avocets
Avocets
rss 2.0 subscribe to this page
search


view all
•  projects
•  owners
•  tags
Prince, Stephen, 1955- . Warrior's camera : the cinema of Akira Kurosawa / Stephen Prince. Rev. and expanded ed. 0691010463 (pbk. : alk. paper) series Princeton, N.J. : Princeton University Press, c1999.
Call#: Van Pelt Library PN1998.3.K87 P75 1999
In the chapter 4, Experiments and Adaptations, Prince critically dissects the cinematography and editing techniques Kurosawa uses and points out which techniques were innovative and experimental when the film was released.

To start with, the pictorial and cinematic work in Rashomon explores the confines of a single setting, the grove where the death of the samurai character takes place. Kurosawa works within this physical spatial limitation by expanding the dynamic space for his character's emotions and psychology through cinematography and imagery. For example, Prince suggests that the play on light and shadow creates "a kind of spiritual and emotional labyrinth," hinting at the emotional depth Kurosawa bestows upon his characters. Also, camera movement gives depth to the characters as well by panning, shaking -- mimicking their emotional state. Long tracking shots and "sensuous" camera movements follow the woodcutter as he wanders through the forest, whereas jolting and aggressive shots characterize the film after the woodcutter discovers the dead samurai.

Hence, Kurosawa experiments with the narrative by invoking emotional depth in cinematography. Rashomon is quite similar to silent films, where everything is communicated solely through the characters' movements and filming techniques. Kurosawa does not settle for the dialogue as his sole means of narrative, he employs every constituent aspect of the film to this purpose as well.

The dialogue and the cinematography, both as narrative forms, complement each other and interweave to tell the five different accounts in the film. Clearly, as the accounts are conflicting versions of the same story, the dialogue is unreliable and subjective. But, because the imagery is coordinated through the perspective of the first-person, there are richer emotions projected in the film.

citedy by Cohen, Profane Illuminations
tagged historiography imagery visual_culture by dkelly ...on 07-MAY-07
Weiskel, Thomas. . Romantic sublime : studies in the structure and psychology of transcendence / Thomas Weiskel. [0801817706 ] Baltimore : Johns Hopkins University Press, c1976.
Call#: Van Pelt Library BH301.S7 W44

metaphors of height and depth flip sides of same coin: "what is 'lofty' for the idealist will be 'profound' for the naturalizing mind";  Hoffmann uses both (Chapin, p. 51).
tagged imagery by dkelly ...on 07-MAY-07
Holly Watkins, "From the Mine to the Shrine: The Critical Origins of Musical Depth." analyses imagery of epth and interiority
tagged imagery by dkelly ...on 07-MAY-07
World Wind lets you zoom from satellite altitude into any place on Earth. Leveraging Landsat satellite imagery and Shuttle Radar Topography Mission data, World Wind lets you experience Earth terrain in visually rich 3D, just as if you were really there.

Virtually visit any place in the world. Look across the Andes, into the Grand Canyon, over the Alps, or along the African Sahara.
tagged World_Wind imagery satallite world by jn ...on 26-SEP-06