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Kurosawa Akira Film Style

Kurosawa Akira

Jan 06, 2016




Kurosawa Akira. Film Style. Perfectionist. “Movie directors, or should I say people who create things, are verygreedy and they can never be satisfied. That‘s why they can keep on working. I‘ve been able to work for so long because I think next time I‘ll make something good.". - PowerPoint PPT Presentation
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Page 1: Kurosawa Akira

Kurosawa Akira

Film Style

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“Movie directors, or should I say people who create things,are verygreedy and they can never be satisfied. That‘s why they can keep on working. I‘ve been able to work for so long because I think next time I‘ll make something good."

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Total control over his film -auteur‘I am my film … nothing more and nothing less.’Kurosawa Akira• Screenwriter, director and

editor• He expected the same

enthusiasm and dedication from his staff and co-workers.

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• Nickname Emperor• The director who made so

mething impossible possible.

• 20 tons of water was used for the opening scene of Rashomon and the local area ran out of water.

• The water was coloured with calligraphy ink.

• He demanded all furniture had to be antique and they had to be filled with antique clothes and materials.

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Perfectionist• Kurosawa got the roof of a house removed to film a short scene from a train in Tengoku to Jigoku.

• Kurosawa demanded to change the direction of river flow for better visual effects.

• Kurosawa asked actors call each other by the names of the character that they played and wore their costumes before, during and after rehearsals.

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• Kurosawa used real arrows for the concluding scenes of Throne of Blood. Master archers aimed at the targets only inches away from Washizu’s body.

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Hyper-stylistic Filmmaking

• Film style to appeal to the emotion rather than intellect of the spectator

• Psychological rather than mimetic realism(Mimesis = mimicry and copying of reality)

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Hyper-stylistic Filmmaking

• The emotional appeal is multiplied by visual images and sound effects being brought together.

• Heightened psychological realism - expressive mise-en-scène (acting, lighting, camera work, and composition).

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Hyper-stylistic Filmmaking

• Visual dynamism and kineticism - epic scale movement of the subjects on the screen shot by multiple camera and edited in frantic paces.

• The final battle sequence of Seven Samurai shot with 8 cameras and edited rapidly.

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Hyper-stylistic Filmmaking

Cinematic sound is that which does not simply

add to, but multiplies, two or three times, the

effect of the image.

Kurosawa Akira

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Hyper-stylistic Filmmaking

• Sound effects of beating rain, running horses, their cries, splashing water, men’s yelling mixed together to create dynamic sound track in Shichi Nin no Samurai.

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Hyper-stylistic Filmmaking

• Emotional appeal and psychological realism achieved by lighting and camera work.

• Rashomon - shot by Miyagawa Kazuo, the photographer of Mizoguchi Kenji

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Hyper-stylistic Filmmaking

• Geometrical and painterly compositions enhance psychological effects on the audience - two police detectives pursuing the murderer who has killed people using the gun that he stole from them - vertical shadows of grills create create psychological suspense (photo, Stray Dog)

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Hyper-stylistic Filmmaking

• The bed of flowers on which the young couple lie or sit - creating lyrical effects in No Regrets for Our Youth and Seven Samurai

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Hyper-stylistic Filmmaking

• Paisley patters of the futon hang to dry in Red Beard was shot with a telephoto lens. Depth disappeared and two dimensional quality emphasized the patterns.

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Hyper-stylistic Filmmaking

• Natural phenomenon visually and aurally emphasizes the emotional atmosphere of the scene.

• Howling wind and fierce rain • Strong wind churning up sand - bleak townscape


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Hyper-stylistic Filmmaking

• The opening scene of Rashomon, a ruined gate in a great storm.

• Natural phenomenon reveals the smallness and weakness of the human being and its rational power and moral strength.

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Hyper-stylistic Filmmaking

• Snow in the park which Watanabe greatly contributed to get built and where he dies. Ikiru

• Loneliness and ephemerality

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Hyper-stylistic Filmmaking

• Intense heat in Stray Dog and High and Low

• Heat is metaphor for corruption, social impoverishment, and criminality

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Hyper-stylistic Filmmaking

• Dense fog and mist - hinting the existence of super-natural being and super-human power.

• Throne of Blood, Ran and Dreams