cellphones/smartphones for daily
communication and sharing photographs and videos together on social media. When digital youth gather together for collaborative cellphilming concerned with natural disasters,
what do they capture with their phone cameras and express in their film? How does cellphilming contribute to visualizing stories that are often missing from the disaster media
coverage? This paper explores the possibilities of collaborative cellphilming as a digitalcounter-narrative in the post-disaster context.
Conceptual Framework
In this study, I draw upon Goldberg’s concept of a “critical voice.” Goldberg (2021) points

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out the power of making art collaboratively as a means to agitate the norms:
Everyday living hustles people along paths paved by experiences and dominant social practices. In order to “fit into” society, many of us negotiate the paths—even
using the dominant practices to secure some position for our own gain. … Creating
collaborative art projects … provides an opening through which students can movebeyond the walls of such potential acquiescence …. (p. 282)
She then delineates the significance of a “critical voice” cultivated through collaborative
art-making:In considering the phrase critical voice, I am trying to identify the qualities of a student or teacher’s voice that is at once reflective, empowered, questioning, informed,
and respectful of voices different from itself. Developing a critical voice encourages
an individual to explore beyond the walls of convention, opening the possibility tocreate and recognize their own sense of potential while resisting demands of disenfranchisement. (Goldberg, 2021, pp. 282-283)
Applying Goldberg’s concept is useful for this study since it enables us to see the youth
collaborating for cellphilming as dynamic knowledge producers. A created film reflects
their critical voices that transcend the normative view of disasters such as “victims suffering from massive destruction.” I argue that the cellphilming youth produce a digital counter-narrative destabilizing the dominant media representation and presenting an alternative
perspective to the viewers. Hence, the concept of a “critical voice” is essential for conceptualizing this study and practicing collaborative cellphilming in the post-disaster context.
There are various forms of displacement resulting from many different disasters as
described by Esnard and Sapat (2018):
Population displacement, the forced removal or uprooting of people from their homeor country, is a global phenomenon triggered by multiple causes, including physicaland socioeconomic vulnerabilities, exposure to natural hazards, civil war and ethno-religious conflicts, environmental and natural resource degradation, landlessness,food insecurity and megaproject developments …. (p. 431)

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In this study, I focus on natural disasters, especially earthquakes and floods, which occurred in Kumamoto. These two types are both large-scale and damaging. Clements andCasani (2016) give a detailed account of the impact of earthquakes:
One of the most powerful and potentially devastating forces of nature is the energy
contained in the earth’s surface. Enormous tectonic plates comprising the earth’s
crust constantly slide together. There are points where stress accumulates. The violent shaking of an earthquake results from the sudden release of this energy andcan collapse buildings, fracture roadways, and create tsunamis. Fatalities can easily
reach into the thousands from a single event with additional hundreds of thousandsof lives impacted. (p. 224)
They also refer to one of the disasters becoming common around the world: “Floods arenature’s most widespread disaster. … These disasters are growing in frequency worldwide
due to a variety of human and environmental factors …” (Clements & Casani, 2016, p.
270). These two types of natural disasters have repeatedly happened in Kumamoto, anda large number of people have long experienced displacement (Cabinet Office of Japan,2021). Hence, there is a need to work creatively together with those who have gone throughthese incidents. According to Jones (2018b), creativity is key in the post-disaster context:
As our planet flirts with existential crises, people find themselves more frequently
on the move—escaping war, genocide, pandemic, tsunami, earthquake or climatechange. These survivors may face layer upon layer of loss, including the disappearance of everything with which they once identified—their home and their possessions, their family, their role in their community, their country. Who they are, whothey love, what they own and where they live and belong are sometimes lost overnight. Luckily there are some methods and practices available to help people integrate these changes, through creative actions. (p. 9)
Thus, Jones (2018b) emphasizes the advantages of creative practices for disaster-affected
people. This study lays stress on creativity and introduces a case of collaborative cellphilming practiced with digital youth in Kumamoto. Drawing upon the concept discussed by

