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Notes

Prologue

1. For Japanese names I have generally used the order used in : surname followed by first name. However, for personages that are well known outside Japan, I have referred to them as would critics, theorists, and audiences: first name followed by surname. 2. In fact North American cultural anthropologists have tried to do away with the “culture concept,” thereby essentially undermining their own discipline— much to the amusement of sociologists—and certainly contravening the empirical trend found in most societies, which firmly insist on the existence of their own unique cultures. 3. Although I wonder if the financial is really ignored. Recently my own chil- dren startled me by announcing that they could not believe that a certain famous director had helped produce what they thought was a terrible film. They expected him to have a better sense of where to put his money. 4. Bruner, of course, relies on the work of many others—Barthes, Ricoeur, Chomsky, Kermode—to make his points.

1 Setting the Scene

1. In contrast, the science fiction writer William Gibson (2001) seems well aware of such conceptual loci and even situates them on actual bridges—the meta- phor made real—in his novels. Building on Augé’s (1995) terms, non-places become the birthplaces of innovation. 2. Silent nonnarrative were shown throughout the end of the nineteenth cen- tury. For example, Japan saw its first film in 1898 (cf. Anderson and Richie 1982). The first narrative film was The Great Train Robbery (1903) directed and photographed by Edwin S. Porter in . Interestingly, the first continuous narrative film (sixty or more minutes long) was made in 1906 in by Charles Tait. This was the story of the notorious outback bush- ranger Ned Kelly, The Story of the Kelly Gang, a film that has been remade numerous times since. The first feature-length film made in Europe was by the Frenchman Michel Carre (L’Enfant prodigue, 1907). D.W. Griffith directed the first film made in , In Old (1910). The move from the 184 Notes

East to the West coast in the was to have important consequences for the development of the (for more details, there is an excellent online source at www.filmsite.org/grea.html). As Atherton (n.d.) has argued in relation to photography, as a modern “art” is global largely because of its short history, no one society can claim superiority in the art by virtue of having been doing it longer than anywhere else. 3. I am thinking here of Sessue Hayakawa in the silent era and various Latin Americans such as Carmen Miranda or Desi Arnaz in the sound era. 4. and Italy especially pushed for trade protection against U.S. films and, later, television programs as part of their postwar cultural reconstruc- tion in 1946–1947. Recently the U.S. film maker has waded into this debate, blaming British actors for the collapse of the British film industry! The actor Sir Ian McKellen has responded by pointing out the role of financers and producers who don’t fund the local. 5. On the need for a mass education system to achieve this, theorists as diverse as Althusser (1984) and Gellner (1988) are agreed. 6. Ivy devotes two chapters in her Discourses of the Vanishing (1995) to an analysis of the work Yanagita Kunio put into the tidying up of the originally rather gritty and incoherent Tales of Tono, the collection of folktales that has come to stand for the peasant “soul” of Japan. He did no more than the brothers Grimm had done in , a century earlier. 7. As I will discuss below, I am not happy with the concept of ideologies as gen- erally understood; I prefer the notion of dominant mythologies. 8. In arguing that myths are also dialogic, I am arguing here against Bakhtin who believed myth was an “absolute form of thought” (1981:367) along with ide- ology. I would argue that both myth and ideology aim to be absolute forms of thought, but are defeated in this by continuing to be expressed in everyday language, as well as through rituals, despite their existence in formulaic stories. Traditional rituals might not be dialogic, but by Bakhtin’s own definition lan- guage always is: “Thus at any given moment of its historical existence, language is heteroglot from top to bottom: it represents the co-existence of socio-ideological contradictions between the present and the past, between differing epochs of the past, between different socio- ideological groups in the present, between tendencies, schools, circles and so forth, all given a bodily form” (1981:291). 9. Even as young as eight years of age, in my experience, are capable of this. I did a small research project on children’s opinions about the first Harry Potter film and found they held a vast array of opinions about the movie, many of them deeply critical about what had been done to a story they knew very well. 10. O’Flinn (1999) disagrees with the notion that Dracula is polyphonic in the sense in which Bakhtin means it, since all the characters are British, but this seems an odd caveat since Bakhtin’s analysis was partially based on Dickens’ novels with their huge casts of British characters. 11. I take up this point in more detail in Chapter ten. 12. For a detailed discussion of these relationships and how they are used in film, see Bordwell (1985). Notes 185 2 Portrait of an Artist as Filmmaker

