Description
Pick one Japan-related film that you want to be included in this class in the future. Explain why. Pick one film that you liked most in this course.
Plagiarism is a serious offense and can lead to an F for the course and further disciplinary action. Students should acknowledge all research and reading sources in their assignments (be they from books, magazines, journal articles, Internet sources, DVD commentaries, etc.) with proper footnotes and bibliographic citations. Remember to keep a copy of submitted assignments until your final grade is posted.
The film in the course I liked most is ‘Rashomon 1950’, and another one I want to included in this class in the future is ‘Seven Samural’, which is also directed by Akria Kurosawa.
The words below is suggested by ChatGPT about how to write this essay:
ChatGPT:
To craft a compelling final essay for your course, you can draw inspiration from both the detailed analysis of Akira Kurosawa’s *Rashomon* provided in your class notes and your personal reflections on the film and its thematic and technical contributions to cinema. Here’s how you might structure your essay:
Introduction
– Introduce the significance of Akira Kurosawa as one of the most renowned Japanese filmmakers, highlighting his influence on Japanese cinema and his exploration of complex narratives and themes.
– Mention the purpose of the essay: to discuss the inclusion of *Seven Samurai* for future courses and to reflect on *Rashomon* as the most impactful film studied in the course.
Part 1: Recommendation for Future Course – *Seven Samurai* (1954)
– Historical and Cinematic Context: Explain how *Seven Samurai* represents a pinnacle in Japanese cinema, showcasing Kurosawa’s mastery in storytelling, character development, and his ability to blend action with deep philosophical questions.
– Thematic Depth and Relevance: Discuss the themes of honor, sacrifice, social hierarchy, and the human condition, which are as relevant today as they were in post-war Japan. Highlight how the film’s exploration of these themes can provide valuable insights into Japanese culture and universal human experiences.
– Technical Innovations: Detail Kurosawa’s innovative use of camera techniques, narrative structure, and his ability to create suspense and emotional depth, which have influenced countless filmmakers globally.
– Educational Value: Argue the film’s potential to enrich students’ understanding of film as an art form, its historical context, and its impact on global cinema.
Part 2: Reflection on *Rashomon* (1950)
– Personal Impact: Share your initial impressions of the film and how its storytelling, themes, and cinematography affected you.
– Analysis Based on Class Notes: Integrate insights from your class notes, focusing on the film’s narrative structure, use of lighting and sound, and its historical context during the Allied occupation of Japan. Discuss how these elements contribute to the film’s exploration of subjective truth and human nature.
– Comparison with *Seven Samurai*: While both films are directed by Kurosawa and explore complex themes, compare how each film approaches its subject matter and uses cinematic techniques to convey its messages.
– Contribution to Understanding Japanese Cinema: Reflect on how *Rashomon* has deepened your appreciation for Japanese cinema and its capacity to address universal themes through a distinctly Japanese lens.
Conclusion
– Summarize the key points made in your essay, reiterating the importance of *Seven Samurai* for future classes and *Rashomon*’s profound impact on your understanding of cinema.
– Reflect on the importance of studying films like these for a deeper appreciation of cultural diversity, historical context, and the universal human experience through cinema.
Academic Integrity
– Remember to cite all sources, including your class notes, films discussed, and any additional scholarly articles or books you reference, following the citation guidelines provided by your instructor.
This structure provides a comprehensive approach to your final essay, incorporating analysis, personal reflection, and academic research while adhering to the requirements outlined in your assignment prompt.
1. Either way. As long as the journal speaks of two different films, that is fine.
2. As l announced, there is no specific requirement. Students can think of this as a response paper to the class, in which they can tell us why their favorite films should be included in the future course!
