Akira Kurosawa and Intertextual Cinema ペーパーバック – 1994/1/1
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In Akira Kurosawa and Intertextual Cinema, James Goodwin draws on contemporary theoretical and critical approaches to explore the Japanese director's use of a variety of texts to create films that are uniquely intertextual and intercultural. Surveying all of Kurosawa's films and examining six films in depth The Idiot, The Lower Depths,Rashomon, Ikiru, Throne of Blood, and RanGoodwin finds in Kurosawa's themes and techniques the capacity to restructure perceptions of Western and Japanese cultures and to establish new meanings in each.
"Goodwin's analysis is most interesting in this account of how many Kurosawa plots (like Rashomon and Ikiru) feature a modernist competition between texts to argue a version of what 'really' happened."--Journal of Asian Studies
"A dense, theoretically sophisticated account of the intertextual nature of film as a medium. Goodwin discusses here, among other things, interculturality, the problematic notion of the auteur, and the dialogic production processes employed by Kurosawa. Above all, Kurosawa is described as a film-maker for whom life and art are always in the process of becoming, never static or singular."--Year's Work in Critical and Cultural Theory 商品の説明をすべて表示する
Such as when introducing color to his films, Henri Langlois (head of the Cinémathèque Française) showed Kurosawa how color can be used to communicate a distinctive meaning.
Or how, in "Ran" (1985), Kurosawa was influenced by the legend of "Motonari Mori (1497-1571)," and by inverting the story, "whose three sons are admired in Japan as the ideal family for loyalty." After writing the first few drafts of the script, Kurosawa noticed a resemblance to Shakespeare's "King Lear". What surprises me about this, is that I believed that the script was primarily influenced by "King Lear", but that's not true. The play is influenced by "King Lear", but was crafted separately under the influence of the inversion of the Motonari Mori legend and its major influence being the mind of Kurosawa himself. The film then becomes an inversion of the ideal, a twisting of the archetype.
Goodwin tore down the myth that Kurosawa was an isolated artist, and introduced me to a man who immersed himself in the literature, drama, and cinema of the whole human experience.
I strongly recommend his book, it opened my eyes; it may open yours.
Mitsuhiro Yoshimoto's book "Kurosawa: Film Studies and Japanese Cinema" is, more satifyingly confrontational with the problem of visual meaning, and struggles with the problem of outmoded methodologies and critical assessments of film.
The long and short of it is--the best book on Kurosawa is "Something Like an Autobiography" by Kurosawa himself with the authoring/translation skills of Audie Bock. Nothing will illuminate the man's work more clearly. No book on Kurosawa is more worth reading time and time again.