1. A brief list of this Japanese work includes Tasogawa’s Kurosawa vs Hariuddo (Kurosawa versus Hollywood) (2006); Tsuchiya’s Kurosawa-san (2002); Nishimura’s Kurosawa Akira: Oto to Eizo (: Sound and Image) (1990); and Sato’s Kurosawa Akira no sekai (Akira Kurosawa’s World) (1969). 2. The historian Miriam Silverberg (2007) nicely documents this era, borrow- ing the term “montage” from , in order to capture the heteroge- neity and rapidity of the urban lifestyle in prewar Japan. The anthropologist Emiko Ohnuki-Tierney (2006) documents the wide and Eastern education that elite young men of the era had. 3. Kurosawa’s relationship with Dostoevsky and his films as dialogic and inter- textual are best explored by Goodwin (1993). 4. Cazdyn offers us an interesting analysis of in which he asserts, “What finally emerges is Kurosawa himself—Kurosawa the risk-taker, Kurosawa the free agent” (2003:242). 5. Galbraith (2001) notes that Kurosawa wrote many “typical” war film scripts during this time. 6. It remained a favorite irony of Kurosawa (1982), that his film They Who Step on the Tiger’s Tail (Tora no O wo Fumu Otokotachi, 1945) was banned by both governments for different reasons: once for its irreverence toward traditions and later for its reverence of samurai values. 7. Kurosawa notes that after one of two important strikes at Studies in 1946, communist party members came to dominate the union (1982). 8. Benshi did not just translate or read the storyboards, but elaborated the entire story—often narrating the interior states of the characters (see Standish 2005). 9. On this see Yoshimoto (2000), whose massive book on Kurosawa is an attempt to rescue his work from the orientalist and eroticizing theorizing of Western film specialists. 10. In a recent UK poll of the greatest films of the twentieth century, Rashomon and both came in the top ten. Directors and critics such as , , , , , Ann Hui, Jim Jarmusch, , Gillies Mackinnon, Babak Payami, Philip Saville, and Santosh Sivan voted for the latter; while Ray Anderssen, Gillian Armstrong, Jana Bokova, Vidhu Vinod Chopra, , Ernest Dickerson, Randa Haines, , Paul Mazursky, Janvir Mokammel, Digvijay Singh, and Paul Verhoeven voted for the former. Critics had Kurosawa at number six of the top ten great filmmakers of all times; directors placed him third behind and Frederico Fellini. 11. In his book (1995) Peter Dale deconstructions some of the most idiosyncratic and persistent themes of this discourse. 12. Oshima wrote a scathing essay on the American film and the cultural danger it poses to non-U.S. filmmakers (1992). 186 Notes

3 Rashomon: The Problem of Subjectivity

1. The commoner in Rashomon says this when he hears the final version of the story (Richie 1987:86). 2. I refer here to what was in the year 2004 the number one television drama series in the United States: CSI: Crime Scene Investigation (Anthony Zuiker, 2000–present). CSI made clear its own imaginative link to Kurosawa with its episode Rashomama, aired April 27, 2006. 3. Eco’s Holmes-like investigator in The Name of the Rose (1983) famously mis- reads clues all throughout the novel, finally only discovering the murderer almost by accident, like Sam Spade, after various adventures and near-death experiences. The truth, it would seem, is never easy to discover. The reference here to Dashiell Hammett’s detective is also relevant since Kurosawa knew Hammett’s work as we shall see in chapter nine. 4. There was a complex hierarchy within the samurai as well as a division between samurai (as warriors) and aristocrats in ancient Japan. A high-status couple would not have been travelling alone, nor would the woman have been exposed to the elements—she would have travelled inside a litter with the screens drawn. 5. The Japanese verb used by Masago to describe what happened to her, okasu (to rape), also means to commit an error, to sin, to break, and to violate. The use of this term rather than the more legalistic gôkan, which does not have the sense of sin or error, indicates what she is feeling. 6. Many theorists who work on Kurosawa have been quick to point out that the convoluted narrative structure of the film is not nearly as complex as (Welles 1941); nor was the idea of the within a flashback at all new to Western audiences, who might have seen the more psychologically complex B picture The Locket (Brahm 1946). 7. Richie’s translation of Rashomon (1987:86). 8. The link between war and alternative versions of the truth is made quite powerfully by the many Web sites that link Rwanda and Rashomon. Telling the truth in the aftermath of war is, clearly, difficult in all sorts of ways. Can any society bear to hear the truth about the acts of violence committed during war? 9. The term is used both by sociologists and anthropologists (cf. Heider 1988:73–81; Mazur 1998; Roth and Mehta 2002)

4 Remaking Rashomon: From Subjectivity to “the” Truth

1. The psychiatrist says this at the end of Quante Volte . . . Quella Notte, (Bava 1969). See the next chapter. 2. It is interesting that the attempt to understand human consciousness can reduce a scientist to speculating about the role of imagination, something intangible that cannot be mapped. 3. Suggested to me by D. Gellner’s (n.d.) comments on blood sacrifice in South . Notes 187