Unformatted Attachment Preview
Week4 课堂笔记
Hi everyone. This is the lecture sequence for I will share my screen with you. Okay. Slideshow
from star. Okay. So the film of this sequence is Rashomon by Akira Kurosawa. In the last lecture,
we started talking about I can’t go to sour. Arguably the most famous Japanese film maker in
the world, even nowadays. Well, Ionia Zaki, the other famous, very famous Japanese artist. But
he’s not really a filmmaker. He’s an animator. I think Akira Kurosawa, it’s still the most famous
filmmaker from Japan. He died in the late 90s. But he made a number of films, nearly 30 films in
his career. He’s famous for GIT genre. And today’s topic is key. The genera that we started
discussing in the last lecture. And we are discussing two diagonally during the occupation or
period. In this lecture, we are continuing the lecture on historical contexts in the history of
Japanese film making. So last week or in the last session. This is a recap of the last session that
I get the timeline and the history of Japanese history and the history of Japanese film. Periodic
drama. This period means premodern period. I said you may remember 16-1867, Japan was
under the, under the Tokugawa Shogunate. During the Edo period. Kabuki, what’s the most,
most popular entertainment popularity of Kabuki theater? So we’re in the history of film making
studied in Japan in the late 19th century. Ali filmmakers, they reproduced the popular Kabuki
stage to the screen. So during the period of cinema of attraction, when the aesthetics of
astonishment, astonishing the viewers with more important than telling a narrative, telling a
story. Reproduction of Kabuki stage was the most dominant and popular mode of film-making
in Jupyter arm. And 1948 by 1914 to 19181. And right after that, Hollywood film industry is
dominance in world market. While the film market studied and influence of Hollywood
filmmaking also came to Japan the 1920s during the period of American innovation. Especially
after the grade to grade contour f gouache. That was when I get the genre. I started as a new
popular, spectacular genre cinema in Japan. But throughout the 1920s and 1930s, synthetic you
enjoyed high popularity. But from the late 1930s to 1945, word or two, and under the miracle of
governments control of film-making and film distribution and film exhibition in Japan, GUID key
had a heart or had a hard time because just by good key was representative of more than
entertainment, american Hollywood style entertainment with its techniques and styles. But
1945-1952, which is the topic of today lecture. Japan was under the post-war allied occupation
and occupational government started to control which that cookie from a different perspective.
So the militaristic government controlled to die GKE as an American style entertainment. But the
post-war occupation or government control today cookie. As a potential feudalistic, militaristic
sensibility. Narrative. It’s set in premodern. It before 18, 68, Japan. Style of today’s Nikki was
like a Hollywood film more than entertainment. This contradiction, you remember the keyword of
the last time contradiction? That was the fleet data to get the genera went through during the
war time and the occupation on period. And in 1953 ran occupation and data. Just IgG revival of
Daggett County occurred. And the films that you saw last week exactly where HE was. One
such example, one could give film after the revival of that genre. Let’s go back to talk about the
occupation. So on August 15, 1945, word or two, and they’re defeated, Japan went under the
allied occupation from 1945. And the occupation lasted until 1952. So for seven years, seven
years, Japan demon, have its own government. Japan was occupied by basically the United
States or the political issues or economic issues, social issues, cultural issues. They had to go
through the occupation or government’s policy making and economic client financial plan. The
goals, the goals of the occupation policy. With something like these two. As I started discussing
last week, the American, the United States, the US government needed to reconstruct Japan,
the previous enemy, as the US Navy as soon as possible. Under the context of the Cold War. In
order to make Japan the CEO of democracy and the American way of life in Asia. Against
communism. The US government supported Japan, Japanese policy and economic economy.