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Goldberg (2021), I intend to show how cellphilming in the university classroom cultivatesthe student filmmakers’ critical voices and encourages them to present new knowledge
through their digital counter-narrative.
Methodology
In this study, I practiced cellphilming in collaboration with twelve university students(aged from 20 to 21) in Kumamoto that was severely hit by enormous earthquakes as wellas heavy rain and floods. On April 14, 2016, there was a huge earthquake of magnitude
6.5 in Kumamoto. Beyond expectations, a larger one of magnitude 7.3 hit the region after two days (Japan Meteorological Agency, 2016). In 2020, in the phase of recoveringfrom the earthquakes, the heavy rain caused rivers including the Kuma River, one of thethree most rapid rivers in Japan, to overflow (Kyodo News, 2020). Because of these disasters, the infrastructure has been damaged, and a large number of residents have been
displaced from their hometowns (Cabinet Office of Japan, 2021). In addition, because of
the COVID-19 pandemic, the opportunity of face-to-face teaching and learning was lost.
In the difficult situation as such, my seminar students specializing in intercultural communication at a university in Kumamoto (Table 1) and I began a collaborative cellphilming
project in September 2022.
Table 1. List of student filmmakers
Pseudonyms listed in order of
appearance in the film
KaitlynAh
Hank
Saburou
Momo
Benname
Mary
Choco
Anne
Strawberry Bonbon
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After the COVID-19 restrictions were eased, we met in the classroom every week.
As a brainstorming process, the cellphilm production members inquired into the traits ofKumamoto based on the culture iceberg model (Hall, 1976/1989). This model is usefulfor distinguishing the following two—the cultural elements above water, which are clear
and easy to see and the ones below water, which are hidden and difficult to see. The students continued brainstorming and examined critically what was hidden from the media.
Hank, one of the student filmmakers, points out the unbalanced media coverage of natural
disasters:
The media show only superficial parts. For example, when an earthquake happens,
they show what happens and how the government gives an aid. In contrast, the media don’t show the background like people’s feelings and values.
Several students state that the Kumamoto dialect is missing from the general media reports.
For instance, Margot talks about a dialect word frequently used in Kumamoto:I think the ways of thinking and tendency of people in Kumamoto are not shown on
TV or newspapers such as the word “wasamon” in the Kumamoto dialect. It means
people who like fashionable or popular things. The reason why the word came out isthe tendency of Kumamoto. I think this is not shown in the media.
Digging deeper into the media representation, some students throw light on the hidden
cultural elements. Choco, for example, refers to the belief systems in relation to the media
narratives:
Some beliefs are not shown in the media. Kumamoto is an area which has a lotof disasters like earthquakes. People in Kumamoto are under threat of earthquakes
and leave the bridge destroyed by the earthquake as it is not to forget the fear as we
showed in the movie.
In this way, the student filmmakers explored the unique aspects of Kumamoto, which werehardly depicted by the media.
In contrast with the missing representation of Kumamoto and its people, they

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considered what to capture by their cellphones/smartphones and carried out filming individually. In December 2022, we gathered in the classroom, watched each member’s footage, exchanged ideas, and fixed a shot sequence (see Figures 1-12).

Figure 1. Shot #1 by Kaitlyn. Still extracted from Kumavel (Kumamoto+travel). 2023. ©
The Studio of Nonfiction, 2023.

Figure 2. Shot #2 by Ah. Still extracted from Kumavel (Kumamoto+travel). 2023. © The
Studio of Nonfiction, 2023.

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Figure 3. Shot #3 by Hank. Still extracted from Kumavel (Kumamoto+travel). 2023. © The
Studio of Nonfiction, 2023.

Figure 4. Shot #4 by Saburou. Still extracted from Kumavel (Kumamoto+travel). 2023. ©
The Studio of Nonfiction, 2023.

Figure 5. Shot #5 by Momo. Still extracted from Kumavel (Kumamoto+travel). 2023. ©
The Studio of Nonfiction, 2023.

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Figure 6. Shot #6 by Benname. Still extracted from Kumavel (Kumamoto+travel). 2023. ©
The Studio of Nonfiction, 2023.

Figure 7. Shot #7 by Mary. Still extracted from Kumavel (Kumamoto+travel). 2023. © The
Studio of Nonfiction, 2023.

Figure 8. Shot #8 by Choco. Still extracted from Kumavel (Kumamoto+travel). 2023. ©
The Studio of Nonfiction, 2023.