4. The other possibility, never explored by , is to wonder: What if we are all dreaming and dreaming a different dream? 5. In this, I am arguing against Sontag (2004)—the possibility of understand- ing, whether afforded to us through narratives or visually through images, must always be considered along with the impossibility of creating shared meaning. 6. As Prince notes about the film that won the Venice in 1951, the essays on Rashomon “now fill several volumes” (1991:128). For readers interested in the initial reception of the film as well as the various attempts by critics to “solve” the crime in the film, Richie’s discussion in The Films of Akira Kurosawa (1996) is important and his edited Focus on Rashomon (1987) is also essential. Prince (1991), Goodwin (1994), Yoshimoto (2000), and Galbraith (2001) also have substantial sections on the film. 7. There was also a 1961 BBC version directed by Rudolph Cartier, in which Tani Yoko played the wife, Lee Montagne the bandit, and Robert Hardy the husband. 8. A 2004 production of the play at the Asian American Theatre not only acknowledges this in its publicity, but is also designed as an attempt to return the story to its Japanese origins—costuming the actors in Kabuki style. 9. For the fans of it is ’s cinematography and ’s command of black and white film that make it worth the watching. 10. Castle (2003), in an odd article on Rashomon in the online journal Film and Philosophy, tries to argue for the possibility of some sort of strange time jump in the story: that the baby found in the gate is Masago’s and the bandit’s child, proof of which, he notes, could be the amulet case left with the child. I only mention this possibility because it suggests another more plausible intent on Kurosawa’s part: the bandit and wife could well have been executed and the child, born soon after, is meant to be her, rein- carnated immediately and given another chance at life. If so, she is truly the character who would appear to merit the most compassion from the audience. 11. As already mentioned, the verb for rape and to break or violate, okasu, is the same in Japanese. 12. This might be an odd reference to an entirely different Kurosawa film, , in which the actions of the silly-seeming wife and cheerful young bride-to-be ultimately help to save the day, but only after a long argument about what color camellias should be send down a stream as a signal. In frus- tration, the hero tosses all the camellias he can find into the water. 13. It is tempting to try and argue for some sort of real connection between as a of a Kurosawa remake (, Leone 1960) and as director of this film. It could be argued that is a working out of the frightening consequences of the sexual revolution that stands in contradistinction to the playful film by Bava (to be discussed in chapter five) and that, having worked in Italy, Eastwood was not unaware of the latter’s work. But that is a jump, as it is a jump to posit that Saegusa, despite the general Japanese admiration of Eastwood, was influenced by this early example of his directorial work. It is interesting, however, to note that 188 Notes

many Westerners to whom I have mentioned the title Misty immediately think of the Eastwood film!

5 The Battle of the Sexes: Or, the One Scenario when Subjectivity is Acceptable

1. The comment on the sandwich board glimpsed in the opening and closing scenes of Les Girls 2. The Webster dictionary defines a permutation as an “often major or funda- mental change (as in character or condition) based primarily on rearrangement of existent elements (the system has gone through several permutations); also: a form or variety resulting from such change [technology available in various permutations].” In its mathematical usage, a permutation is “the act or pro- cess of changing the lineal order of an ordered set of objects; also: an ordered arrangement of a set of objects.” Both the normal usage and the more precise usage of the term in mathematics, it seems to me, apply to film permutations. 3. Lord Wren in Les Girls. 4. The psychiatrist in Quante Volte . . . Quella Notte.

6 Permutations on the Theme of Murder: The Search for Solutions

1. The unseen judge in The Outrage utters this single phrase when the bandit’s storytelling gets too ornate. 2. Dershowitz talking to his client Claus von Bulow. 3. Bakhtin, who saw the epic as a “closed” type of genre, would not agree with me on this depiction of the Odyssey as polyphonic, because of the way in which the voice of the storyteller dominates in the epic. However, the poten- tial for Odysseus’ story to be polyphonic is revealed both in its novelistic and film versions where the flashback comes into its own and opens the narrative up for the audience. 4. The film was made years before the OJ Simpson trial (1994–1995), but appears to reflect an attitude that colored the public’s reaction to that event. 5. Tarantino’s Jackie Brown (1997) is also often cited as being like Rashomon because one of its scenes is shown from three different points of view. However, each retelling is a way into a “what happened next” scene for each of the char- acters involved and not about a subjective interpretation of events. Given that the story of the film is about a woman turning the tables on her male persecu- tors—none of whom is an honest human being—it could be argued that this story, unlike Misty, is a skilful working out of female vengeance that does not involve her killing anyone: she leaves the men to do the violent work. This may owe much to Elmore Leonard’s original novel Rum Punch (1992). 6. Only one woman has ever been awarded a Congressional Medal of Honor, Dr. Mary Walker, who won it for the courage she displayed in treating the Notes 189

wounded during the Battle of Bull Run in 1861. Despite the continued pres- ence of women in the U.S military, serving in various capacities, no other woman has yet been awarded a medal. 7. Meiyo and meisei being only two such terms, both based on the character read as myô or mei, which means distinguished, noted; wise, name, or also read as na meaning name, fame, reputation, pretext. Neither of these terms could be translated as “face,” menshi, which is based on the character men meaning face, features, mask, face, guard, surface, plane, side, facet, aspect, and so on.

