Traditional Culture Encyclopedia - Photography major - What's so good about Akira Kurosawa's movies? What are the characteristics?
What's so good about Akira Kurosawa's movies? What are the characteristics?
Kurosawa's directing technique is very concise, the visual image is very vivid, the movement is weak, the rhythm is slow, and the montage technique is clean and neat. Most of his films are symmetrical, and the theme profoundly reveals the conflict and impact between human nature and soul. Although it describes the reality and history of the Japanese nation, its main purpose is to explore the essential problems that human beings have been unable to avoid since ancient times: conscience, turmoil, hypocrisy, ethics, greed, fear, humility and so on. He often uses long shots and panoramic expressions, with rich and clear colors and rich oriental painting charm. The fate of the characters in the film is confusing and full of western drama style. There is usually a seemingly insignificant or insignificant little person, but there are often surprising words suggesting the ending and theme of the film. The protagonist has a strong duality, and kind people are often ugly and rude. Those who claim to be heroes are actually weak-willed and ignorant fools; The subordinate role of women can leave a deep impression on people. 1950 "Rashomon" directed by Akira Kurosawa is world-famous, and the unique thinking and expression of the film amazed the western European film industry. The five parties and witnesses of the murder case told five different endings. Who is right? What is the true nature of things? The film describes the strange and complicated shadows in people's hearts, and sharply analyzes the most profound part of human nature and makes it public. The intricate montage technique shows people's confusion in the jungle of the mind. Rashomon depicts the innate hypocrisy of man and reveals his unchangeable nature: even if he dies, he will never give up hypocrisy and disguise. 1954, The Seven Samurai filmed by Akira Kurosawa was called the pinnacle of Japanese entertainment movies. He never forgot his resentment towards society and sympathy for the weak, and his sense of justice and moral struggle remained persistent. The film depicts villagers in ancient troubled times entrusting seven wandering warriors to wipe out mountain thieves. Kurosawa showed the killing of the Seven Warriors and Mountain Thieves with superhuman directing skills and momentum. Black and white images highlight the sinister survival and the tenacity and courage of human nature. After 1958, Japanese movies plummeted from the peak. In order to get rid of the predicament, Kurosawa's films tend to be entertaining and artistic. In 1980s, he made the blockbuster Shadow Warrior, which was the biggest production in Japanese film history and shocked the world film industry. The thrilling legends and the magnificent and earth-shattering war scenes in distant places are breathtaking. In addition, Japanese traditional drama performance skills are supplemented by poetic language, which is passionate and elegant and has a long lasting appeal. 1985, another pure Kurosawa film Chaos came out. This film is adapted from Shakespeare's famous play King Lear, and has been called' the film that can best show the spirit of Shakespeare's original work' by western film critics who have always been critical and mean. The theme to be discussed is that the root of human anxiety comes from people themselves. Kurosawa used many big scenes and long shots to let the world disputes, people's distraction and unknowable personal destiny pass slowly in the gaze of the camera, and carefully and subtly see through the world and people's hearts in the fog of history. In his films, Akira Kurosawa showed the audience scenes of pain, madness, desire, destruction, joy, liberation, warmth and confusion with magnificent momentum, rich colors, tit-for-tat confrontation and conflict, and unique image-building, and deeply and mercilessly dissected and displayed the human soul. At the same time, it also showed us his exquisite directing language. The essence of film is the image of the lens. The charm and soul of Kurosawa's film lies in his carefully designed lens image. Akira Kurosawa has a deep knowledge of painting. Before filming, he always paints his own imagination of focus plane in the future. Repeatedly scrutinize the color, light, character arrangement, composition and atmosphere of the lens picture. Many of his directing skills are also reflected in these carefully designed lens shapes. The following will talk about the directing art in Kurosawa's film modeling from the following aspects: (1) The modeling and composition of confrontation scenes in Kurosawa's films, and many times the characters have tit-for-tat conflicts. So in his films, we can often see scenes of fierce confrontation between some characters. Kurosawa handled these scenes wonderfully with tension, which comes from his poetic use of lens composition and scene modeling. (2) Aesthetics of Weather In Kurosawa's films, weather plays an important role. It not only creates and sets off the atmosphere of the film, but also symbolizes the hearts of the characters. Kurosawa said that he likes either the scorching sun or the storm. Indeed, in Kurosawa's movies, sunny days are really rare. However, strong winds, lightning, fog and anxious sun not only create the atmosphere and tone of the film, but more importantly, it becomes a symbol of life situation. (3) Environment and Symbol Akira Kurosawa's films mercilessly show various gestures in the depths of the characters' souls. It can be said that everything revolves around the characters and their inner scenes. The scene environment of the characters' activities in the film has also become a symbol of the inner scenes of the characters in the play. In Rashomon, the tall Rashomon was destroyed by the rainstorm, just like Kurosawa's fantasy of a better life, which broke his gloomy and pessimistic heart. The farmer cut down the wood of Rashomon to keep warm, just like the last illusion of truth and goodness will be stripped away. (4) Planar lens pictures and traditional Japanese paintings In many of Kurosawa's films, he showed us a lens picture that pursues a relatively flat painting style. Akira Kurosawa dealt with this kind of Japanese painting style lens by diluting the light and shadow, composing the characters in the lens picture, simplifying the background of the characters and looking up the camera. (V) Character Modeling and Drama In Kurosawa's films, there is a role deeply influenced by traditional Japanese drama-Noko. The influence of drama on his films is more reflected in the characterization. The characters in Kurosawa's films are not individual people, but symbols of human nature. They represent a certain aspect of human nature, and these characters are extremely single and not as complicated as those in real life. Because they are just a certain side of human nature, a symbol of a certain type. In the costume of the film, Kurosawa also borrowed from the colorful style of drama costumes, which was extremely gorgeous. (VI) Scene space modeling and lens style The lens modeling of Akira Kurosawa's films has a strong Japanese national artistic style. In addition to the flattening treatment done by Akira Kurosawa, the modeling structure of the film scene also makes the composition of the lens picture form a strong Japanese national modeling feature. (7) "Shadow in the Red Beard" Red Beard is a black-and-white film with strong light and shadow effects. The scene is a small medical clinic serving poor and critically ill patients. Strong light and shadow often make the huge figures on the wall shake, and the breath of death and suffering comes to my face. (VIII) Sculpture in Performance Akira Kurosawa's films attach importance to modeling, not only in the modeling of the screen lens, but also in his performance, he pursues a sense of modeling. The above is only from the perspective of film modeling, talking about master Kurosawa's film directing art, which is only a part of his directing art. The most important thing of the master's works lies in his anxiety about human destiny and deep thinking about ideal personality.
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