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Kurosawa Akira Film Style Kurosawa Akira Film Style

Kurosawa Akira Film Style - PowerPoint Presentation

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Kurosawa Akira Film Style - PPT Presentation

Perfectionist Movie directors or should I say people who create things are very greedy 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 ID: 660882

stylistic hyper shot filmmaking hyper stylistic filmmaking shot film realism scene kurosawa effects samurai sound suspense create time perfectionist enhanced movements characters

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Slide1

Kurosawa Akira

Film StyleSlide2

Perfectionist

“Movie directors, or should

I say people who create things, are very greedy 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.”Slide3

Auteur

“The role of a

director

encompasses the coaching of the actors, the cinematography, the sound recording, the art direction, the music, the editing and the dubbing and sound-mixing. Although these can be thought of as separate occupations, I do not regard them as independent. I see them all melting together under the heading of direction.”Slide4

Perfectionist

Total control over his film –

‘I am my film … nothing

more and nothing less.’Kurosawa AkiraScreenwriter, director and editorHe expected the same enthusiasm and dedication from his staff and co-workers.Slide5

Perfectionist

Anecdotes

Nickname: Emperor

The director who made something 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.Slide6

Perfectionist

Kurosawa got the roof of a house removed to film a short scene from a train in

High and Low.

Kurosawa demanded to change the direction of river flow for better visual effects, but couldn’t.Kurosawa asked actors call each other by the names of the characters that they played and wore their costumes before, during and after rehearsals.Slide7

“I begin rehearsals in the actors’ dressing room. First I have them repeat their lines, and gradually proceed to the movements. But this is done with costumes and makeup on from the beginning; then we repeat everything on the set. The thoroughness of the rehearsals makes the actual shooting every time very short. We don't rehearse just the actors, but every part of every scene - the camera movements, the lightning, everything.”Slide8

The pace of filming was deliberately slowed down and it went over one year in the Toho studio. All actors had to wear their costume all the time. ‘I wanted to create lived-in feel in studio.’

The medicine cabinet was filled with medicine thought it was never opened. Slide9

Perfectionist

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.Slide10

Realism

Thorough historical research

Gritty

realism - costume designs, set designs, befitting the living conditions of charactersSlide11

Realism

Even samurai look extremely shabby and hopelessly poor, when their fortune declines or become

ronin

, masterless samurai.More realistic rendition of the Medieval time in Japan than in other conventional genre films.Slide12

Realism

Unconventional realism

Historical details are exaggerated

Wealth made to look more wealthy and poverty made to look more poor; harshness harsher and mildness milderHYPERREALISMSlide13

Kurosawa’s

gendai

geki (contemporary drama) are (dramatized) records of the immediate post-war period Japan - poverty, desolation and recovery.Now you can take them as historical documents.Slide14

Wonderful Sunday

: Though it was shot mainly in studio sets, it can be treated as a documentary film. For the landscape, townscape, clothes worn, and

behaviours

of people that time are so accurately observed and meticulously reconstructed. Realism enhanced – HYPEREALISM Slide15
Slide16
Slide17
Slide18
Slide19
Slide20

Realism

(Hyper-) real fighting rather than theatrical display of

chanbara

(sword play) Performance to show a fight for life rather than showy swordsmanshipDaibosatsu TogeSlide21

Heightened-realism

Are Kurosawa’s films realist? - No.

The ‘reality’ in his films is modified and exaggerated

– realist effects heightened and enhancedSlide22

Heightened-realism

Traits of film characters exaggerated

Generosity and broadmindedness of an alcoholic doctor and innocence and tenderness of a punk turned the characters into types.Slide23
Slide24
Slide25

Heightened

Stylism

Film style to appeal to the emotion rather than intellect of the spectatorHeightening psychological tension and suspense and releasing them Slide26

Hyper-stylistic Filmmaking

The emotional effects are enhanced by dynamic visual images and sound effects being brought together.

Tension and suspense are created by expressive

mise-en-scène (acting, lighting, camera work, and composition).Slide27

Contrast between stillness and movement; quietness and excitement

On the spur of the

moment,

a quiet scene is cut to a scene full of movements and excitementA static middle shot of a village chief with monotonous sound of a watermill cut to a frenetic scene full of movements and excitement.Slide28

Hyper-stylistic Filmmaking

Dynamism of movement enhanced by swish pan, graphically matched and quick editing.Slide29

Hyper-stylistic Filmmaking

Sudden movement of samurai in response to a false alarm in

Seven SamuraiSlide30

Hyper-stylistic Filmmaking

Suspense created by trick photography – telephoto lens shortens depth,

Red Beard

The film was shot almost entirely in telephoto lensSlide31
Slide32
Slide33

a

Telephoto lens eliminate depth, therefore the impression of physical proximity between the doctor and the female patient in the first shot is corrected in the next shot.Slide34

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 scenes in Seven Samurai were shot with eight cameras.Slide35

Battle scenes in

Yojinbo

were shot with three

camerasImpression is as if we were watching a sports match.Slide36

Hyper-stylistic Filmmaking

Dynamic movements unusual in Japanese cinema against expansive landscape and large horizon

Throne of Blood

and a Western filmSlide37
Slide38
Slide39

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 AkiraSlide40

Hyper-stylistic Filmmaking

The final battle sequence of

Seven

SamuraiSound effects of beating rain, running horses, their cries, splashing water, men’s yelling which are mixed together to create dynamic sound track in Seven Samurai.Slide41

Emotional appeal and

psychological suspense are enhanced by

lighting and camera work.

Rashomon - shot by Miyagawa Kazuo, the photographer of Mizoguchi Kenji using reflecting mirrors.Slide42

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

)Slide43

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 SamuraiSlide44
Slide45

Hyper-stylistic Filmmaking

T

he

futon hang to dry in Red Beard was shot with a telephoto lens. Depth disappeared and two dimensional quality created interesting patterns in the frame. Slide46

Hyper-stylistic Filmmaking

Natural phenomenon visually and aurally emphasizes the atmosphere of a scene.

Howling wind and fierce rain

Strong wind churning up sand - bleak townscape YojimboSlide47

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. Slide48

Hyper-stylistic Filmmaking

Snow in the park whose creation Watanabe contributed and where he dies.

Ikiru

Loneliness and ephemeralitySlide49

A lonely figure in thick fog emphasizes the isolation of a man in

RanSlide50

Intense heat in

Stray Dog

heightens the suspense: also heat

is a metaphor for corruption, social impoverishment, and criminalitySlide51

Hyper-stylistic Filmmaking

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

Throne of Blood,

Ran and Dreams