7 And on Television . . .

1. Teddy to Leonard Shelby in Memento (2000). 2. In fact, Michael Moore’s Bowling for Columbine (2002) does assert that actual violence in the United States is fed by a diet of news and fiction pro- grams that continuously represent society as dangerous and violent. 3. Joe Spano is best known for playing the sensitive and very moral detective Harold Goldblume in Hill Street Blues, the series that is arguably the “grand- father” of all these police shows. 4. Or, as another one of the many MA students I’ve taught over the years—a priest—once quipped in class: “Anyone who believes in a single rational version of reality has never been married”! Unlike the priest in Rashomon, this insight on his part led him to the study of anthropology rather than shocked depression.

8 The Group Western

1. As with Rashomon, the process of remakes continues. The Kurosawa fam- ily endorsed the animated extended television version of the film, (Takizawa 2004) and there is also a version set in , The Seven Samurai, based on Hashimoto’s screenplay (cowritten with Kurosawa) due out in 2009. 2. Prince (1991:209) analyses the framing in the scenes in which Rikichi is shown at odds with the other villagers as one way of “reinscribing him within the group.” This insistence on seeing aspects of Japanese groupism in such scenes misses the point: the framing shows how Rikichi presents a problem for the others. The question is, why do they listen to him? Normally, problematic, eccentric, or annoying villagers were just ignored in Japanese society. Instead, Rikichi’s histrionics always elicit some sort of response from the other men. If his attitude is a problem, it is because they have committed a crime against him. 3. Two Westerns spring to mind in relation to this theme. The (King 1950) and Shane (Stevens 1953), a film of which Kurosawa was fond. Eastwood’s (1992) might also be seen as a version of this tale. One of the best non-genre versions about this issue was the film The Best Years of Our Lives (1946). 4. With its continuing involvement in foreign wars, this theme in the United States has had a long run. Such stories explore the lives of these men in their 190 Notes

new professions—generally in law enforcement. For example, the novels (and their film versions) of Joseph Waumbaugh look at the dysfunctional lives of older Korean War vets and then Vietnam vets who work as police officers, as do the novels of James Lee Burke and Michael Connelly. In films, we have the morally perturbing (Scorsese 1976); Rambo (Kotcheff 1982), who begins the series as mentally disturbed; Year of the Dragon (Cimino 1985); and the very popular Lethal Weapon (Donner 1987) series. On television we had a series that might be called a comic version of the Seven Samurai via (Peckinpah 1969): The A Team (Cannell 1983). Boomtown offered us Fearless as a haunted Gulf War veteran. 5. in . 6. The Cisco Kid, The Gene Autry Show, The Lone Ranger, The Roy Rodgers Show, Zorro, The Life and Legend of Wyatt Earp, Cheyenne, Maverick, Davey Crocket, Rawhide, Gunsmoke, Wagontrain—to name just a few. For an analysis of this era see Boddy (1998). 7. Revolutionaries still exist in modern as the ongoing revolt in Chapas shows. 8. In fact the Japanese title of the Magnificent Seven, Arano shichinin (The wild seven), rather makes the point and anticipates Peckinpah’s The Wild Bunch. 9. The Japanese film Eleven Samurai (Ju-ichinin no Samurai, Kudo 1966) was not a sequel to the Kurosawa film. 10. It could be argued that during this pre-Tokugawa era the samurai were still a group of professionals whose ranks could be joined by any ambitious peas- ant, and so clearly are a class in the Marxist sense. By the Tokugawa era, when the samurai had become a group into which you had to be born, they could better be described as a caste. 11. Buck in The Magnificent Seven, 1998. 12. I raise this last as only a possibility. It is not clear if the village is meant to be organized along honke/bunke (main household/branch household) lines where the main household can provide generations of village heads or if it is meant to be the more independent type of organization where a head arises out of one man’s successful maneuvering through internal politics. The former system was frequently associated with the organization of the Tokugawa era and was seen to be the dominant form of leadership right up until the postwar era. The latter system remained associated with a more egalitarian type of vil- lage organization, such as fishing villages (cf. Nakane 1967), and is perhaps more historically accurate for the era in which the film is set. 13. As in The Lone Ranger who was lone only in that he was the last of his Texas Ranger troupe, he always had his faithful “Indian” companion; pre- figuring the alternative reading of the Western as largely homoerotic—see Fassbinder’s Whity (1971), or Lust in the Dust (Bartel 1985). More recently, the filming of E. Annie Proulx’s novel (2005) has been causing controversy over a male screen kiss. 14. Gelt in . 15. During the , Corman’s distribution company was, according to Galbraith, responsible for the foreign distribution of several art house films such as (Viskningar och rop, Bergman 1972), Amacord Notes 191

