Rashomon

Rashomon (1950) is a film by Akira Kurosawa that deals with themes of truth, humanity, and morality. There are multiple approaches one could take to analyze this iconic film, this essay will focus on how each character performs their gender and how that affects how they are perceived by the other characters. While there are obviously many different personalities within each social class, these characters are primarily identified by their roles in society: the bandit, the husband, the wife, the

His Girl Friday, Citizen Kane and Rashomon are all very well recognized films in the cinema & media world as well as from avid movie viewers globally. Although all three are iconic films in their own way, they vary greatly in the film form in which they’re presented. His Girl Friday is a prime example of a classical form, whereas Rashomon can be classified as an example of art cinema. The third film, Citizen Kane cannot be grouped into either one of these distinct categories, because it shares

Author Akutagawa Ryuhusuke wrote both Otomi’s Virginity and Rashomon, allowing similarities between both stories however, the use of the setting, the characters, themes and tone were portrayed differently. Both stories were set in manufactured scenarios but Rashomon’s setting was also natural. In the two stories, they had a samurai and a female character. However, one of the females was a young, attractive maid while in the other story the female character was an old gray-haired hag . Lastly, the

1. The message that the author gives in this article is, that one event can be interpreted in many different ways, depending on who is telling it. He gives the example of the Ford Pinto and the Rashomon effect, in which many people retell the story of the Ford Pinto. Some of those who are retelling the story do not stop to check if the “facts” are actual facts. 2. I agree with what the author is saying because I think that one situation can be told in many different ways, all depending on who is

level. Many modern day films take on specific cinematography with advanced techniques in editing that create an emotional world that the viewer can relate to. A great example of how films create edited exaggerated effects is seen in Akira Kurosawa’s Rashomon (1950) as well as Orsen Welles’s Citizen Kane (1941) and Alfred Hitchcock’s Vertigo (1958). In these films the main characters undergo life changing experiences which seek to connect with the viewer through their suspenseful discoveries of the films’

foundations of relationships. However, initial impressions can be misleading, especially when individuals judge before fully understanding others’ situations and conditions. In Ryūnosuke Akutagawa’s “In the Bamboo Grove” and its 1951 film adaptation,“Rashomon,” many of the characters are misunderstood because much of their personal backgrounds are unexplained. The immediate takeaway from both the film and the text is that all characters are egocentric. Their different versions of the same story regarding

Rashomon and Blowup: A Study of Truth In a story, things are often not quite what they seem to be. Akira Kurosawa's Rashomon and Michaelangelo Antonioni's Blow-Up are good examples of stories that are not what they first appear to be. Through the medium of film, these stories unfold in different and exiting ways that give us interesting arguments on the nature of truth and reality. Akira Kurosawa's Rashomon tells the story of a murder. It flashes back to the event four times, each time as told

In Akira Kurosawa’s Japanese murder mystery film, Rashomon, Akira tells the story of a slaughtered samurai. The story of the murder is revealed four times to a judge, each by a different person who witnessed the crime. Each of the stories contradicts the previous. Each of the stories has a constant of rape, murder, and the use of a dagger as the murder weapon, but each story depicts differing methods and motives. The stories seem equally plausible and the film does not disclose which of the characters

Rashomon was an amusing film about different perspectives. Each person involved in the crime had a different viewpoint on what had just happened. We were introduced to four different perspectives that all could have been true. It just so happened the last person who told his story, the woodcutter lied to the authority, but ultimately admitted what happened to the strangers at the gate. He hid the facts about what he saw to the authority because he had done something wrong as well. He stole the dagger

fight, and the use of diegetic sound to add to the narrative. This paper will be focusing on the confrontation in Stray Dog between Detective Murakami and Yusa in the woods; in Drunken Angel, the fight between Matsunaga and his boss, Okada; and in Rashomon, the woodcutter’s retelling of the fight between Tajōmaru and the samurai. The lack of finesse in these fights is apparent. Each character is fighting for their lives, and that desperation shows on screen. It is clear in their expressions, body language