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Confucian Philosophy in the Films of Akira Kurosawa Through the Documentary Film Medium

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Confucian Philosophy in the Films of Akira Kurosawa Through the Documentary Film Medium Wu, Li-Hsueh Truth and Beauty: Confucian Philosophy in the Films of Akira Kurosawa Through the Documentary Film Medium Doctor of Design 2008 Swinburne Abstract This doctoral research consists of two 90 minute DVD documentaries and a complementary text about the Japanese film director, Akira Kurosawa, a major figure in 20th century cinema. It focuses on how the Confucian cultural heritage has informed many aspects of his approach to filmmaking, especially his manifestation of philosophical and aesthetic concepts. To bridge the gap in the existing critiques of Kurosawa’s films, the research incorporates critical analysis of interviews with twelve filmmakers and scholars in philosophy, history, arts, drama and film. The interviews discuss the aesthetic elements from traditional arts and theatre, and address a failure in the literature to draw from the deep meaning of the Confucian cultural heritage. The first documentary, An Exploration of Truth in the Films of Akira Kurosawa, has three sections: The Way of Self- Cultivation, The Way of Cultivating Tao and The Way of Cultivating Buddhism. It explores how the films of Kurosawa manifested the Confucian philosophy via inner self-cultivation, which displayed his humanist values. It also examines the ‘outer enlightenment pattern’ in Kurosawa’s films which effects profound dramatic tension. The interrelationship between Confucianism, Shinto and Buddhism in different periods of Kurosawa’s films is explored, focusing on issues of historical background, cultural heritage and philosophy and film narrative elements. The second documentary, The Origin and Renovation of Traditional Arts and I Theatre in the Films of Akira Kurosawa, has three sections: Structure and Mise-En-Scene from Noh and Kabuki, Representation and Symbolism from Noh Masks and Chinese Painting and Color and Mise-En-Scene from The ‘Five Elements’ Theory and Japanese Prints. It explores not only the deeply symbolic aspects of the films of Kurosawa, by tracing the roots of his cultural heritage including Noh, Kabuki, Chinese painting and Japanese prints, but also his use of those traditional arts and theatre to inform his film aesthetics and narrative elements. As an adjunct to the two documentaries, the written text explores the truth of the constant virtues and the beauty of yugen in Kurosawa’s films, to address the extisting inadequate film critiques. The text focuses on how Kurosawa injected Confucian principles of ‘self-cultivation’ (修身), ‘The Five Constant Virtues’ (五常) and human nature into the philosophy and action of his characters. It also examines the aesthetic concept of yugen ( 幽玄) and the philosophical concept of the Tao in Kurosawa’s films, which manifested the Confucian philosophy, and its inter-relationship with Taoism and Chan Buddhism (禪宗). The aesthetic concept includes the forms and symbolism of traditional art forms consisting of elements of Noh and Chinese painting, including flash back structure, spirit character, symbolic use of colors, and mise-en-scene, which was drawn on by Kurosawa. This text also includes the production strategy and production process of the two documentaries. It intends to provide an overview of the conceptual, craft and collaborative skills required in the phases of development, pre-production, production and post production of the two documentaries. This research shows how the films of Akira Kurosawa could be both an illustration of a philosophical theory and also sites of deep thought on the value of humanity within II the Confucian philosophy. The two documentaries may advance film research by communicating visual and audio interpretation of film philosophy and aesthetic narrative elements in Kurosawa’s films, to both contemporary film makers and students. It is hoped that the text will contribute to film theory by recognizing the distinct use of Confucian philosophy in the films of Kurosawa. III Acknowledgements This study could not have been completed without the generous assistance of many people and organizations in Australia, Japan and Taiwan. I ask in advance for the forgiveness of those whose names I may have neglected to mention here. For crucial financial support, I would like to thank the following organizations: the Ministry of Education and Chaoyang University of Technology in Taiwan, who have supported me with a scholarship and made possible my doctoral study at the National Institute of Design Research, Swinburne University of Technology in Australia. I owe a sincere debt of gratitude to Akira Kurosawa and several film companies. Due to their production and distribution of the films of Akira Kurosawa, the researcher can study this doctoral project. The companies are Toho Films