Moral Dialogue In Akira Kurowasa's Film 'Rashomon'

While analyzing Kurosawa Akira’s Rashomon in the essay, “Irreconcilable Realities”, Aaron M. Kerner writes, “The substance of the film hinges on what is irreconcilable, and “resolving” the narrative would run contrary to the film’s central concern.” In this quote, Kerner is addressing the fact that the film does not have a conclusion where the audience knows the truth about the characters in the film. Rashomon instead addresses the natures of reality and real life through his filming of this unusual mystery story. He addresses storytelling through the eyes of different characters and shows how the different points of view can have a major impact on the telling of the story. By telling the story this way the film creates a commentary on

Homicide always will be an aspect of life, whether it is in the 16th century, 21st century or in the future. At times of extreme stress, people may turn to murder as an outlet of a greater problem they cannot fix or control. Presently, homicide has a greater value in society due to popular culture references through the media such as television, film and writing; society constantly has homicide and murder in the subconscious. In David M. Buss’ findings in The Murderer Next Door: Why the Mind is Designed to Kill,

In the novel, A complicated kindness, the protagonist Naomi contemplates on escaping from her fundamentalist hometown. Her melancholic bond with the hometown as for its kindness, even though she’s “homesick at home”, and her problem with progressing towards an actual end, tragically leave her out in the community where she gets deserted. In this regard this story is a tragedy. While the narration breaks the conventional line of storytelling about runaway, it unfolds in irony as to balance or to counter the dark events. In this way this story is a comedy. For these reasons a film adaptation of the novel will fall into comedy-drama genre. On the poster of this movie the hand drawn picture represents one of the ironies that comes in the narration,

It is this combination of a duel revealing that establishes the psychological fine points of the characters. The characters within are not simply physical beings designed to carry out the action, but instead they are developed and complicated. Therefore, Lee not only creates multi-dimensional characters, but he also displays an acute understanding of the codes and conventions of the Taoist and Buddhist ideas.

Andre Dubus’s “Killings” is a very interesting look into the psychology that goes on after a person has been killed. The story discusses the ramifications of the original murder, the subsequent actions of “justice,” and finally what is left when it is all said and done.

The protagonist holds to his immature beliefs that by looking, acting and maintaining a false façade as a “dangerous character” (Boyle,114) it would bestow on him an the badness he desires.

The play can be seen as a general statement on the effects that fear and fanaticism can have on human beings and how one person can cause such catastrophe. It

This paper will present a rhetorical context for the use of violence in the short story, “A Good Man Is Hard to Find,” as she presented in her essay “The Element of Suspense.” The form of classical tragedy in this story will also be analyzed from the critical theories of Aristotle and Longinus. Tolstoy will be used to examine the use Christian symbolism. Nietzsche will provide a more well-rounded universal conclusion to the uses of tragedy and spiritual elements in this classic story.

In Rear Window, Hitchcock uses visuals in order to capture the perfect cinematic film and experience. We as the viewers identify with Jeff because much like how he is watching his neighbors, we are also speculating his life as a film. Our hero, L.B. Jeffries or “Jeff”, out of boredom creates an outdoor theater for himself by spying on his the people outside his window. Hitchcock uses “murder-as-entertainment” and the idea of watching a cinematic film as ways to captivate the viewers and make us subconsciously take part in intruding on someone else’s life. Hitchcock then punishes Jeff and the viewers for being “peeping toms” and casting our unwanted voyeurism on other people’s private lives. Through fear and embarrassment, Hitchcock puts our actions into perspective as we become self-conscious of our indecent objectification toward human lives.

Many important topics and integral information that is an essential part in the criminal justice system have been introduced in the play “12 Angry Men”. Some examples of this would be crime and justice including the laws, criminal behavior, victimization, and the criminal justice system in itself. These issues are everyday situations but many people have been oblivious to the problem. The twelve jurors have an assignment where they will have to decide whether or not the young man on trial is guilty of murdering his father or is innocent beyond a reasonable doubt. All twelve men are frustrated and lack patience which lead them to be contumacious and unfocused. Their distraction led to many key facts getting misemployed and emotions start to cross making it hard for the jurors to construct a resolution. They have been oblivious to the effect that it would have on the community itself. On the information given up to this point this process essay will articulate the unenlightenment and egomaniacal principles of the twelve men in the short story and movie "Twelve Angry Men" written by Reginald Rose and directed by Sidney Lumet. Both Lumet and Rose showed their point of views of the criminal justice system in the play and the movie. Although the director's view on the justice system demonstrated the rights that everyone had, it also revealed his thoughts on how the justice system is corrupt, ineffective and unjust because all these aspects have shown the major differences in the morality of the twelve individuals and the problem at hand in the movie and play “12 Angry Men”.

Every person has some kind of good and evil traits within their personality, but what really defines good and evil? People from different cultures could consider different traits to be “good” or “evil” or even a little of both. There are times in life where a person has to make certain choices that could be interoperated both ways. In this paper, I will be analyzing different characters in the story “The Good Women of Suzutan” and what type of role each personality plays within the story in order to give the audience a chance to come up with their own ending.

Defining evil is something we all want to do. We search for the answers to why people do sinister things. As young kids, we grow up watching horror films and wondering what motivates the killer. As young adults, we watch documentaries on serial killers and shows on Investigation Discovery that give us glimpses into the minds of killers. Where are their morals? Why is vengeance wrong? We ask ourselves. In Stephen De Wijze text, “Defining Evil” Wijze core thought is the moral effect evil acts have upon us.

movie had some flaws, it did closely represent the feelings of the era that was depicted. This paper intends to analyze and give

In subsequent years following the establishment of the People’s Republic of China came a revolutionary new approach to not only producing films, but also film’s very role in communist society. During this period the state gained complete control of the filmmaking industry, decreeing that the utilitarian functions of art and literature were to become a powerful weapon in serving the revolutionary struggle. In an otherwise artistically stifling period in which socialist realism pervaded all creative outlets, Xie Jin managed to retain some autonomy and emerged as one of the cleverest Chinese directors in the early 1960s. In his 1961 film Red Detachment of Women, Jin provides a classic revolutionary melodrama, yet also displays elements of formalism so that the viewer becomes conscious of the manipulations of his film technique. To analyze this film, I will use Mao Zedong’s 1942 “Talks at the Yan 'an Forum on Literature and Art,” clip #10 “Landmark 2,” and clip #6 “We are joining the red army” to elaborate on the major themes and cinematic style that distinguish Xie Jin’s work from his contemporaries.

The last emperor is a very famous film about Pu Yi's life story. The film is directed by Italian director Bernardo Bertolucci (1). The film uses time and space staggered dramatic structure, with flashback, narrative, narrative way of telling stories. Respectively, is part of the memory and reality, the two space-time continuous switching, the formation of the rhythm-sharp story. Bernardo Bertolucci, with his unique shooting style, conquered all the audience. In 1988, sixtieth Oscar won the award for best film, best director, best-adapted screenplay, best photography, best art, best costume design, best editing, best sound, the best original music, nine awards. In this article, we will discuss how the Chinese and Western cultures in the film