As much as the character. In 1949, People’s Republic of China was established. In 1950. Korean
War started. So it was a hot war. During the period of the Cold War. Japan was needed by the
United States as the sealed of democracy in Asia. To do so. The US government, particularly the
occupation of government, started to transform Japan from a feudalistic and mutualistic
contrary to the American style, democratic country. I trace the image of it. Okay. How, how the
enemy to a close friend in a rapid manner. How the method, yes, of course. Number one, the
occupation or government promoted the American way of life in various ways. American by
saying the American way of life included democracy, consumerism, gender equality, and so on
and so forth. They did that. Promotion was done through popular culture. Popular culture who
has the most effective media, so to speak. To promote the American way of life. The occupation
of government took the so-called three F, policy. Sex screen in sports. Sex. Well, the United
States was open to the, let’s say strip shows and public display of female bodies in those
places. I’m going to talk about one such example later. But anyhow, six industry played an
important role in post-war Japan to entertain not only the American soldiers, but also Japanese
people in order to publicize the American way of life. That’s a programmatic policy, but that was
taken by the organization or government. Screen flood of Hollywood films. Yes. So dealing the
war time. Hollywood film and so it’s banned from screening as enemies entertainment. I could
even just I get D was CDMA control because it contains lots of Hollywood style techniques and
spectacles. Hollywood film, so it’s banned from screening. So no Hollywood films with showing
in Japan during the war time. Especially with after the attack of Pearl Harbor in 1941. So four
years absence of Hollywood films. There was a flood of Hollywood films after 1945. And
publicize the American way of life. In sports. Baseball was very popular in Japan, especially
during and after the occupation or period. Aaa team San Francisco CEOs actually visited Japan
in 1949 and played several games. We, Tokyo giants, of course, Tokyo giants lost all their games
even to that three AAA team. But such visit of American baseball team to Japan, promotive the
popularity of baseball in Japan, greatly. Speaking of the film industry per se, the occupation of
government supported the Japanese film industry in substantial water. Because they thought
film would have a very strong inference upon the creation of new sensibility among the
Japanese general audiences. But they needed to control the content obviously in order to
publicize the American way of life and in order to transform Japan from Theodore extended
militaristic country to democratic society. As I said in the last lecture, just DID to you as CLA
controlled as a potential representative of the premodern sensibilities, militarism, feudalism, and
anti democracy. Even though you remember now, the surface, I mean the styles, techniques of
what’s very modern. But still the narrative, the setting was pretty more than the occupation of
government. Didn’t want to take any chances. They didn’t want to take any risks. So the sword
inches Bagchi to them could be considered to be the symbol of premodern mentality. So the
sword, the display of the sword in films were severely controlled by the occupation of
government. Because of that, the number of teeth I get good produced in Japan decreased
rapid rate. As I introduced in the last lecture, more than 300 films, I mean, should I get the films
were made in the 19 late 1930s. But after the occupation studied, the number drastically
dropped two to seven or eight. In the piece of the whole is okay. Even though the store with
another weapon, but it’s an American culture, representative of American culture. So it was okay
to be shown on the screen. This is the question of today’s lecture. Rashomon, the story of
Rashomon. It’s set in premotor and Japan before 18 68 is a GIT. Why did Russia want, I just die
geeky, pass the occupation or censorship. So Rashomon was able to be made under the
occupation. It’s an 150th film. Why? As you see in this poster of Rashomon, we still see the
sword which were severely controlled from exhibition in films during the occupation or period.
Why was your mom? Why yours? Okay. One possible answer is that Rashomon was not a
typical two diabetes film. Yes. I said. If a story is set in pre-modern period before 18, 68, or the
films are called, which is directly, yes, in that sense, restaurant mum is very tricky. But actually,
most of the films, the stories are set in, let’s say, the 19th century when samurai client was the
dominant tooling class. So many of them were set in the Edo period, let’s say 18th century, 19th
century. When the sword fight was happening between a master S summarize Ronin and some
other summarize. So not many today, Dickey, worst stories that are not many stories have to
directly rosette in before, let’s say the 10th or 11th century. Well, Rashomon, it’s set in the 11th
century of Japan. At that time, the Samurai class was not really a ruling class. They were
emerging as there were in class with Japan. So it was a forming era of the summarized in that
period. So it was speaking of the periodization restaurant or it’s not a typical genetically. But
more than that, Rational Model was a very difficult film. To some audiences. I don t think fashion
one is to me personally, Russia, when it’s not a very difficult film, it’s different. But to some
horrific, say too many, Russia hormone, what considered to be a difficult film, even the producer
of the film, my site and I gotta their guy. You see at the top. Remember humans at the top, or
he’s massaging the data. Here’s a producer of this from he was confused and he couldn’t
understand what was going on and he didn’t even like it. But actually, well, the film Rashomon
