Essay About First Japanese Film Director And Akira Kurosawa

Review:
The storybook began in 1939 with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the subject of Japanese cultural and political reform: the question of what is Japanese culture?† Akira KurosawaThe storybook began with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the subject of Japanese cultural and political reform: the question of what is Japanese culture? As this question would take even the most radical views of Western political correctness, this young girl, an anti-American and anti-communist, asked her stepmother, who was a prominent critic of Japan’s Communist Party, whether Japan and America were capable of living together as equals or should they be divided in the interests of national security.‡ Akira KurosawaThe storybook commenced in 1939 with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the question of what is Japanese culture? As this question would take even the most radical views of Western political correctness, this young girl, an anti-American and anti-communist, asked her stepmother, who was a prominent critic of Japan’s Communist Party, whether Japan and America were capable of living together as equals or should they be divided in the interests of national security. It is this young girl’s determination to break the old and become Japanese that drove the author to work on the story of an American immigrant, Thomas O’Toole, whose mother, who was Jewish, believed she was a naturalized citizen. It was O’Toole’s growing international relations from his growing up in India that was in his father’s head.
It follows that the story begins in the year 1940, after O’Toole graduated from college. This marks the beginning of the most significant period of cultural change in the United States since World War II. For American immigration to its shores in the United States was largely governed by the Immigration Act of 1924. The Immigration Restriction Act of 1924 (later known as the “H-1B Act”) made it illegal to possess or work in the United States for permanent residence if: In a government employment, or if, in the case of a foreign citizenship, such temporary work is for less than three years, such employment: Provided that any person who becomes a United States resident who is determined to engage in this activity shall be considered an alien under the laws of that country as such person for purposes of this Article.” The year 1939 was a critical point for the American culture as both the country’s democratic systems and the liberal democratic attitudes that it had had growing up, particularly in regard to Western liberal democracies in America and the United Kingdom. During World War II many American intellectuals, writers, and artists expressed an interest in becoming Japanese-Americans. For example, John D. Rockefeller, Jr., Jr. was an American writer and artist. J.B. Chiang, a Japanese Jew who had just finished attending Harvard

Review:
The storybook began in 1939 with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the subject of Japanese cultural and political reform: the question of what is Japanese culture?† Akira KurosawaThe storybook began with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the subject of Japanese cultural and political reform: the question of what is Japanese culture? As this question would take even the most radical views of Western political correctness, this young girl, an anti-American and anti-communist, asked her stepmother, who was a prominent critic of Japan’s Communist Party, whether Japan and America were capable of living together as equals or should they be divided in the interests of national security.‡ Akira KurosawaThe storybook commenced in 1939 with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the question of what is Japanese culture? As this question would take even the most radical views of Western political correctness, this young girl, an anti-American and anti-communist, asked her stepmother, who was a prominent critic of Japan’s Communist Party, whether Japan and America were capable of living together as equals or should they be divided in the interests of national security. It is this young girl’s determination to break the old and become Japanese that drove the author to work on the story of an American immigrant, Thomas O’Toole, whose mother, who was Jewish, believed she was a naturalized citizen. It was O’Toole’s growing international relations from his growing up in India that was in his father’s head.
It follows that the story begins in the year 1940, after O’Toole graduated from college. This marks the beginning of the most significant period of cultural change in the United States since World War II. For American immigration to its shores in the United States was largely governed by the Immigration Act of 1924. The Immigration Restriction Act of 1924 (later known as the “H-1B Act”) made it illegal to possess or work in the United States for permanent residence if: In a government employment, or if, in the case of a foreign citizenship, such temporary work is for less than three years, such employment: Provided that any person who becomes a United States resident who is determined to engage in this activity shall be considered an alien under the laws of that country as such person for purposes of this Article.” The year 1939 was a critical point for the American culture as both the country’s democratic systems and the liberal democratic attitudes that it had had growing up, particularly in regard to Western liberal democracies in America and the United Kingdom. During World War II many American intellectuals, writers, and artists expressed an interest in becoming Japanese-Americans. For example, John D. Rockefeller, Jr., Jr. was an American writer and artist. J.B. Chiang, a Japanese Jew who had just finished attending Harvard

