Titlebook: Remaking Kurosawa; Translations and Per D. P. Martinez Book 2009 Palgrave Macmillan, a division of Nature America Inc. 2009 anthropology.ci

牛馬之尿

Permutations on the Theme of Murder: The Search for Solutions,l short stories it is based on, the legends surrounding Rash? gate, notions of guilt in Buddhism, the supposed culture of Heian Japan, the postwar culture of Japan, and Kurosawa’s own worldview, the film itself gets buried under a weight of scholarly material. This, however, is not how film directors generally go about creating a remake.

概觀

Portrait of an Artist as Filmmaker,xplores his place in Japanese film history.. Moreover, in my discussion of the films, I will refer, when necessary, to events in his life. What I would like to stress here is how, as a pro duct of early twentieth century Japan, Kurosawa was in many ways a typical urban man.

幾何學(xué)家

Rashomon: The Problem of Subjectivity,ial and the events of the trial are “beyond understanding.” A commoner (Ueda Kichijiro) joins them and asks them to tell their story. Over the course of an hour or so they do so, beginning with the woodcutter who relates what he saw three days before in the forest.

SLAY

Landlocked

,And on Television…,cial reality consists of the stories people tell about themselves: how they choose to remember and explain their actions. Whether this is the same as hard, objective, even Platonic, facts is another question altogether.

通知

斷斷續(xù)續(xù)

The Lone Hero,red as a Western; that is, as Kurosawa would say, it uses the visual grammar of the Western and certainly recalls . . as well as . (1953). Its morally ambiguous hero, the bodyguard (Toshiro Mifune), seems to refer more to the world weary, aging Ringo (Gregory Peck) in . (1950) than to the boyish, clean cut Alan Ladd in ..

外形

美食家

NEEDY