receive the grant plies at Venice International Film Festival in 1951. Mcgautha, of course, that I
love that film from the very beginning. Typical producer. But at the very beginning, the producer
of the film couldn’t understand what was going on. Rashomon has four different stories of one
incident, one murder incident. One murder incident is explained from four different perspectives,
and there is no clear answer about what really happened. That creates a kind of difficulty of
understanding. Or even at the end of the film. If you watch each episode, if you watch the
editing and how the story is told in each episode, it’s not very difficult to follow. But in the end,
the film doesn’t really give us a clear answer which testimony was the correct one to one. So
that makes us feel that this term is a little bit difficult and confusing. And I think you may feel the
same way after you watch this film. But each episode, like I said, in each episode, is not very
hard to follow. There is even a term called Rashomon effect. Which eight, if a story, if a film or a
story present multiple viewpoints at the same time, then it is called that work or the film has
irrational worn effect. One good example is a 420 2014 film, Gone Girl. Doesn’t present four
different perspectives. It presents at least two different perspectives. Husband perspective, in a
wife’s perspective about the same event. And in this film, Gone Girl, again, there is no clear,
clear cut closure where experimentation about the truth. So it has Gone Girl has a Rashomon
effect. If you haven’t seen this film, yeah, it’s worth watching. So yeah, please do so if you are
interested in Rashomon effect. So Rashomon is based on newness. Okay, I could have Galois is
short story in a grove. Like I said, different stories of one incident occurred in 11th century
Japan. From the perspectives of different characters will enact categories story actually, there
are only three different characters, three different stories. So Kurosawa’s Rashomon, I couldn’t
grow cells. Rashomon added one more character, one more story for different stories for
different characters in the film version, which creates more confusion. So Rashomon was not a
typical GIT. It was a difficult film to some. So that’s one reason why Russia won’t pass the. Now
occupation or censorship. Complicated narrative structure is, one, is the main issue of
Rashomon rather than the spectacular sold for it, even though there is a sword fight. I’m coming
back through that issue. But anyhow, rational man was not a typical value. Number two, yeah. I
told you about the pistil. The pistol was okay under the occupation of government. But key thing
under the policy, the sexual politics saying was more than okay. To show, to be shown on the
screen. So before the occupational period, the Japanese films never showed kissing on the
screen. The very first kissing in Japanese film, making this film, the 1950s film till we meet again.
What are our geometric? Well, actually the cosine was not really physical, actual physical touch.
So as you see in this, the cover of DVD, the case between the hero and the heroine is over a thin
glass. It’s a beautiful sequence. But anyhow, just saying, Okay, there is a casein in Rashomon
guessing words more than okay. So under the sexual politics and other sex politics of the
occupation of government, Rashomon, past, that censorship. To show the kiss. Promotion of
women’s rights, gender equality. Speaking of the narrative of Rashomon, I’m not fully supportive
of the narrative of Russia hormone because it’s about a murder. It’s about a rape. Story of
Russia. More questions the murder incident. But the story doesn’t really question the rape as a
crime. In that sense. I’m, I’m really ambivalent about the story of Russia alone. However,
Rashomon is an important film because it presents a woman’s perspective about the rape and
murder. So in that sense, it promotes, strongly promotes women’s rights and gender equality in
an unprecedented manner in the history of Japanese film making. I can say that it is still
problematic, but it is different from what had been in Japanese filmmaking. The store was okay
with kissing was more than okay. The sword. The third issue that I want to point out about this
question, why Rashomon pass the censorship, the sore in the sword fight in Rashomon, which
will be presented quite differently in Rashomon. And to explain that, I want to go back to some
clinical words, a critical issues of filmmaking. The film, I want to go back to the language of film.
I only when you watch Rashomon, I want you to pay attention to lighting and sound, especially
in the first episode, in the fourth episode. The first episode is testimony from a bandit, and the
fourth episode is a testimony of a woodcutter. So, yeah, let’s go back to the basic elements and
film-making in order to talk about lighting and sound. So we talked about framing and editing.
And the sequence number two, I want to pay attention. I want to focus on lighting and sound.
And today’s lecture. Well, before 1927, the history of cinema didn’t really have sound. They were
silent films. So sound became one of the basic elements in filmmaking after 1927, 19 and sound
first, lighting. Lighting is essential in film-making. Without lights, it’s impossible to get images on
the film. Even today in digital filmmaking, lighting is very important. On computer screen,
lighting is essential to see the image. And this is one such example, a, B, C, D. This woman is
having very similar facial expression, facing towards the camera, but the lighting effects create a
very different perception in the side of us, the viewers. Number a is kinda neutral, where we
have lighting, key light, the frontal light, so to speak, DBS for visual appearance of the woman.
But B. This is only the frontal light, which creates a strong shadow on the side over her face. But
I want you to pay attention to C and D in particular. C only has a right for the light from the side.
