Kurosawa Akira Film Style

Perfectionist “Movie directors, or should I say people who create things, are verygreedy 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."

Perfectionist Total control over his film - auteur ‘I am my film … nothing more and nothing less.’ Kurosawa Akira Screenwriter, director and editor He expected the same enthusiasm and dedication from his staff and co- workers.

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.

Perfectionist Kurosawa got the roof of a house removed to film a short scene from a train in Tengoku to Jigoku. Kurosawa demanded to change the direction of river flow for better visual effects. Kurosawa asked actors call each other by the names of the character that they played and wore their costumes before, during and after rehearsals.

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.

Hyper-stylistic Filmmaking Film style to appeal to the emotion rather than intellect of the spectator Psychological rather than mimetic realism (Mimesis = mimicry and copying of reality)

Hyper-stylistic Filmmaking The emotional appeal is multiplied by visual images and sound effects being brought together. Heightened psychological realism - expressive mise-en-scène (acting, lighting, camera work, and composition).

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 sequence of Seven Samurai shot with 8 cameras and edited rapidly.

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 Akira

Hyper-stylistic Filmmaking Sound effects of beating rain, running horses, their cries, splashing water, men’s yelling mixed together to create dynamic sound track in Shichi Nin no Samurai.

Hyper-stylistic Filmmaking Emotional appeal and psychological realism achieved by lighting and camera work. Rashomon - shot by Miyagawa Kazuo, the photographer of Mizoguchi Kenji

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)

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 Samurai

Hyper-stylistic Filmmaking Paisley patters of the futon hang to dry in Red Beard was shot with a telephoto lens. Depth disappeared and two dimensional quality emphasized the patterns.

Hyper-stylistic Filmmaking Natural phenomenon visually and aurally emphasizes the emotional atmosphere of the scene. Howling wind and fierce rain Strong wind churning up sand - bleak townscape Yojinbo

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.

Hyper-stylistic Filmmaking Snow in the park which Watanabe greatly contributed to get built and where he dies. Ikiru Loneliness and ephemerality

Hyper-stylistic Filmmaking Intense heat in Stray Dog and High and Low Heat is metaphor for corruption, social impoverishment, and criminality

Hyper-stylistic Filmmaking Dense fog and mist - hinting the existence of super-natural being and super-human power. Throne of Blood, Ran and Dreams