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Akira Kurosawa's Rashomon
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Art is not art without meaning; this rule applies to all forms of art, including film. Rashomon, the Japanese film directed by Akira Kurosawa in 1950, has a meaning that fits in with most other art of the time. The purpose is one which falls into a broader movement of art: modernism. Modernist literature makes use of unorthodox plot points and grim themes to create a distinct class of art unlike all preceding works. Rashomon’s unconventional structure and style and outlook on the world and humanity corresponds with the elements that made up the modernist movement.
Rashomon is not a story which progresses. In reality, it is the same story, repeated four times over, each varying in interpretation, but each recounting the same event. It lacks any real resolution, even within the four individual stories, or even any rising action, as one would typically find in a narrative. The four stories also are told as streams of consciousness and the point of view of the story
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One of the leading influencers of the modernist movement, Friedrich Nietzsche once proclaimed “God is dead.” This is the message many modernists took as inspiration for their work, including Kurosawa. Rashomon begins and ends with characters despising humanity. The opening scene of the beat up gate of Rashomon under a torrent of rain introduces three characters looking solemnly off camera shaking their heads in disbelief. Their state never
Films are designed for numerous purposes, some entertain, frighten, enlighten, educate, inspire, and most make us think about the world we live in. This paper will be focused on the cinematic interpretation of the film "Stepping Razor Red X", the Peter Tosh Story. The makers of a film from the writer, director, cinematographer and the art director, design, and conceptualize what they want the viewer to see.
It is in gaining a sense of our identity that we find a place to belong. This is presented in Episode 4, Stand Up, of the television series Redfern Now, directed by Rachael Perkins.
Art has been the reflection, interpretation and representation of artists' beliefs and morals eternally. Various artists stand for different matters that quite possibly affect their lives, or might be of an interest to them. Norval Morrisseau is an artist that I was intrigued by his portrayal and the techniques used in his paintings. In this paper, we are going to look at the implementation of Morrisseau's painting style used to expose his philosophies of different aspects in his life.
In comparison to other slaves that are discussed over time, Olaudah Equiano truly does lead an ‘interesting’ life. While his time as a slave was very poor there are certainly other slaves that he mentions that received far more damaging treatment than he did. In turn this inspires him to fight for the abolishment of slavery. By pointing out both negative and positive events that occurred, the treatment he received from all of his masters, the impact that religion had on his life and how abolishing slavery could benefit the future of everyone as a whole; Equiano develops a compelling argument that does help aid the battle against slavery. For Olaudah Equiano’s life journey expressed an array of cruelties that came with living the life of an
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Rashomon is a film which allows you to come up with your own ending. You are told four stories, all completely different from one another, but about the same thing. As the viewer, you are to come up with your own truth. Also you are then forced to see why people may lie or embellish. Whether it be to keep themselves out of trouble or make themselves seem as if they are a better person then they really are. The reality is that we are no better then what people think we are. This is because we are unable to judge ourselves. We are unable be honest with ourselves. We are unable to see ourselves in a bad light without having made up some excuse. We try to justify everything that it is that we may do, so not to damage our egos. It is our egos which keep us like this. It is our egos which make us feel good, so we are going to do anything to keep our ego at a high point. Why is it that we are willing to lie so that we don’t have to see who we really are? What is it about ourselves that we wish not to see? Maybe it is the fact that we all want to be viewed as this perfect person that can do no wrong and make no mistakes. So we embellish on our own behalf in order to hide our imperfections, our mistakes.
The book of Zephaniah contains messages of divine judgment against Judah and Jerusalem, as well as against other nations. It addresses a rare concentration of references to central issues in the history of ancient Israel. Idolatry, violence, and deception abound in Judah when Zephaniah began prophesying. Zephaniah's prophesying made it clear that Yahweh would execute vengeance upon unrepentant wrongdoers. His adverse judgments would be visited not only upon Judah and Jerusalem, but also upon other peoples: the Philistines, Ammonites, Moabites, Ethiopians, and Assyrians. Significantly, Zephaniah, the prophet, never stands at the center of the book of Zephaniah; the word of Yahweh is at the center of the book. Zephaniah is mentioned only insofar as he is necessary for the interpretation of the text.
The films of Japanese director Akira Kurosawa have had wide ranging influence over contemporary films, with his ronin films Seven Samurai and Yojimbo influencing countless westerns and mob movies. Arguably, however, Rashomon has been the most instrumental of all Kurosawa’s films because it asks a question that lies near the heart of all cinema: what is reality? Today, any consumer of television or cinema has seen various permutations of the plot of Rashomon numerous times, probably without realizing. In the film, a rape and consequent murder are told five different times, by a woodcutter (Takashi Shimura) who seems to have witnessed the event, a bandit (Toshiro Mifune) who committed the rape, the wife of a samurai (Machiko Kyo) who was raped, and the ghost of the samurai (Masayuki Mori), who is channeled by a medium after his murder. In each telling, the viewer is presented with five realities that, through the use of various frame stories, are totally incompatible with one another. Throughout, Rashomon is a study in simplicity. The beautiful yet frugal cinematography of Kazuo Miyagawa and the minimalist plot, skillfully directed by Kurosawa, force the viewer to contend with two dissonant notions: that everything they have seen is real, but that none of it can be true.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Rashomon is Japanese film from the 1950’s that won best foreign film and helped jumped start the production of Japanese films. It won many awards, and is said to be one of the greatest films ever made by numerous individuals. Rashomon is a story that tells multiple stories in itself. The main plot of the movie is the story of a murder being told from multiple points of views.
Rashomon is a short-story written by one of the most celebrated Japanese authors of all time, Ryunosuke Akutagawa. The setting takes place during the Heian period at the Rashomon city gate of Kyoto, Japan. The story tells of a recently fired servant who sits by Rashomon and contemplates his fate; to starve or steal for survival. The servant struggles with this moral dilemma until encountering an old woman who he observes stealing strands of hair from a female corpse. Disgusted by what he sees, the servant decides he would rather starve to death than become as the old woman is.