How do you feel when you watch an image like see? What do you think? It seems a little bit
confusing or ambivalent or unclear? Unsure about this woman, what this woman is thinking,
right? This shadow, the shadow side on the left side of her face. I mean, from the right side from
us. We don’t clearly see her facial expression on that side. So that creates a sense of complexity
or unclear illness because of the lighting effect. And D, How do you feel? We don’t even see the
facial expression of this woman. So she could be a villain. She could be evil. But it’s all ODEs,
perception, our perception is created by the lighting effects. This is to show how writing is very
important to create visual images in cinema, e.g. this is a quote from a cinematographer of
1934. Hollywood. The most important of the dramatic devices of the motion picture is right?
Light and say, are the most vital of the cinematic tools. Emotions are literally painted with light.
Emotions painted with light. Film in a wildcat knows your secrets, secrets of light. But the
history of lighting in cinema, the importance of lighting in cinema was not so straightforward in
the history of cinema before meet 19-teens. In other words, during the period of cinema of
attraction, visibility was the most important thing. The quality of raw film, the quality of camera.
We’re not so great that the filmmakers needed a very strong light, which was the sunlight. Most
of the films during that period were shot under the sunlight. In exterior sequences like the arrival
of a train at less CO2. It’s a, it’s a film made by the brothers in France. One good example of
cinema of attraction. So the emphasis was not on lighting effects. The emphasis was on
basically ADT of the images on the screen. So the lighting is pretty flat. It’s only come, it really
came from the summary from the late 19-teens. Some filmmakers study to use light in cinema.
Expressive manner. The cheat, it’s the 1915 film styling Japanese actresses who had a color.
It’s one of the big hits in Hollywood. In the 1880s. The film used lighting expressive manner as
you see on the image on the left. So this guy, this man, is caught in a jail and he’s uncertain or
fearful. Emotion is clearly expressed by lighting this lattice shadows on her, on his body creates
how scared he is in jail about his fate in the future, in the near future. This kind of expressive use
of light is often called ramble on writing, ramble on style, writing. Lifo link to a Dutch painter of
the much earlier period of 17th century Rembrandt. He started to do experiments in his
paintings. So cinema, imitative, the rent loans, writing. But expressive use of light didn’t become
the Hollywood standard. In the lecture number two, we started talking about the significance of
Hollywood film. Order techniques had to contribute to the coherent and soap story and
coherence of time and place. As you may remember. Okay, So audit techniques should serve
for the neutral, transparent, and undistracted way of narrative development, storytelling. So this
is another quote from a cinematographer. The photography should enforce, not distract from the
thematic content. Selfish photography is like overacting the beauty of camera work must be
absolutely lap dissolve to be the mood of the story. The audience members of the average
audience should never aware of the camera. Lighting, camera, editing. All those things shouldn’t
be noticed by Hollywood films. When we watch a Hollywood film, do we really think about how
camera is positioned, how editing is done, how things are used. Now, we don’t really notice
because Hollywood filmmakers were very careful about the use of those techniques for the sake
of the story telling stories. So even if very artificial lighting or editings are used, they are used in
a very crafty and manner or not, to distract the attention of the audience is in three-point
lighting, which is a very neutral, very artificial, but very neutral way of giving the light to the
stories of Hollywood films. It became the standard of Hollywood films there. And this image of
Ingrid Bergman, famous film Casa Blanca isn’t a good example of three-point lighting. This is an
image taken from the clip. You have already seen three-point lighting. Dc’s the positioning of
this lecture is becoming a more and more technical and technological now. But I want to give
you an idea how the actual films were artificially made in Hollywood. But such artificiality isn’t
noticed by the viewer because this is the positioning of the light lights to get the three-point
lighting. So the yellow one is called key light, it’s the strongest, right? And the black one is
called fill light, and the red one is called back light. So those are the three standard positions of
lighting to get the standard than normal lighting of characters. In the film. We talked about the
classical Hollywood cinema to create a universal language of cinema. Audiences. All classes
and all over the world result linear and unified narrative structure. No confusion of time and
space for the audience or techniques should serve for the coherence of time and space. So
three-point lighting, as I emphasize, transparency, lighting shouldn’t be noticed is the most
important goal behind three-point lighting. And because of those three positions of light, illusion
of three-dimensional entity, realism is created. If there is no real, It’s like the expressive use of
lighting of the 1915 film. Rather, instead of realism, we feel the artificiality of writing. Dr. think.
