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[0]: # Kurosawa: Film Studies and Japanese Cinema
[1]: Daisuke Miyao (Ed.)
[2]: It is impossible to think of Japanese cinema without invoking Akira Kurosawa's name. One could say that few other Japanese filmmakers have influenced so strongly both Japanese cinema (Kurosawa's films provided models for how Japanese films might or should look), Japanese culture (Kurosawa's works became part of Japanese popular culture), European cinema (Kurosawa's films inspired some of Europe's leading directors such as François Truffaut, Jean-Luc Godard, and Ingmar Bergman), and Hollywood film (Kurosawa co-wrote *The Magnificent Seven* (1960) and *The Inferno* (1980) directed by John Boorman). During his lifetime (1910–1998), Kurosawa also garnered a variety of prizes including Best Screenplay awards at Venice (1951), Cannes (1951), Berlin (1952), Varsaw (1952), Sundance (1975), Best Director at Cannes (1951), Berlin (1952), Best Film at Berlin (1975), Venice (1951), San Sebastián (1951), Berlin (1952), Varsaw (1952), etc., along with an honorary Palme d'Or at Cannes (1975). [1]
[3]: But Kurosawa's influence goes far beyond the aforementioned prizes. He made films at a time when Japanese cinema almost exclusively shot in black-and-white with few close-ups or dialogue scenes; when Japanese actors appeared on screen without make-up; when long narrative sequences were simply indicated by intertitles; when films focused exclusively on contemporary stories; when melodrama ruled supreme; when elements of nature were used as mere background scenery; when a single shot often lasted for a long time; when movies were shot by hand-held cameras; when Japanese filmmakers did not adapt Western stage plays nor foreign novels; when Japanese actors did not speak intentionally “poor” or broken language; when female actors had no role in films whatsoever; when female spectators were not considered part of the audience; when censor boards dictated what kind of story had to be presented on screen; when people involved in making films omitted their signatures from screen credits; and when most moviegoers watched silent movies.
[4]: Kurosawa's artistic accomplishments radically transformed filmmaking by introducing visual styles such as staging characters in close-up shots; by depicting characters speaking deliberately broken language or dialects; by directing female actors who speak at length during a scene; by focusing on particular social issues such as problems concerning youth or women; by providing extensive screen time to four different women characters; by including elements intrinsic to the Japanese language such as honorifics or nonverbal elements such as pauses or puns; by turning nature into a story element; and so on. In other words, Kurosawa revolutionized Japanese cinema during his lifetime. He did so both by borrowing elements from other cinemas (primarily from European cinema) as well as by introducing avant-garde ideas based on his extensive knowledge of arts such as Hokusai's paintings, Noh theatre, Kabuki theatre as well as his own everyday experiences such as witnessing wartime rapes or listening to employees’ complaints during his employment at Shochiku Studios. Kurosawa's movies could not have emerged without his constant attention to these ordinary yet important elements found in Japanese culture. These include awareness of material items such as eating utensils, clothing garments like kimonos or hakamas (the traditional Japanese pleated skirts worn mainly by men), or grass mats (wara-mat); paying attention to family relationships such as the parent–child bond or paternal vs. maternal relationships; visual details such as wide panoramic shots that show how a particular character "fits" into one wide landscape; rhythmic silences evoked by long pauses; or simply discussing whether it is better to smoke or not.
[5]: This attention to these seemingly “small” items—a long shot that shows characters against a wide panorama, young men smoking cigarettes immediately after they have pledged not to smoke—enabled Kurosawa to create films that simultaneously appealed to local audiences as well as international viewers. Bringing attention to ordinary items found in Japanese culture such as the aforementioned grass mats had a significant impact on his creative process. Grass mats were made from bamboo used as frames through which dried grass blades were wound. Such mats were used for sitting or bedding in upper-class houses. It took women many months to make them. But the grass mats also had a significant symbolic meaning: they were burned if someone died or fell ill (given the belief that everything that is associated with bad luck had to be burnt). Kurosawa was deeply impressed by this function of grass mats since he had once seen patients at the Pathology Lab where he worked briefly after high school walk through a large field of burned grass mats with corpses inside them. This memory inspired him later when he wrote *Ikiru* (*To Live*). As Tadao Sato observes:
[6]: > After spending hours studying anatomy at Shirokiya Funeral Home where he worked briefly after graduating from high school, he participated in a crematorium workshop where employees rehearsed a ceremony for incinerating corpses. Later after he started shooting *Ikiru*, he recalled "I saw—even if it was only for fun—that before coffins were lowered into cremation ovens at Shirokiya Funeral Home’s crematorium workshop, grass mats (*waru-ma*) with deceased persons inside coffins lining up across the field [of outdoors]. Given my earlier experiences at the funeral home, I have been interested in the fact that not only corpses but also grass mats had to be burnt." Such details observed from his everyday life experiences were later integrated into his films.
[7]: >
[8]: > (Sato et al. 1982: 72–73)
[9]: As another example along these lines, Kurosawa was wearing gloves because he had typhoid fever while writing *Seven Samurai*. His inability to take off those gloves made him pay greater attention to certain aspects of daily life. In this case his attention was called to cigarette smoke rather than grass mats. Kurosawa recalls:
[10]: > The story line was slow enough [when working on *Seven Samurai*], it took a long time [to write it]. When I wrote *Seven Samurai*, I had typhoid fever, I had to wear gloves all-day long in order not to transmit typhoid. While wearing gloves I felt like I had nothing on my hands! There was nothing I could do! But since I could not take off my gloves because I had typhoid fever—OK I suggest people who have typhoid fever better not read my writing!—I became desperately conscious about how many times characters would take off their gloves during a conversation.
[11]: >
[12]: > ものすごい時間がかかったんだ。禅茶碗の話より長く書いてたと思う。『七人の侍』を書いている時は赤痢だったので、その頃は手袋をつけなければいけなかったんです。手袋をつけたとたんに何もできない！ 手袋なんかはずしたくてもはずせないから、その手袋ひとつとってもどう考えても、しょうもないことだよ。でも赤痢であるので手袋をはずせない！ 手袋をはずせなくて、デリカシーに触れるところがあったかもしれない。
[13]: >
[14]: > (Sugiyama et al. 2007: 74)
[15]: His focus on gloves intensified when he realized how difficult it was for people who smoked during a conversation since they could not take off their gloves once they put them on.
[16]: These examples demonstrate how Kurosawa integrated small details from his daily life experiences into his films—which might be why he often described himself as a “poor” artist rather than an “intellectual” one since he regularly related important scenes encountered during his everyday life as materials for cinema rather than relating some abstract ideas or principles. To put this differently: Kurosawa imitated some elements found in cultures other than Japan's because he was deeply aware that these elements were important to understanding Japanese culture especially after Japan modernized and industrialized during the Meiji era.
[17]: As Kurosawa noted in one interview:
[18]: > When Chinese plays were first translated into Japanese at the time of the Meiji Restoration people immediately noticed “Oh this is good!” But nobody said “Oh! This is just like ‘Noh'!”
[19]: >
[20]: > 明治に中国劇が翻訳された時に最初見た人が『なるほど良いものだ』って言うんです。その人達が『ああこれはＮＯＨに似てる』なんてこと言わないんですよ。
[21]: >
[22]: > (Kurosawa et al. 1990: 23)
[23]: Kurosawa realized that it was western European cultures—rather than