(Fellini 1973), and The Story of Adele H. (L’histoire d’ Adele H., Truffaut 1975). Corman’s admiration of these films may appear surprising as does the information that the director Wes Craven knew Bergman’s Virgin Spring (1959) well enough to remake it as Last House on the Left (1972). For an interesting analysis of these films see Brashinsky (1998). The active interest of independent filmmakers in foreign films is one that I will discuss in chapter ten. 16. Flik to Hopper in A Bug’s Life. 17. The British comedians Morecombe and Wise may have anticipated this film in their film The Magnificent Two (Owen 1967), but I cannot establish any connection between the two. 18. The science fiction permutation on Seven Samurai crossed with , entitled World Gone Wild (Katzin 1988), explores no new territory and is notable only for the manic performances of Adam Ant and Bruce Dern. 19. A cross between the clay “pixilated” figures of the old monster films pio- neered by and computer animation techniques. 20. And it should not be forgotten that ’s administration was, in the , linked to the ideas of King Arthur’s court and Camelot. 21. That at some level he strongly identifies with his character, perhaps an in- joke aimed at who played the Vulcan Mr. Spock, is made clear when later, chatting on the phone at home, he is still in full make up. 22. There is, perhaps only for me as a frequent viewer of these films, a nice link between the villains of The Magnificent Seven and . Calvera’s final words, in a Mexican accent, to the villagers in the film’s first scene are: “I’ll be back.” 23. Most films, from Hollywood and elsewhere, relied on a single camera. While Kurosawa did not invent the technique of multiple camera use (it was used in early Hollywood musicals, for example, to give a less static effect and Desi Arnez had been using it in television from 1950), his use of the technique in battle sequences is seen to be pioneering.

9 The Lone Hero

1. There is some debate on this. See Barra’s “From ‘ Harvest’ to ‘Deadwood’ ” (2005) on dir.salon.com/story/books/feature/2005/02/28/hammett/index.htm accessed November 19, 2008. 2. The ronin (masterless samurai) and the nobleman in disguise who wander the countryside have been popular on Japanese television and in films, including Tôyama no Kinsan, the Kuzure vkami (Lone Wolf and Cub) series, which consists of (Koike Kazuo and Kojima Goseki 1970–1976), two television series (1973–1976; 2002–2004), and several films as well as a ; Hanzo the Razor series, and, of course the Zatôichi series. 3. Mad Max beyond the Thunderdome (Miller 1985) ends with just such a communal “remembering” of the hero: pointing to his mythical status and possible ideological immortality. 192 Notes

4. This certainly marks the time as being post-Tokugawa. While muskets and cannons were used by samurai from the sixteenth century onward, pistols were a modern weapon that arrived with Japan’s opening to the West. 5. That Sanjuro might be more than human is also hinted at by the sequel to , Sanjuro (Tsubaki Sanjûrô 1962). At the film’s opening he appears from the back of a Shinto shrine in which the young samurai are meeting. “I checked everywhere,” protests the young man in charge of organizing the meeting, “there was no one here!” Moreover, the wife (Irie Takako) of the honest but ugly bureaucrat Matsuta (Itô Yûnousuke) seems to recognize something in the scruffy Sanjuro. “You glitter too much,” she says to him, “Like a sword.” She tries to convince him that problems can be resolved without resorting to violence, that “staying in the scabbard” is important. It would be interesting to see the 2007 Japanese remake of Tsubaki Sanjûrô directed by Morita Yoshimitsu, based in part on Kurosawa’s script. 6. Mrs. Baxter to the . 7. Every time I showed the film on my course, my largely female students would sit and sigh over how good looking Eastwood is in this film. They had no such relationship with Mifune! 8. The three-way duel, or Mexican stand-off, of has made it into the iconography of Tarantino, obviously—although it is thought to be borrowed from ’s work—but is most wonderfully parodied in Pratchett’s novel: Men at Arms (1994). 9. Felina to John Smith in Last Man Standing. 10. Perhaps this is Leone’s first attempt to work with the theme he fully develops in Once Upon a Time in the West, where, as Frayling notes (2000), he said he wanted to depict the West “when it had lost its balls.” The myth being echoed here is that of the demasculinization of men by civilization or the matriarchy of . 11. An interesting statement from a man who, by all accounts, was well tied to his wife. 12. Note I use the term easily—the strong female characters in and Mad Max die in a blaze of gunfire, only, in these films, they take several bad guys with them when they are killed. 13. Almost the first thing I was told when arriving in Japan in 2003 was how Kurosawa’s daughter Kazuko had taken to task for this, say- ing that his use of violence had none of the moral underpinning that was the foundation of her father’s work. 14. Zatôichi (Kitano 2003).