It’s more Suo, realistic or artificial. In addition to transparency or neutrality. Illusion of
three-dimensionality, three point lighting Gibbs agglomerate to beautiful stars, including Ingrid
Bergman. Do you notice the halo effect on her hair? Backlight? Gibbs, this hallow effect on the
hair. The glomerulus actress. Three-point light and transparency, three-dimensionality and
glamour standard of Hollywood dividing. Like I said, in contrast, when very explicit lighting, not
three-point lighting is used. It clearly emphasizes something that is important for the narrative.
Even when the non-neutral, non-transparent ladies used in Hollywood films, it should serve for
the narrative. In these cases, it’s okay for the viewers, for the audience to notice the artificial use
of lighting because they contribute to the story. The image to your left is from an Alfred
Hitchcock film, suspicion film. It’s a, it’s a suspenseful thriller. A wife is doubting that her
husband maybe. Murderer. He sees, worried that he is about to kill her. And the milk that he
brings to her may have a poison in it. So in order to emphasize her fear, lighting, I mean, small
light bulbs inside of this glass and creates an ominous right here. And in addition to that
spiderweb, kind of light is placed behind this guy. And we don’t even see the facial expression
of this guy. Very expressive use of light, not three-point lighting, but it serves for narrative, the
story, and Return of the Jedi. Luke Skywalker is fighting against his fear, against his father,
Darth Vader. This red lightsaber is an embodiment of his fear that he needs to overcome for the
story. Okay. Okay. So that’s the lighting, the significance of lighting. In addition to that, when
you watch Washington wall and then when you compare episode one in episode four, I want
you to pay attention to how sound is used, okay? And I want to explain the difference between
diegetic and non-diegetic sound. These words may sound difficult, but the actual sound that
you hear, he’s very difficult. Diabetic sound. Any voice, musical passage or sound effect
presented as originating from a SaaS within the film’s world. In other words, if you see the origin
of the sound on the screen, that’s an example. So this is an image taken from Star Wars. So we
see the band, the alien band playing that music and we hear the song, the music coming from
these musical instruments. So we see the source of the sound and we hear the sound from the
screen. So that’s dietetic sound. Okay? Non-diegetic sounds such as mood music, or
nowadays narrators commentary, represented as being outside the space of narrative. So these
definitions are taken from the grocery that I have given you as optional reading. Okay? So in
other words, non-diegetic sound, we don’t see the origin, the source of the sound on the image
on the screen, in the image of the screen. So like the opening of Star Wars, do we see the
orchestra playing the famous theme song was Star Wars than, greater than n. And we don’t see
the orchestra. That’s known parasitic sound. Okay, that is rhetoric in non-diabetic. Got it. So
here I want you to watch the same clip that I have shown you in lecture two. Please pause this
lecture here and please re-watch clip number two of Lecture two. It’s from Casablanca. And this
time or the last time I asked you to pay attention to 180 editing rule. This time, I want you to pay
attention to the lighting, the sound. Okay, so please pause the lecture and watch this click.
Okay. How did you, what did you notice about the sound and the writing? Three-point lighting?
It’s beautifully used in this clip. There’s no expressive or distracting light on the face of Ingrid
Bergman. Let’s go back to, yeah. Alright. Even her eyes catch the light beautifully and creates
strong and gives us a strong emotional attachment of her hidden emotions, so to speak, to her
past in this sequence. Yeah, what can I hat? When the camera this is a medium shot, but the
camera moves to the close-up. The emphasis on the glomerulus, hello effects and a width. Eyes
and lips are emphasized by the three points, right? And but our emotional attachments to her as
enhanced red lighting. But if I didn’t tell you about how lighting is used, I don’t think many of us
have noticed how the artificial lighting is used in this sequence. So that’s how three-point
lighting works in the sound. Did you notice that sound was replaced by non-diegetic sound,
known dietetic sound in the middle of the sequence in order to give the emotional enhancement
of the character. So at the very beginning of the sequence, there was a sound, dietetic sound
that comes from the cafe. And as time goes by, sam sings, it’s a diegetic sound. But when
Humphrey Bogart character comes in and Ingrid Bergman eyes and Humphrey Bogart its eyes
and meet. There was a dramatic orchestral sound coming in hand. In order to give a clue to us,
the viewers, how Bergmann’s characters and Humphrey Bogart characters in motion. We’re in
pounds, so focused or sound known diastolic sound comes in. So that’s how you use use.