Review:
The storybook began in 1939 with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the subject of Japanese cultural and political reform: the question of what is Japanese culture?† Akira KurosawaThe storybook began with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the subject of Japanese cultural and political reform: the question of what is Japanese culture? As this question would take even the most radical views of Western political correctness, this young girl, an anti-American and anti-communist, asked her stepmother, who was a prominent critic of Japan’s Communist Party, whether Japan and America were capable of living together as equals or should they be divided in the interests of national security.‡ Akira KurosawaThe storybook commenced in 1939 with a request from a young girl with two large-minded and somewhat different minds to write. Her mother decided that it would be best to focus on one question which had plagued her life throughout the twentieth century, the question of what is Japanese culture? As this question would take even the most radical views of Western political correctness, this young girl, an anti-American and anti-communist, asked her stepmother, who was a prominent critic of Japan’s Communist Party, whether Japan and America were capable of living together as equals or should they be divided in the interests of national security. It is this young girl’s determination to break the old and become Japanese that drove the author to work on the story of an American immigrant, Thomas O’Toole, whose mother, who was Jewish, believed she was a naturalized citizen. It was O’Toole’s growing international relations from his growing up in India that was in his father’s head.
It follows that the story begins in the year 1940, after O’Toole graduated from college. This marks the beginning of the most significant period of cultural change in the United States since World War II. For American immigration to its shores in the United States was largely governed by the Immigration Act of 1924. The Immigration Restriction Act of 1924 (later known as the “H-1B Act”) made it illegal to possess or work in the United States for permanent residence if: In a government employment, or if, in the case of a foreign citizenship, such temporary work is for less than three years, such employment: Provided that any person who becomes a United States resident who is determined to engage in this activity shall be considered an alien under the laws of that country as such person for purposes of this Article.” The year 1939 was a critical point for the American culture as both the country’s democratic systems and the liberal democratic attitudes that it had had growing up, particularly in regard to Western liberal democracies in America and the United Kingdom. During World War II many American intellectuals, writers, and artists expressed an interest in becoming Japanese-Americans. For example, John D. Rockefeller, Jr., Jr. was an American writer and artist. J.B. Chiang, a Japanese Jew who had just finished attending Harvard

Born in 1910 to a family of samurai background; formally trained as a painter and deeply influenced by his brother, who translated foreign films for the Japanese audience. Which gave him great exposure to international film of many genres. Eventually this exposure would channel into the film works or Akira Kurosawa. As well as his philosophy of humanism and social consciousness that drive his themes; the life lesson quest for happiness with others runs through his historical action films and dramas set in postwar Japan. Exposing the corrupt, the loss of personal identity and the struggles of social pressure that plague modern living.

Mr. Kurosawas career covered almost 60 years. He is generally characterized as a hard working director deeply dedicated to the craft of filmmaking. This dedication is apparent by his extensive resume as a screenwriter, director, and film editor. Filmmakers in Japan or anywhere else in the world have rarely matched Kurosawa. His entire body of work carries ethical strength, intelligence and artistic influence that very few directors can challenge. What seemed to most invigorate him were his plans for the next film. He also expected the same level of dedication and energy from his cast and crew. Kurosawa was a director to be compared to the greatest writers of any century, a true master of storytelling.

Throughout Akiras career he pursued filmmaking in an exploratory manor. Using film techniques that were equally controlled and experimental. His use of slow motion photography during battle scenes would become commonplace in action films. Seven Samurai is the basis for John Sturgess The Magnificent Seven; a fantastic mark of this Japanese directors influence on the west, which influenced him as well. Kurosawa noted his strong appreciation of John Fords Stagecoach for its style and aesthetic. Another film, Hidden Fortress would eventually have tremendous impact on a young American filmmaker; George Lucas utilized the plot and character structure of this film to create Star Wars. In the 2002 film Hero, the strong influence Rashomon can still be seen.

Kurosawa explored many masterful cinematic concepts through camera work and editing. He used the telephoto lens to create abstract compositions. In addition to employing three cameras to establish a scene, enabling him shoot one scene from multiple angles and depth without disrupting the performance. These techniques grew to become part of the vernacular of film. Many hours of film would not exist without his thoughtful exploration of the cinematic craft. Countless, highly regarded, film directors of the last 50 years, acknowledges Kurosawa as a master filmmaker and story teller. Francis Ford Coppola, a great admirer of Kurosawa, said “Most directors have one masterpiece by which they are known, or possibly two. Kurosawa has at least eight or nine.”

The stories, the settings, the actors and the language of Kurosawas films are Japanese. Yet, the essential messages are global and universal. Within the borders of his films the viewer will find mans struggle for fulfillment and self-perfection and the conflicts of good and evil. These are the foundation of this mans films. Kurosawa continually revisited these themes that are familiar to all of us. As a recognized master of film technique and storyteller for all peoples, Kurosawa stands apart from other Japanese filmmakers. Although these films were made for the Japanese audiences, his works have attained international notoriety and admiration. This has reinforced Kurosawa a master artist and philosopher.

Two major films by Kurosawa are Ikiru and Seven Samurai the films were made back to back in 1952 and 1954, both appear on many critics lists of 10 or 20 “finest films of all time.” Though made by the same director and nearly the same time, the works are thoroughly different. Ikiru is a modern drama, an existential portrait of a single, unimportant,