Akira Kurosawa and Intertextual CinemaJohns Hopkins University Press, 1994 - 265 страница 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 Ran—Goodwin finds in Kurosawa's themes and techniques the capacity to restructure perceptions of Western and Japanese cultures and to establish new meanings in each. |
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Страница 76
... sequence that depicts their introduction is only forty seconds in duration , but it involves fourteen changes in com- position and over twenty shifts in the look characters direct toward one another . The shots it contains are all of a ...
... sequence that depicts their introduction is only forty seconds in duration , but it involves fourteen changes in com- position and over twenty shifts in the look characters direct toward one another . The shots it contains are all of a ...
Страница 97
... sequences , for example , Tomekichi is seen from the front , one side , the back , and the other side . An exchange ... sequence shot that con- tains previous dialogue and character movement : 1. Sutekichi ← the Actor ← Yoshisaburo ...
... sequences , for example , Tomekichi is seen from the front , one side , the back , and the other side . An exchange ... sequence shot that con- tains previous dialogue and character movement : 1. Sutekichi ← the Actor ← Yoshisaburo ...
Страница 141
... sequence that is three minutes fifty seconds in duration and contains twenty- nine separate shots . 16 Though the average shot length in the opening forest sequence , eight seconds , does not approach the rapidity of montage in Potemkin ...
... sequence that is three minutes fifty seconds in duration and contains twenty- nine separate shots . 16 Though the average shot length in the opening forest sequence , eight seconds , does not approach the rapidity of montage in Potemkin ...
Садржај
Film Text the Intercultural Film Text | 1 |
A Life and Its Intertexts | 26 |
Russian Intertexts | 57 |
Ауторска права | |
други делови (6) нису приказани
Друга издања - Прикажи све
Чести термини и фразе
action Actor Akama Akira Kurosawa Akutagawa Asaji Autobiography bandit benshi Burch camera Castle characterization characters codes context cultural death Dersu Dersu Uzala Desser dialogue director Dodeskaden Donald Richie Dostoevsky dramatic Drunken Angel emotional face film story film text film's filmmaking forest genre Heigo Hidetora human Idiot Ikiru intertextual Japan Japanese Cinema Japanese Film jidai-geki Jiro Kagemusha Kahei Kameda Kayama King Lear Kuro Kurosawa film Kurosawa's cinema Kyoami Lord Lower Depths Luka Macbeth ment Mifune montage movement murder Myshkin narration narrative Nastasya novel Okayo paradox perspective play plot priest Princeton psychological Quiet Duel Rasho Rashomon Red Beard Rogozhin role Saburo samurai Sanshiro Sanshiro Sugata sawa scene screen script sequence shot social soundtrack structure suicide Sutekichi Taeko Takako Taro textual theater Throne of Blood tion Tokyo Tomekichi Toshiro Mifune trans Tsuzuki University Press visual Watanabe Watanabe's Western wife wipe cut woodcutter York