10 Cloning Kurosawa

1. Lucas does keep this reference to in his portrayal of Princes Amedela and her body doubles in the first two of the series (1999, 2002). 2. This is one of the few points on which I disagree with Richie. He argues (1996) that Rokurota is the third villain because he does not care about his Notes 193

sister’s death, only about his mission. However, the music and Mifune’s stoic posture as he strides through the forest on his way to the princess’ hiding place to give her the news of the death of her retainers, make the point very clear: the death of his sister is devastating for him. This scene is an excellent example of how physical an actor Mifune was. If the general is the third bad man, it is because of the way in which he uses the peasants. 3. Incidentally, Mifune gets to show off his riding skills learned in his childhood in Manchuria (Galbraith 2002). 4. The DVD for this film only became available in December 2008 as this book was going to press. A careful viewing of it revealed the need for a rather long discussion of the film, as well as many other Japanese TV and Toho Studies remakes of Kurosawa films that recently have been aired or are being planned. Hollywood is working on new remakes as well, which all begins to sound as if completing this manuscript would be a neverending process. The Hidden Fortress, Star Wars, and The Last Princess comparison will be the subject of a forthcoming paper I plan to give at the Society for Cinema and Media Studies 2009 conference in , Japan. For more news on Kurosawa remakes check: http://akirakurosawa.info/2007/10/29/an-akira-kurosawa-film- remake- roundup/, as well as http://www.totalfilm.com/news/mike-nichols-remaking- kurosawa-s-high-and-low, both accessed on December 19, 2008. 5. It could be argued that Spielberg refers to and gently pokes fun at the impossi- bility of the deeds in this scene in Indiana Jones and the Last Crusade (1989), where the young Indiana tries something similar only to end battered and bruised. But then again, it might be homage to hundreds of similar scenes in many Westerns. 6. Eco (1987) has written on the convergence between science fiction fantasy and medieval romances, noting how the former rely on the magical thinking of the latter. Bibliography

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Films and Television Programs Cited

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Columbus, Chris. 2001. Harry Potter and the Sorcerer’s Stone. UK/USA: . ———. 2002. Harry Potter and the Chamber of Secrets. UK/USA/Germany: 1492 Pictures. Coppola, Francis Ford. 1979. . USA: Zoetrope Studios. ———. 1992. Bram Stoker’s Dracula. USA: . Craven, Wes. 1972. The Last House on the Left. USA: Lobster Enterprises. ———. 1984. A Nightmare on Elm Street. USA: The Elm Street Venture. CSI: Crime Scene Investigation. 2000–. USA: Jerry Bruckheimer Television. Cukor, George. 1957. Les Girls. USA: MGM. Dassin, Jules. 1955. Rififi (Du rififi chez les hommes). France: Indus Films. Davy Crockett (various episodes). 1954–1955. USA: Disneyland Studios. Diagnosis Murder. 1993–2001. USA: Fred Silverman Company. Dey, Tom. 2000. . USA: Films Limited. Donner, Richard. 1987. Lethal Weapon. USA: . ———. 1989. Lethal Weapon 2. USA: Silver Pictures. ———. 1992. Lethal Weapon 3. USA: Silver Pictures. ———. 1998. Lethal Weapon 4. USA: Donner/Shuler-Donner Productions. Eastwood, Clint. 1971. Play Misty for Me. USA: The Malpaso Company. ———. 1992. Unforgiven. USA: . Edwards, Cory, and Todd Edwards. 2005. Hoodwinked! USA: Blue Yonder Films. Fassbinder, Rainer Werner. 1971. Whity. West Germany: Antiteater-X-Film. Fellini, Federico. 1973. Amacord. Italy/France: F.C. Produzioni. Flash Gordon (movie serial). 1936. USA: . Ford, John. 1939. Stagecoach. USA: Productions. Fuest, Robert. 1971. The Abominable Dr Phibes. UK/USA: American International Pictures. The Gene Autry Show. 1950–1956. USA: Flying “A” Productions. Gunsmoke. 1955–1975. USA: Arniss Productions. Haigney, Michael, and Yuyama Kunihiko, 1999, Pokémon: The First Movie. USA/Japan: 4Kids Entertainment. Harlin, Renny, 1990, 2. USA: Gordon Company. Hawks, Howard. 1959. Rio Bravo. USA: Armada Productions. ———. 1970. Rio Lobo. USA: Batjac Productions. Haynes, Todd. 1998. Velvet Goldmine. UK/USA: Channel 4 Films. Heaton, Louis. 2000. Guns for Hire: The Making of the Magnificent Seven. UK/ USA: Channel 4 Television Corporation. Herzog, Werner. 1979. Nosferatu: Phantom der Nacht. West German/France: Filmproduktion. Higuchi Shinji. 2008. The Last Princess (Kakushi toride no san akunin). Japan: CTV. Hill, Walter. 1996. Last Man Standing. USA: Lone Wolf. Hirschbiegel, Oliver. 2007. The Invasion. USA/Australia: Warner Brothers Pictures. Holland, Tom. 1985. Fright Night. USA: Corporation. Homicide: Life On the Street. 1993–1999. USA: Baltimore Pictures. 206 Bibliography