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Figure 9. Shot #9 by Anne. Still extracted from Kumavel (Kumamoto+travel). 2023. © The
Studio of Nonfiction, 2023.

Figure 10. Shot #10 by Strawberry Bonbon. Still extracted from Kumavel (Kumamoto+travel).
2023. © The Studio of Nonfiction, 2023.

Figure 11. Shot #11 by Margot. Still extracted from Kumavel (Kumamoto+travel). 2023. ©
The Studio of Nonfiction, 2023.

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Figure 12. Shot #12 by Chanko. Still extracted from Kumavel (Kumamoto+travel). 2023.
© The Studio of Nonfiction, 2023.
In addition to these activities, the cellphilm production members composed a script
and assembled the texts and the images into a film (Figure 13). In this film project, I served
as an editor by placing the video clips in order as decided by the production team, adding
their voices to the film, tuning music to the images, and creating end credits.

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Figure 13. Structure of Kumavel (Kumamoto+travel).
Film Kumavel (Kumamoto+travel)
After collaborating for five months, a film Kumavel (Kumamoto+travel), bilingual in
English and Japanese, was completed in January 2023. It is in the form of a travelogue taking the viewers out for a trip to Kumamoto. The script (Figure 13) shows what the student
filmmakers intend to convey to the viewers. Chanko expresses the intention clearly:
I want to show the hidden charms of Kumamoto to the viewers. The nature of
Kumamoto will heal the viewers and also teach them the threat of nature. This movie
tells them many important and wonderful things.
An aspiration to set forth their vision is found in the film title and the production namethat they created. Anne indicates what “Kumavel” represents and why the production teamcoined this new word:熊本県立大学共通教育センター紀要

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It means traveling in Kumamoto will be more normal in the near future. Most foreigners who come to Japan want to visit big cities like Tokyo, Osaka, and Kyoto. But
Kumamoto is unbeatably attractive. I hope “Kumavel” will become a word everyone
knows like kawaii, mottainai, and so on.
Saburou explains in detail the production name that was carefully made:“The Studio of Nonfiction” represents that the movie only shows the real, non-edited
features of Kumamoto. Although there may be some harsh realities, like the broken
bridge in Aso, it shows with no filter, the meaning that we are honest about the things
we show in Kumamoto, to our audience.
In this way, the long-term collaboration resulted in the formation of their vision as a production team.
At the same time, the created film exhibits the diversity of the student body. Eachstudent filmmaker recorded a view that she/he wanted to covey to the viewers and createda keyword for it respectively (Figures 1-12). The following accounts show a wide range ofviews included in the film:
Kaitlyn: The word “departure” means starting a journey. The theme of this shortmovie is to travel around the city of Kumamoto. I recorded an airplane that was taking off. The time I filmed this video was around 3:30 p.m., so the sun was low, andthe contrast with the plane was beautiful.
Ah: I recorded the clouds flowing over the mountains of Aso in the morning. The
keyword I came up with is “silence.” The view of the mountains and the clouds I
took shows its beauty without any sound, and you can find the majestic nature. I
thought this video would convey the charm of Kumamoto’s nature directly to theviewers.
Hank: I filmed a bridge in the South Aso City. It has been in the same shape as whenthe earthquake happened in 2016. “Threat” means that nature is a threat to humanbeings. The reason why this keyword came to mind is I felt that nature is usuallyHiroko Hara: Visualizing the Hidden: A Digital Counter-Narrative of Natural Disasters