Three-point lighting is used and dizygotic nonbasic sound is used in cinema. When you watch
Rashomon pay attention to lighting and sound, how the sword is used in episode 100 for the
effects of lighting and sound. Keywords of today. Yes, We talked about lighting and sound
because they are using expressive manner is in Rashomon. But how? Yes, please pay attention
to them, especially in episode 1.4. And that’s the end of today’s lecture. Enjoyed Rashomon. 你
可以帮我总结和概括一下这堂课的主要内容吗？
Chat GPT：
这堂课深入探讨了黑泽明的电影《罗生门》及其背后的历史和电影技术背景。以下是课程内容的概
括：
1.黑泽明与日本电影史：讲座开始时，提到黑泽明是世界上最著名的日本电影制作人之一，他的作品
主要属于时代剧（jidaigeki）类型，这是一种以日本前现代时期为背景的电影类型。
2. 时代剧的历史：时代剧源自日本的歌舞伎剧，最初是将舞台剧搬到银幕上。早期的电影更注重视觉
震撼而非叙事。二战后，由于美国的影响，日本电影开始引入更多的好莱坞元素。
3.占领时期的电影产业：1945年至1952年，日本处于盟军占领下，这一时期美国试图将日本重塑为
一个民主国家，并通过电影等文化形式推广美国的生活方式。时代剧因其潜在的封建和军国主义倾
向而受到限制。
4. 《罗生门》的成功：尽管受到上述限制，《罗生门》作为一部时代剧，成功地通过了占领时期的审
查。讲座探讨了《罗生门》为何能够成为例外，并指出其非典型的时代剧元素、复杂的叙事结构、以
及对性别平等的推进作出了贡献。
5. 《罗生门》的电影技术：讲座详细讨论了《罗生门》中使用的电影技术，特别是照明和声音的使用，
以及它们如何影响观众的情感体验和对故事的理解。特别强调了“迪杰蒂克”（diegetic）与“非迪杰蒂
克”（non-diegetic）声音的区别，以及三点照明系统如何在好莱坞电影中创造一种标准化的视觉体
验。
6. 文化与历史背景 ：讲座还涉及了《罗生门》如何在美国占领期间的日本文化和政治背景下被创作
和接受，探讨了它如何在推广性别平等和美国生活方式的同时，通过其复杂的叙事和技术创新，绕
过了占领军的审查。
整体而言，这堂课不仅分析了《罗生门》这一具有里程碑意义的作品及其在电影史上的地位，还探讨
了它是如何反映和塑造了特定历史时期的文化和社会价值观。
Me：这堂课的keyword是什么？
Chat GPT：
1. 黑泽明（Akira Kurosawa）：探讨了他的地位作为日本及全球著名的电影制作人。
2. 《罗生门（Rashomon）：黑泽明的代表作，以其复杂的叙事结构和技术创新闻名。
3. 时代剧（Jidaigeki）：黑泽明的多数作品所属的电影类型，强调日本的历史和文化。
4.占领时期（Occupied Period）：日本二战后被美国占领的历史时期，对日本电影和文化
有重大影响。
5. 照明（Lighting）和声音（Sound）：讲座特别强调了这两种电影技术在《罗生门》中的应
用，包括对迪杰蒂克和非迪杰蒂克声音的讨论，以及如何通过照明塑造情感和氛围。
6. 审查（Censorship）：讲述了《罗生门》如何在占领时期的审查制度下被创作和接受，
以及它是如何成功避开了审查的。
7.文化和历史背景（Cultural and Historical Context）：《罗生门》不仅作为一部电影作品
进行了分析，还探讨了它如何反映和影响了特定时期的日本社会。
确实，这些关键词更准确地反映了讲座的焦点和内容，特别是与《罗生门》的分析、电影
技术的详细讨论以及电影在特定历史和文化背景下的意义有关的部分。
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