The theme of this week, of this period is Transnational film.
Transnational film has multiple audiences from many countries, it will be admired by other countries ‘audiences. For example, a Japanese film Yojimbo directed by director Kurosawa Akira in 1960s, is a representative film of transnational film during that post-war period.
As an eastern film from Japan, Yojimbo rewards many admires from not only eastern audiences but also the western audiences, which is very difficult. Since the culture and culture value in eastern and western world are definitely different, only few films are selected to win worldwide film competitions, especially in that time the film situation is dominating by western film world.
Japanese director and screenwriter Kurosawa Akira is one of my favourite film director, he is very good at directing and producing Samurai film. I have seen other films of him, such as Seven Samurai and Rashomon, those are very excellent films. Director and screenwriter Kurosawa Akira was born in a very traditional samurai family, strict family rules and education influenced his childhood and his future film career. Also he lived in an especial period, his country Japan changed from semi feudal dynasty to industrial country, experienced the first and second worldwide wars, and a list of reformations. He experienced those things with Japan, he witnessed the change of social stage of samurai, the final curtain of samurai. To samurai, Kurosawa has his own specific views and understanding, in his samurai films, he combined Japanese elements and western elements, which is the significant key, in my opinion, to explain why Kurosawa’s samurai films were admired by worldwide audiences.
In this film Yojimbo, we can see that some western film element and style have been used fluently and perfectly by Kurosawa Akira. There are some screen of fighting very impressive to me. These screens, from the point of view of composition of picture, are splendid.
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This screen, wide range view, putting the role in the middle, the environment set off the murderous look and arrogance of this role. Very similar to some typical western film screen.
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This screen, the two major forces provoke and scowl on each other, while the main role just sit on high place then watching these two bosses, in very relaxing feeling. This is a very good contrast, making audiences laugh.
In the end, Yojimbo is a very good representative example of transnational film, this film is a conversation between Japan and western world. What I learn from films of Kurosawa Akira is that when we are going out from home country for world, don’t forget where we are from.
Good post! I really like your observation the main character is often placed in the centre of these big mid shots or long shots. To me it feels like it gives them a sense of ownership over the space and other characters. Even though Sanjuro is a stranger to the town, he quickly establishes a sense of dominance, which comes across not only in his behaviour but also in how he is shot. That shot of him sitting on top of the tower is a great example!
Very honor that you like my post, and those opinions I posted in this blog.
Regarding to the main character, I agree with what you say. Sanjuro himself is a very powerful guy, although he is a stranger for this town, it seems like he doesn’t been pushed aside by local village community. For the shot of Sanuro he sit on top of the tower, that is one of the my favorite of this film. He just like an audience people like us, how this war/flight will goes is doesn’t matter with us, we just watching by sitting aside.