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beautiful and gives people healing and comfort, but when disasters such as earthquakes and torrential rains occur, nature can be a threat that can take people’s place
to live, livelihood, happiness, memories, and lives instantly.
Saburou: I took a video of a beautiful spot I passed by when I was hiking in Aso.
The keyword “freedom” refers to the feeling or idea of being unrestricted or unbound in some way. The natural setting in the video of the opening in the mountainevokes a sense of openness and vastness, which can be associated with the conceptof freedom.
Momo: I made a film of a scene with two horses eating food in Aso. For those of us
who live in Kumamoto, it feels normal, but all in all, it’s special. I think this scene israre and special for some people. So, I decided to use the word “special.” I want toconvey the charm of Kumamoto to everyone.
Benname: I recorded a steam locomotive of Hitoyoshi. There are railroad tracks near
my house and I have many opportunities to see trains running. “Headway” means
zenshin in Japanese. By steam locomotive, we go somewhere and enjoy the view
from the window, and I wanted to use a positive word for our movie. So I selected
this word.
Mary: I recorded the cosmos fields in Aso and the surrounding landscape. The keyword means “lovely” or “to want to protect.” I chose this keyword because the pink,
white, and red colors of cosmos are lovely, and the other reason is that cosmos is aflower that blooms only in fall. Its beautiful appearance can only be seen for a shortperiod of time, so I chose this word which means “to want to protect.”
Choco: I filmed a scene of a beaver because the appearance was peaceful, and people
who watch this video will be healed. My keyword is “healing.” That means making
people feel happy and healthy. I came up with this word because there are a lot of
nature and animals in Kumamoto, and it will be a healing spot for people who visit
Kumamoto.

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Anne: I recorded a river in Kurokawa Onsen, a hot spring resort. During the season I
visited, there were autumn leaves. And the water of the river was so clear. “Healing”
means helping to make us well. I chose this keyword because I think nature makes
many people relaxed. I think people can reduce their daily stress and get healed alittle by watching my video and feeling nature.
Strawberry Bonbon: I recorded a Japanese sweet store (dagashiya) near the
Kumamoto Castle. I especially took a video of Japanese toys supplied in festivals
and drawing lots (kujibiki). People can connect those toys to Japanese festivals. I put
the keyword “excitement” for it. I think Japanese festivals make people imagine theenjoyment.
Margot: I filmed the beautiful sea of Amakusa. The reason is that I felt this was a big
charm of Kumamoto, and we have to maintain it. Moreover, nature is an uncontrollable thing, so sometimes it brings some benefits and sometimes frightens us. Because
the sea and the sky are connected throughout the world, we can go abroad by using
airplanes and ships. It’s creating human-to-human connections. That’s why I chose“connection” as my keyword.
Chanko: I wanted to capture a video of fireworks going off with spectators watchingfor the first time in years. I was really excited by the countdown before they werelaunched. Fireworks are a proud creation of humans. I believe fireworks represent
the power of human creation. So I chose this keyword.
As illustrated here, Kumavel (Kumamoto+travel) reflects the diverse voices of the student filmmakers living in post-disaster Kumamoto. This carefully constructed travelogue
invites the viewers to take notice of the great variety of cultural values that are alive andupheld by the residents of Kumamoto.
Discussion
Several advantages emerge from collaborative cellphilming in the classroom. First of all,working together face-to-face brings the students a sense of satisfaction. As previously
discussed (Hara, 2022), the university students encountered hardships due to the abrupt

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87changes caused by the COVID-19 pandemic. Some production members compare theirlearning during and after the pandemic:
Ah: I think a face-to-face style makes us communicate more easily. I can catch seminar members’ feelings directly, so we can do our work more quickly.
Kaitlyn: I think a face-to-face class is much better than an online one. When we meet
directly, we can exchange our thoughts and opinions easily. I learned the importanceof group work. It is better to talk with each other than thinking alone.
Mary: It is different from an online class. I like a face-to-face class because I can ask
immediately when I have some questions. Also, it is fun to talk to each other, looking
at each person’s facial expressions.
Strawberry Bonbon: It was very fun to do group works, presentations, and a movie
project in person, compared to online. The year we entered university was the startof the pandemic, so we didn’t have opportunities to communicate face-to-face until
we became third-year students.
It becomes clear here that the student filmmakers have a liking for assembling in the classroom, and it activates both verbal and non-verbal communication among them.
Secondly, practicing collaborative cellphilming promotes their learning and creativity in the post-disaster context. Some students describe their experience in encoding
and disseminating their message to the viewers in and outside Japan:
Choco: I learned Kumamoto has a strong connection of people and this region isconnected to the world. I was able to find the charms of Kumamoto and how to show
its attractions to other people.
Margot: I become aware that this movie conveys the cultures of Kumamoto andcultural differences between Kumamoto and viewers’ countries.
Indeed, collaborative cellphilming entails displaying the creative ability to the fullest. It is熊本県立大学共通教育センター紀要

