Name: 22.黑澤和羅生門 (22. Kurosawa and Rashomon)
Uploaded: 2021-01-14T06:37:16.000Z
Duration: 58 min 46 s
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基礎被動語態

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to have the kind of claim on its audience

that the greatest art has always imagined

So I want to begin by talking very briefly about what

chronological confusion, or inconsistency in the principle

that we end the course with a film that was made and shown

internationally before the last two films

My reasons for that, as I partly explained in an earlier

to show a certain continuity amongst forms

of European cinema and the link between Jean Renoir,

and the Italian neorealists, and the French nouvelle vague

important to show you that progression in sequence.

But if we had been going by strict chronological order,

we would have introduced this Kurosawa film a bit earlier,

And in 1951, it won an important international prize, The Golden

Lion, the highest prize available at the Venice Film

And this had a seismic effect on movies around the world.

of Kurosawa's film of course riveted attention.

But even more than that, the freedom and imaginative energy

had a profound impact on filmmakers around the world.

And when the film was shown at Venice in 1951, another effect

it had when it won the prize was to introduce Japanese cinema

It was the first significant Japanese film, Kurosawa,

to gain a reputation outside of Japan itself.

In fact, there are many film buffs, and especially

are somewhat resentful of Kurosawa's eminence,

even though no one denies that he is an eminent

director, because there are other directors.

The two I've listed under item 2 in our outline

are the most dramatic examples, Mizoguchi and Ozu,

who are often thought to be his superior, even greater

All three of these directors are major artists.

But it is true, I think, and it is widely recognized

that Kurosawa was the director who crossed that barrier more

immediately, more dramatically than any other,

and opened the world, not just to Japanese cinema,

in some degree, but opened the world in some longer

the European and American cinema universes

had been fairly oblivious to Asian cinema

and certainly to Japanese cinema prior to this.

And the appearance of Rashomon, its enormous impact in 1951,

So that what was demonstrated in moment when Rashomon

won this reward, won The Golden Lion at the Venice Film

Festival, was a reinforcement of a principle

I've been discussing throughout the semester, the notion

of film as an international medium, the notion

that directors from different national cinemas

were now being deeply influenced by directors

was in some deep way, a global phenomenon, even

And I think it was in the '50s and early '60s

that this idea began to become more widely embraced

by film goers in the United States and in Europe,

but perhaps especially in the United States.

of cinema as a fully recognized independent art form.

and many directors had achieved artistic distinction

But I'm talking about the public understanding of movies,

the way people in different cultures actually recognized

It was as if this is the moment in which movies were understood

And one of the explanations for why this would have been so,

why it would have had such a powerful impact-- now,

I think I mentioned last time that this insight was

partial in the United States-- especially,

that is to say, in the '50s and early '60s,

it began to dawn on movie critics and scholars

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22.黑澤和羅生門 (22. Kurosawa and Rashomon)

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