Jackson, Peter. 2001, 2002, 2003. . New Zealand/USA/ Germany: . Katzin, Lee H. 1988. World Gone Wild. USA: Apollo Pictures. Kaufman, Philip. 1978. Invasion of the Body Snatchers. USA: Solofilm. ———. 1993. Rising Sun. USA: Twentieth Century- Corporation. Kennedy, Burt. 1967. Return of the Magnificent Seven. USA/: C.B. Films S.A. King, Harry. 1950. The Gunfighter. USA: Twentieth Century-Fox Film Corporation. Kitano Takeshi. 2003. Zatôichi. Japan: Asahi Broadcasting Company. Koike Kazuo and Kojima Goseki. 1970–1976. Kozure Okamiˉ . Japan: Fusosha. Kotcheff, Ted. 1982. Rambo: . USA: Anabasis N.V. Kozure Okamiˉ . 1973–1976 and 2002–2004. Japan: TV Asahi. Kubrick, Stanley. 1956. The Killing. USA: Harris Kubrick Productions. Kudo Eiichi. 1966. Ju-ichinin no Samurai. Japan: Toei Company. Landis, John. 1986. ¡! USA: HBO. Lasseter, John. 1998. A Bug’s Life. USA: Animation Studios. Leone, Sergio. 1964. For a Fistful of Dollars (Per un pugno di dollari). Italy/ Spain/West Germany: Produktion.. ———. 1965. For a Few Dollars More (Por qualche dollaro in più). Italy/Spain/ West Germany/: Arturo González Producciones Cinematográficas, S.A. ———. 1966. The Good, the Bad and the Ugly (Il Buono, il brutto, il cattivo). Italy/Spain: Arturo González Producciones Cinematográficas, S.A. ———. 1968. Once Upon a Time in the West (C’era una volta il West). Italy/ USA: Finanzia San Marco. Levinson, Richard (creator). 1971–2003. Columbo (various titles). USA: Universal TV. The Life and Legend of Wyatt Earp. 1955–1961. USA: Earp Enterprises. The Lone Ranger. 1949–1957. USA: Apex Film Corporation. Lucas, George. 1973. American Graffiti. USA: . ———. 1977. Star Wars: Episode IV—A New Hope. USA: Lucasfilm. ———. 1999. Star Wars: Episode I—The Phantom Menace. USA: Lucasfilm. ———. 2002. Star Wars: Episode II—Attack of the Clones. USA: Lucasfilm. ———. 2005. Star Wars: Episode III—Revenge of the Sith. USA: Lucasfilm. McCowan, George. 1972. The Magnificent Seven Ride! USA: Mirisch . McTiernan, John. 1988. Die Hard. USA: Gordon Company. ———. 1995. Die Hard with a Vengeance. USA: Entertainment Inc. Beers et al. 1998–2000. The Magnificent Seven. USA: MGM Television. Mann, Michael. 1986. Manhunter. USA: De Laurentiis Entertainment Group (DEG). Marquand, Richard. 1983. Star Wars: Episode VI—The Return of the Jedi. USA: Lucasfilm. Maverick. 1957–1962. USA: Warner Brothers Television. Meyer, Nicholas. 1991. VI: The Undiscovered Country. USA: . Miike Takeshi. 1999. Audition (Ôdishon). /Japan: AFDF. Bibliography 207

