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Essay / Research Paper Abstract
This 6 page report discusses
Japanese film director Akira Kurosawa’s 1985 movie “Ran.”
Kurosawa’s haunting style has been imitated by both
Hollywood and independent directors who would be thought of
as great artists but the problem being that Kurosawa is
inimitable. Bibliography lists 3 sources.
Page Count:
6 pages (~225 words per page)
File: D0_BWakirak.doc
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Unformatted sample text from the term paper:
and independent directors who would be thought of as great artists but the problem being that Kurosawa is inimitable. It may be the simple fact of being Japanese and creating
movies that are so "not Western" that resulted in such powerful yet alien stories and images. Then again, it may be that the depth of deliberate intelligence he used in
creating and presenting a story did not offer the best potential for box office returns. For whatever reason, Kurosawas fifty years of movie-making produced films that have demonstrated that regardless
how much money is spent or how spectacular the special effects may be, entertainment cannot rival what is authentic art in terms of the impact that can be made by
a movie. The famous American filmmaker, Martin Scorcese noted in tribute when Kurosawa died that: " Kurosawa introduced Japanese cinema to the West in 1950 with Roshomon, a work of
tremendous moral and cinematic force whose influence on Western filmmakers is immeasurable" (29). National Context and a Japanese "King Lear" Any movie is certain to be influenced by the
nationality of its director, crew, actors and the culture in which they are creating their artwork. The movies of Akira Kurosawa are certainly evidence of that fact. As Scorcese noted,
it was because of Kurosawa that the West became aware of Japanese movies and the unique views of and commentary on the world that they offered. Kurosawa developed his artistic
skills long before he began making movies and continued to expand upon such skills throughout his relatively long life. As a boy and then as a young man, he was
formally trained in the study of painting, classical Noh theater, poetry, and fiction of "his own culture and that of others both Eastern and Western. Ultimately, his film represents a
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