Co, Ltd, A Shochiku Films Production, Daiei Films Production, Kurosawa Film Production, Greenway Film Production, Herald Arc, Int., Nippon Herald Films, Inc., Moscow Film Corporation, Warner Brothers Entertainment Inc., Steven Spielberg Presentation, and Dentsu Production. This study began as a doctoral project at the National Institute of Design Research, Swinburne University of Technology, I would like to thank Professor Allan Whitfield, Dr. Deirdre Barron, Dr. Carolyn Barnes, Dr. Keith Robertson, and Dr. Gavin Melles, whose academic standards and generous guidance helped me to shape my ideas. I am most grateful to the members of my project committee, who worked with me on the IV research over several years: Professor Allan Whitfield, Nanette Carter and Elizabeth Ninnis. I would also especially like to thank Pam Green and John Bowden and their staff at the Office of Research and Graduate Studies of Swinburne University of Technology, who organized research events for graduate students to advance our skills and knowledge of research. I would also like to thank the following people who took the time to share their knowledge with me by agreeing to be interviewed for my doctoral project: Chen,Wei-fen (陳瑋芬) , Ho, Sze-Shen (何思慎), Tsang, Roy (曾壯祥), Chang, Chang-Yen (張昌彥), Tseng, Lien-Jung (曾連榮), Hung, Ya-Wen (洪雅文), Lin, Yu- Pin (林于竝), Wong, Zdmond (黃建業), Chen, Mei-Ho (陳美合), Wong, Toon (王童), Lin,Tsan-Ting (林贊庭), Liao, Ching- Song (廖慶松). I would also like to thank my technical crew, Chan, Ping-Chun (詹秉錞), Peng, Guel-Sheng (彭貴祥) and Wang, Chen-Yu (王鎮宇), who helped me to record the interviews. The names of the interviewees and my technical crew are gratefully listed in the credits of my two documentaries. Some interviewees are also listed in the bibliography of this text. Any success in my life belongs to my father Wu, Yung-Chang (吳永常) and my mother Lee, Lai-Yu (李來有). If I had not been educated with their honest mind and had not been supported by them to complete my doctoral research, I would be unable to further my career and attain the realization of this study. Finally, I would like to dedicate my doctoral project to all the members of my family, especially my parents, my sisters, my husband Yee, Mun-Bew (余文彪) and my daughter, Yee, Diane (余題 安). Thank you for supporting me and understanding my need to spend time away from home in pursuing this research overseas. V Declaration I declare that this doctoral research project contains no material previously submitted for a degree at any university or other educational institution. To the best of my knowledge, it contains no materials previously published or written by another person, except where due reference is made in the text of the project. Wu, Li-Hsueh VI Table of Contents Abstract I Acknowledgements IV Declaration VI Table of Contents VII List of Figures XI List of Tables XVII Part One Truth and Beauty: Confucian Philosophy in the Films of Akira Kurosawa 1 Chapter 1 Introduction 2 1.1 The Field of Research 2 1.2 The Debate on ‘Humanism’ in Kurosawa’s Films and the Gap in Previous Research 6 1.3 The Method and the Significance of this Research 9 1.4 Outline of the Text 11 VII Chapter 2 Historical Background, Cultural Influences and the Western Reception of Kurosawa’s Films 16 2.1 Introduction 16 2.2 Historical Background of the Main Concepts of Confucianism and their Influence on Japanese Culture 18 2.3 The Influence of Confucian Philosophy on Akira Kurosawa 36 2.4 Humanist Values and Their Manifestation in Kurosawa’s Films 40 2.5 Theoretical Framework: the Tao of Art, a Transformation of Artists via the Principle of Honesty 51 Chapter 3 Manifestation of Confucian philosophy in the Films of Akira Kurosawa 58 3.1 Introduction 58 3.2 The Process of ‘Self-Cultivation’ 60 3.3 Learning and Teaching of the Tao 67 3.4 The Human Nature 76 3.5 Conclusion: the Philosophical Concept of the Tao in the Films of Akira Kurosawa 92 Chapter 4 The Aesthetic Concept of Yugen and the Philosophical Concept of the Tao in the Films of Akira Kurosawa 96 4.1 Introduction 96 4.2 Film Critiques about Aesthetic Elements Drawn from VIII Noh Theatre and Chinese Painting 98 4.3 The Roots of Yugen and their Symbols in the Tao 110 4.4 The Aesthetic Concept of Yugen in the Films of Akira Kurosawa 119 4.5 Conclusion: Truth and Beauty in the Way of East Asian Culture 142 Chapter 5 Conclusion 147 Appendix 152 1. Project Report of the Two Documentaries 153 2. Glossary 173 3. Filmography of Akira Kurosawa 214 Bibliography 234 IX List of Figures 1.1 Akira Kurosawa 2 1.2 Kagemusha 影武者, 1980 3 1.3 They Who Step on the Tiger’s Tail 踏虎尾的男人, 1945 3 1.4 Seven Samurai 七武士, 1954 6 1.5 Seven Samurai 七武士, 1954 7 2.1 Tao in Chinese script 16 2.2 Bushido in Chinese script 16 2.3 Confucianism in Chinese script 18 2.4 Confucius (孔子, BC 551-479) 18 2.5 Mencius (孟子, BC 372-289) 22 2.6 Zhu Xi (朱熹,AD 1130-1200) 23 2.7 Wang Yang Ming (王陽明,1472-1529) 25 2.8 Vajradhatu Mandala ca.
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