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not easy to put creativity into practice, as one of the production members mentions:Anne: I have learned the difficulty of making something. Even in order to decide
what to shoot, it took a long time for me, and I participated in a lot of discussion. But
through the project, I experienced a sense of accomplishment.
In this way, the cellphilming project calls for the efforts of the students and those of the
facilitator from its commencement to completion.
Thirdly, collaborating to make a film enables the student filmmakers to elevatetheir critical voices. Upon the completion of the film in January 2023, they analyzed itusing the culture iceberg model. Their analyses suggest that Kumavel (Kumamoto+travel)
represents the various stories missing from the disaster media coverage:
Chanko: The cultural elements shown in the movie are symbols and history. The
symbols of Kumamoto in the movie are Mt. Aso and the beautiful sea. The historyof Kumamoto in the movie includes the bridge broken by the Kumamoto Earthquake
and the Koshi Park.
Momo: This movie expresses the elements of the cultural background, history, values, language, and symbols. You cannot see a view from a place that is not famous.
The scenery from a little-known place may be more beautiful than from a place
featured in the media. The scenery that we usually see causally is wonderful, andKumamoto is full of charms. I’ve changed the way I see things.
Saburou: I noticed we have many beautiful features in Kumamoto. Although I’ve
been in Kumamoto for my whole life, there were some places that I didn’t know.
This made me think that I should appreciate my surroundings more, even if it feels
like a normal thing in my everyday life.
The comments of the production members above show that creating and communicating
new knowledge through their digital counter-narrative leads to a new realization of theirstandpoint.
Lastly, the realization resulting from making Kumavel (Kumamoto+travel)

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together helps the students to develop their own visions:
Benname: Above water, we can see the beauty of nature and the cuteness of some animals. Below water, we cannot see but can feel the cheerful voices of us. Kumamotois going to become a more famous prefecture because there are a lot of delicious
food, beautiful places, and meaningful places. I want to help Kumamoto as a government employee.
Hank: I think that Kumamoto will become stronger and a fascinated place. It’s because Kumamoto’s land and people are on the way to recovery as the same as before,
and we received a lot of support from kind people. So we’re going to do the sameand give something in return to those people.
It is reasonable to suppose here that the student filmmakers recognize the interconnection of the past, present, and future through collaborative cellphilming and grasp living in
post-disaster Kumamoto positively. Hence, creating Kumavel (Kumamoto+travel) collaboratively in the classroom enhances the students’ learning, creativity and critical voices,and furthermore, it allows them to become active producers of new knowledge transcending the dominant media representation of natural disasters.
Conclusion
This paper has problematized the dominant media representation (re)producing certain
fixed images of people affected by natural disasters. As a digital counter-narrative, I haveintroduced a case of collaborative cellphilming practiced with the university students living in post-disaster Kumamoto. Their critical examination of the media narratives has revealed the unbalanced way of broadcasting and the lacking information of the culturalelements cultivated locally. Taking the form of a travelogue, Kumavel (Kumamoto+travel)reflects the diverse voices of the production members and invites the viewers to see thegreat variety of scenes that are missing from the disaster media coverage. This collaborative film project has exhibited the following advantages: 1) activating both verbal andnon-verbal communication among the students; 2) promoting their learning and creativity
in the post-disaster context; 3) elevating their critical voices; and 4) helping them to develop their own visions.

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By cellphilming collaboratively, the student filmmakers nourish their critical voices and turn to producers of new knowledge beyond the normative view of disasters such as“victims suffering from massive destruction.” Thus, Kumavel (Kumamoto+travel) createdby the cellphilming youth living in post-disaster Kumamoto functions as a digital counter-narrative destabilizing the dominant media discourse and presenting an alternative viewto the audiences. For future studies, it is suggested to pay attention to the viewers andinvestigate how they will react to the created film. It will be meaningful to examine thesimilarities and differences between the student filmmakers’ intent and audience response
in order to advance a digital counter-narrative practice. The number of natural disasters
has been increasing, and it is predicted that more and more people will be affected on the
global scale (McGrath, 2021). Working creatively together with people under the influenceof disasters is becoming increasingly important for reflecting very diverse views and visualizing the hidden.

Acknowledgment
I gratefully acknowledge the financial support provided by JSPS KAKENHI Grant Number
JP20K13879.
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