Kurosawas Defiance of Jidaigeki Conventions
... It is precisely the existence of genre conventions that allow an audience to enjoy a film, having been prepared with the necessary information to decode the film by accurately defining the film in terms of its genre. In many ways Japanese jidaigeki film was strongly locked in this realm of genre. In a very basic sense, essential jidaigeki film presents to the audience a myriad of problematic situations with a central unwavering archetypical hero as the protagonist. Particularly in terms of the dominant Toei jidaigeki in the mid-1900fs, the reuse of similar formats, themes, plot structure, plot development, and even character types were evolutions of conventions particular to this sub genre. However, these conventions were to be forever shattered through the cinematic innovations of Akira Kurosawa. Kurosawafs bold strides to expand the realm of jidaigeki film helped to re-establish a new standard for the genre and eclipse old conventions. ... Kurosawa opens up the jidaigeki film with innovative cinematic techniques that ultimately allow for a multitude of changes to the portrayal of heroes within the genre. ... Kurosawafs jidaigeki films are unique and substantial not only because of they are the result of innovative cinematic technique, but also because Kurosawafs cinematic mastery allows for the existence of dynamic portrayals of heroes within his cinema. Typical jidaigeki film, imparticular Toei film which was the dominant jidaigeki format, follows a kind of loose cinematic dogma that exists as a convention of the sub genre. ... Predictably, the hero is a superior swordsman, but this does not necessarily mean that Toei jidaigeki includes spectacular swordplay or scenes of excessive violence (Yoshimoto 229). As Yoshimoto points out, these sub genre conventions lay a basic format for the construction of plot and narrative. ... Being predominately a gstar-orientedh genre, Toei jidaigeki films developed the plot based upon the actors playing the characters within the film. ... Kurosawa breaks many of these well-established conventions in his cinema. ... Through framing, character development, shot sequence, the implication of unorthodox cinematic devices, and the introduction of artistic representations foreign to the film genre, Kurosawa forever changed the popular perception of jidaigeki film, while also affirming a new way to cinematically represent the hero within the a narrative context of jidaigeki films. Seven Samurai (1954) is a film that breaks new ground in the jidaigeki genre, as simply inferred from its name, it encompasses seven heroic figures rather than a single protagonist. Even Yoshimoto calls this work g Kurosawafs first real jidaigekich with of course the unmistakable flair and genius that separates this film from the normal plethora of jidaigeki being produced at other studies. ... His singular jidaigeki films could not have been made at any other major studio where old jidaigeki conventions were still alive and well (Yoshimoto 240). ... It is Seven Samurai that is the first film that introduces audiences to a new style of jidaigeki and helps de-throne Toei jidaigeki as the dominant force within the genre. ... It is the existence of an internal representation for each character that is different from other jidaigeki as most films often depict a one-dimensional hero. ... For a typical jidaigeki film, a character like Kikuchiyo that exists to blur the distinct lines between the heroes (samurai) and the victims (farmers) would be unthinkable. ... Kurosawa breaks many of the conventions of jidaigeki in Seven Samurai, however its true value exists in the films successful attempt to present a cohesive story and with dymanic heroes while deviating from established genre conventions. ... Kurosawa simultaneously tries to expand the possibility of film form and re-examine the specific history and genre conventions of Japanese cinema (Yoshimoto 269). ... However, as much of an adaptation as it may be, Kurosawa makes a conscious effort to distinguish this film from the original play, while pushing the boundaries of jidaigeki film further than they had been pushed before. ... Perhaps one of the most discussed aspects of Throne of Blood is its use of Noh conventions. ... Throne of Blood appropriates Noh more specifically as a performing artcmasks, makeup, body movement, and symbolic conventions of Noh are fully incorporated in the film (Yoshimoto 267). One first encounters the strong presence of Noh conventions during the scene in the forest where the old woman is telling Washizu and Miki their fortunes. ... Washizufs wife, Lady Asaji is a character immersed in Noh conventions. ... Noh conventions in the film successfully translate the originalfs dramatic energy and intensity without having recourse for verbal language (Yoshimoto 268). ... For example, the old woman in the forest has a much stronger effect upon the audience because she is depicted using strong representations of Noh conventions. ... In various scenes, such as the conversation between Washizu and Asaji about killed the lord, Lady Asajifs behavior is exemplary of Noh conventions. ... In a sense, it is not just the influence of the characters themselves, but also the influence of Noh theatrical conventions in accordance with the personal motivations of the characters that are successful in defying Washizufs character and leading him into amoral decisions. Kurosawafs hero in Throne of Blood is not the morally justified and unwavering character of typical jidaigeki film, but he is the tragic hero of a story that conveys the destructive nature of absolute power sought with strong ambition. ... The existence of Noh conventions not only allows particular characters to have a greater influence over Washizu, but also have a stronger impact on the audience. Having a Noh theatrical presence in a jidaigeki film also creates an interesting platform for the genre to work from. Jidaigeki is traditionally influenced strongly by Kabuki theatre, and here Kurosawa is deliberately emphasizing his use of Noh in Throne of Blood to reinforce the overall success of the film in transforming a hero to the opposite position on the character spectrum. Perhaps in some way, the transformation of the hero to its inverse, the victim, is not so unlike Kurosawafs transformation of the Kabuki conventions inherent in standard jidaigeki, to the Noh conventions used in Throne of Blood. If Seven Samurai and Throne of Blood defy typical jidaigeki genre conventions, it is Yojimbo that finally breaks the established blueprint for the genre. ... Though the public taste for jidaigeki film was steadily growing sour, this film succeeded in capturing the allure of the public eye impart for its ability to so deliberately defy genre conventions while still being one of the most cinematically entertaining films that Kurosawa has ever made. ... Sato Masarufs extraordinarily powerful and often comical musical score violates the conventions of film music by deliberately using the gwrongh instruments in the orchestration (Yoshimoto 289). ... He is perhaps the first hero in jidaigeki films that breaks all the rules of the characters conventions once held so strictly by the genre. ... h Another aspect of Sanjurofs characters that is in direct conflict with typical jidaigeki conventions is the humorous nature of his demeanor. As previously stated, the typical heroes of jidaigeki are serious, intense individuals. ... It would be unthinkable for a traditional samurai in jidaigeki to invent a name in this manner, and thus it is all the more astounding for the audience as well as Seibei.