Research: Akira Kurosawa

Akira Kurosawa born in 1910 has been recognised by the likes of Spielberg and Lucas as a "master" in film making. My research into Roger Christian has led me to Kurosawa as he refers to him as being a 'master' at making props and sets feel natural. Kurosawa is also iconic in his directing of movement and his choice to disobey the rule of thirds. 

Kurosawa Depicting Shakespeare's Macbeth With Little Dialogue:

- Throne Of Blood (1957)

Kurosawa's Throne Of Blood has been critiqued as only being a loose adaption to Macbeth because of the manipulation of the visual elements of the frame; without the need for extensive dialogue. 

This is picked up on in Anthony Davies' book Filming Shakespeare's Plays. Davies states that Throne Of Blood finds "a spatial articulation which almost dispenses with the need for dialogue." In the context of a traditional Shakespearean play; this method of visual storytelling goes against the basis of extensive use of dialogue in the likes of Macbeth.

In terms of visual storytelling, Kurosawa is creating the language traditionally spoken in Shakespearean plays as visual storytelling. Davies points out "because [Throne Of Blood] dispenses with all but the most essential dialogue to carry forward the narrative, we are placed in the position of having to rely wholly on the manipulation of spatial detail within the screen's rectangle - upon movement, gesture, facial expression, decor and the reinforcement given to these by non verbal sound."

- Washizu: Character in Throne Of Blood that depicts the character of Macbeth

Davies refers to an essay written for Sight and Sound in 1965 which gives the best example of Kurosawa's choice of visual storytelling over the method of Shakespearean dialogue:

"When Macbeth hears of his wife's death he delivers the famous speech beginning, 'Tomorrow and tomorrow, an tomorrow...' Washizu (the depiction of Macbeth's character in Throne Of Blood)  looking into his wife's chamber, sees part of the result of his folly huddled in the centre of the room; his whole being sags and he moves off heavily to his own chamber"

In the use of the framing, movement of the character and the space; Kurosawa has created the same emotion we receive from that of Macbeth's speech; without dialogue. 

I find this to be most inspiring as we ourselves have to create emotion without the need for dialogue. Kurosawa pays careful detail to the performance and the surroundings of the character to tell us emotions that would take several words to show in that of Macbeth.

Kurosawa's Choice of Framing:

- Rashômon (1950)

One specific stylistic choice of Kurosawa's is to disobey the rule of thirds to play with the audience's choices and sides of the characters. A great example is in his film Rashômon:

- Frame from Rashômon not conforming to the rule of thirds

There is nothing in the centre of frame in this shot. Kurosawa chooses to do this to emphasise that that there is no "neutrality" in this film. It also forces the audience to pick a side by making them choose which character to focus their attention on; as there is nothing placed to be the centre of attention according to the rule of thirds.

On the occasion when Kurosawa does follow the rule of thirds, he uses it at an important moment of "realisation". The woodcutter in this scene is placed in the centre of shot with the priest to the right and the commoner to the left. The woodcutter is placed perfectly as he realises that the lies he has said could lead to disaster. The priest and the commoner in the background are visual representations of the angel and the devil either side of him; the priest talking about humanity's doom as a result of the lies and the commoner who glorifies violence.

Other uses of framing Kurosawa uses; such as the one above are meant to make the characters look like predator and prey. In this case, the woman in white in the background is the prey and the shady character in the foreground is the predator. Kurosawa himself took the two actors in this scene to watch a jungle film where he saw a lion framed in a similar way and explained to the actors that this was his vision. Evidently, the high Dutch angle shot illustrates perfectly an animal hunting and watching is prey; waiting to pounce.

Kurosawa's Use of Movement:

- Rashômon (1950), rain is used to add to the scene's emotion and is not there by coincidence

In nearly all his films, Kurosawa has the movement of nature. Anthony Davies talk about the use of nature in Kurosawa's Ran (1985); "The nature signals in Ran tend to be reiterated rather than thematically developed and the dimensions of the natural world run parallel with the developing drama of human relationships rather than being interwoven with it." In other words, the rain in this scene from Rashômon is not a coincidence; it adds a layer of emotion that emphasises the emotions the characters feel; whilst adding a sense of sensual familiarity to the audience as rain can affect our everyday mood in real life.

Another significant use of movement is that in the edit of the film. Kurosawa worked as the editor for a lot of his films and he would always cut on movement; either at the end of one movement cutting straight into the movement of the next scene, or where a shot changes from one type to the next.

 This allows the scene to flow whilst significantly hiding the cut making the film more believable and immersive to the audience.

As the cinematographer in my group, I find that Kurosawa will have a huge influence on my ideas for shots and creating a frame; based upon my research of him. I really like the idea of cutting on movement because it's a great way to keep the film flowing without exposing cuts. I also like how he disobeys the rule of thirds to make the audience choose where to look; this could be useful when directing their attention to any props or set dressing they may need to see for the character's exposition.

Quotes and References:

"Akira Kurosawa [has] made films which are in their very different ways, logical extensions of the endeavours...to accommodate Shakespearean drama in cinematic space."

"Kurosawa's films Ran and Throne Of Blood find a spatial articulation which almost dispenses with the need for dialogue."

"There is an essential stylistic typicality about Kurosawa's work...quiet moments of great dramatic intensity within enclosed space derived from the Noh theatrical tradition."

[Referring to Ran (1985)]"The rigid ritualization of the culture which Kurosawa places the action, with its restrained expression of feeling, reduces the drama of individual confrontation between father and offspring so profoundly embedded in Shakespeare's play."

"The nature signals in Ran tend to be reiterated rather than thematically developed and the dimensions of the natural world run parallel with the developing drama of human relationships rather than being interwoven with it."

"Because [Throne Of Blood] dispenses with all but the most essential dialogue to carry forward the narrative, we are placed in the position of having to rely wholly on the manipulation of spatial detail within the screen's rectangle - upon movement, gesture, facial expression, decor and the reinforcement given to these by non verbal sound"

- Davis .A (1988) Filming Shakespeare's Plays, pg 143, Cambridge University Press [10/10/17]

The Kurosawa Framing:

https://youtu.be/-tkDU0_r8dU

Akira Kurosawa – Composing Movement:

https://youtu.be/doaQC-S8de8