Yojimbo Comparison

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

This allows the scene to create greater tension with the use of darkness diverting the audience expectations. For the camera movement, firstly it is a long shot to show the location and they are going to fight, and then it use a lot of close up, over shoulder and extreme close up to illustrate how they fight with using different Kong Fu and weapons, during they are fighting, it also has some bird s eye view shot to show how intense of their fight, because it also show the ground fault of the weapons and the struggle traces shows the suspension. As a distinctively visual technique, audiences are able to feel the suspense. The way in the shooting, the director Ang Lee has done all the details in every possible way. In the light text effect, he spent most of the low key lighting to keep the mystery of kung fu; the lens shooting, he spent a lot of The third-person perspective and two shot make the audience appreciate the traditional Chinese martial arts, and he can also take care while a lot of details, such as eye contact play against the two sides, the audience can understand the meaning of what they want to say without the dialogue. The scenes is showing a back and forth between two characters staring at each other, then that is most likely the use of the shot-reverse-shot technique.

The last Samurai was a movie directed by Tom Cruise and Edward Zwick, it was filmed in 2003, and was based on the Satsuma Rebellion. The Last Samurai does portray Japanese culture of the Meiji Era correctly in some ways as it was the men who would go off to war, and mainly women who would stay home and farm. But parts were incorrect. The Last Samurai does lack historical accuracy as it shows us Japan with more of an East-West culture. In real life, the man named Nathan Algren was actually a man called Jules Brunet, who was a French man who went to Japan to fight, but was captured. At the time of these events, Japan was still modernising; so these aspects of the film may vary to the truth.

2. Harutomo Murakami (Taro)- The hero of the story, the son of a poor samurai who died in battle

The films, “The Magnificent Seven”, and, “Seven Samurai”, essentially portray the same events in action, especially in the introductory scene. However, “The Magnificent Seven”, portrays the western version while “Seven Samurai”takes place in an eastern village. The films also choose a different order to show events and to go about each event. They do, however, portray the same basic idea: an innocent village faces bandits who have no intentions besides pillaging and stealing all belongings from the villagers, even if death of villagers must come from their intentions. The scene I have chosen to compare between the two films is the introduction scene. I have chosen to analyze and compare this scene from each film because while they show direct similarities in events as well as camera angles, the films differ in many ways as well.

The 1954 movie The Seven Samurai, directed by Akira Kurosawa, and its 1960 remake The Magnificent Seven, directed by John Sturges have many similarities; for example, the plot of both movies entails farmers hiring mercenaries to help fend off bandits that annually pillage their farms. The two movies also have differences like the characterization of the bandits in The Magnificent Seven as opposed to The Seven Samurai.

The director mainly used eye level shots, to leave it up to the audience to judge the two main characters of the movie, although certain power struggles in the film are shown from high angles to illustrate someone dominating a conversation or argument. Figgis also uses some point of view shots to show the imbalance during Ben’s drunken periods where the camera is placed at an oblique angle to show tension and approaching movements. The images in the film are in high contrast with streaks of blackness and harsh shafts of light to underline the dramatic events that occur.

Lumet's usage of different types of camera shots is likeliest to be the most efficacious method of illustrating intentions in the film. Towards the

The use of various camera techniques such as canted frames, low-angled, high-angled and close up shots, as well as camera distance, enhances the struggle between the characters. The use of such techniques not only allows the audience to get an extensive insight into the many different characters, but also helps us understand the relationships between them and how all of these factors contribute to the overarching theme of racism in the film. The use of these camera rapid movements

The elements of cinematography in the film include a low angle shot looking up at the farmer as he chops wood at the beginning of the scene. The shot is preceded by the infamous extreme long shot of the military convoy. The director uses close ups to capture emotions throughout the entire opening scene. Fear in the faces of the farmer’s daughters as they come face to face with the Jew Hunter. Fear in the face of the farmer when he prepares himself as the military convoy approaches. Close ups are used at the table when the confrontation looms; the camera zooms in when the farmer begins to crack under the

clever camera techniques which create tension and fear. The camera shots also pay close attention to detail. For example, when the man with the dog throws a stick for his dog to fetch into the sea, the camera

The film Sanjuro by Akira Kurosawa is a sequel to film Yojimbo. The main character Sanjuro is a very smart and strong nomad samurai. As in Yojimbo, Sanjuro appears to be a hero who helps to get rid of the evil that terrorizes the town. In Sanjuro he helps to get rid of two rival gangster groups that terrorize general public of the town, while in Yojimbo he rescues Matsuta’s family and help to destroy corrupted superintendent. There are many similarities between two films.

The director uses multiple camera shots to highlight the love during troublesome times and the emotions that are present. A wide shot is used when the audience watches Guido marching in front of the soldier shortly before his death. Guido does this as he is aware that his son is watching and still wants the experience of the camp to be a fun game and does not want Giosue to be afraid of what is happening. Close up shots are commonly used throughout the film to give more detail into the emotions that the characters are feeling. A

The signs of the time are also shown through the use of specific camera shots, which humble the characters and show their frailty. Long Shots, in particular, are used to exemplify the smallness of the characters (without power) in the vastness of the world around them. In the scene in which the

The camerawork emphasizes the sense of detachment between the characters, and Billy’s inability with connecting with others. In addition, the film has a contrasty, bleak look to it, like a faded photograph. Gallo shot the movie on reversal film stock to capture that contrast and grain, in attempt to reproduce the same look of football games from the late 1960’s and early 1970’s.