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Akira Kurosawa's 1950 film Rashomon has arguably become the best known Japanese film of all time. This book addresses issues beyond the realm of Rashomon within film studies, and the Rashomon effect, which itself has become a widely recognized English term referring to significantly different perspectives of different eyewitnesses to the same dramatic event. The chapters address both the continuing and vibrant influence of Rashomon effects into the twenty-first century, as well as the director's manifold legacies to cinema, its global audiences and beyond, and will be welcomed by those interested in Japanese studies, film studies and world cinema.
Blair Davis is an Assistant Professor of Media and Cinema Studies in the College of Communication at DePaul University in Chicago, USA. Robert Anderson is Professor of Communication at Simon Fraser University in Vancouver, Canada. Jan Walls is a Professor Emeritus in the Humanities Department at Simon Fraser University, Canada.
1. Introduction 2. From Konjaku and Bierce to Akutagawa to Kurosawa: Ripples and the Evolution of Rashomon 3. 'Smiled on by Lady Luck: Rashomon' 4. The Production History of Rashomon 5. Rashomon Perceived - The Challenge of Forging a Transnationally Shared View of Kurosawa's Legacy 6. Rashomon as a Twelfth Century Period Picture and Occupation Period Social Critique 7. What is the Rashomon Effect? 8. The Rashomon Effect: Considerations of Existential Anthropology 9. Screening Truths: Rashomon and Cinematic Negotiation 10. Reflections on Rashomon, Kurosawa and the Japanese Audience 11. Kurosawa's International Legacy 12. Dialogue on Kurosawa: Nationality, Technique, Life Work 13. Conclusion: Ripples and Effects