Milch, David. 2004–2006. Deadwood. USA: HBO. Miller, George. 1979. Mad Max. Australia: Kennedy Miller Productions. ———. 1981. . Australia: Kennedy Miller Productions. ———. 1985. Mad Max beyond the Thunderdome. Australia/USA: Kennedy Miller Productions. Minnelli, Vincente. 1958. Gigi. USA: MGM. Miyazaki Hayao. 1984. Kaze no tani no Naushika. Japan: Hakuhodo. Moore, Michael. 2002. Bowling for Columbine. Canada, USA, Germany: Alliance Atlantis Communications. Murakami, Jimmy T. 1980. Battle Beyond the Stars. USA: . Murnau, F.W. 1922. Nosferatu, eine Symphonie des Grauens.. Germany: Jofa- Atelier Berlin-Johannisthal. Murder, She Wrote. 1984–1996. USA: Corymore Productions. Newell, Mike. 2005. Harry Potter and the Goblet of Fire. UK/USA: Warner Brothers Pictures. Nolan, Christopher. 2000. Memento. USA: Newmarket Capital Group. Norrington, Stephen. 1998. Blade, the Vampire Slayer. USA: Amen Ra Films. Nyby, Christian. 1951. The Thing from Another World. USA: Winchester Pictures Corporation. Owen, Cliff. 1967. The Magnificent Two. UK: The Rank Organisation. Oz. 1997–2003. USA: . Parisot, Dean. 1999. . USA: Dreamworks SKG. Parker, Alan. 1987. . USA/Canada/UK: Carolco International N.V. Peckinpah, Sam. 1969. The Wild Bunch. USA: Warner Brothers/Seven Arts. Penn, Arthur. 1967. Bonnie and Clyde. USA: Tatira-Hiller Productions. Perry Mason. 1957–1966. USA: CBS Television. Petersen, Wolfgang. 2004. Troy. USA/Malta/UK: Warner Brothers Pictures. Polansky, Roman. 1974. Chinatown. USA: Long Road. The Practice. 1997–2004. USA: Twentieth Century Fox Television. Rawhide. 1959–1966. USA: . Resnais, Alain. 1961. Last Year in Marienbad (L’Année dernière à Marienbad). France/Italy: Argos Films. Ridley, Scott. 1979. Alien. UK/USA: . ———. 1982. . USA: Blade Runner Partnership. Ritt, Martin. 1964. The Outrage. USA: February. Roach, Jay. 1997. Austin Powers: International Man of Mystery. USA/Germany: Capella International. Roddenberry, Gene (creator). 1966–69. Star Trek. USA: Desilu Production. ———. 1993–1999. Star Trek: Deep Space Nine. USA: Paramount Television Rodriguez, Robert. 1995. Desperado. USA: Columbia Pictures Corporation. Rosi, Francesco. 1979. Christ Stopped at Eboli (Cristo si è fermato a Eboli). France/Italy: Vides Cinematografica.. The Roy Rodgers Show. 1951–1957. USA: Roy Rodgers Productions. Saegusa Kenki. 1996. Misty (Misuti). Japan: Gaga Communication. Schroeder, Barbet. 1990. Reversal of Fortune. USA/Japan/UK: Sovereign Pictures. Scorsese, Martin. 1976. Taxi Driver. USA: Bill/Philips. 208 Bibliography

Sharman, Jim. 1975. The Horror Picture Show. UK/USA: Twentieth Century-Fox Film Corporation. Shyamalin, M. Night. 1999. The Sixth Sense. USA: Barry Mendel Productions. The Shield. 2002–. USA: Fox Network Television. . 1989–. USA: Fox Network Television Singer, Bryan. 1995. The Usual Suspects. USA/Germany: PolyGram Filmed Entertainment. Siegal, Don. 1956. Invasion of the Body Snatchers. USA: Walter Wanger Productions. ———. 1971. . USA: The Malpaso Company. Sommers, Stephen. 2004. Van Helsing. USA/Czech Republic: Carpathian Pictures. Spielberg, Steven. 1989. Indiana Jones and the Last Crusade. USA: Lucasfilm. ———. 1998. Saving Private Ryan. USA: . Stevens, George. 1953. Shane. USA: Paramount Pictures. Sturges, John. 1960. The Magnificent Seven. USA: Mirisch Corporation. Sturges, Preston. 1941. Sullivan’s Travels. USA: Paramount Pictures. Takizawa, Toshifumi. 2004. Samurai 7. Japan: G.D.H. Tarantino, Quentin. 1992. . USA: Live Entertainment. ———. 1997. Jackie Brown. USA: A Band Apart. The Third Watch. 1999–2005. USA: John Wells Productions. Tôyama no Kinsan. 1970–1996. Japan: TV Asahi. Travis, Peter. 2008. Vantage Point. USA: Columbia Pictures. Truffaut, François. 1975. The Story of Adele H. (L’histoire d’ Adele H.). France: Les Films du Carrosse. . 2005. Chat gim (). South Korea/Hong Kong/: . Tykwer, Tom. 1998. Run, Lola, Run (Lola rennt). Germany: X Filme Creative Pool. Uys, Jamie. 1980. The Gods Must Be Crazy. Botswana: CAT Films. Verbinski, Gore. 2003. Pirates of the Caribbean. USA: Pictures. ———. 2006, 2007. Pirates of the Caribbean 2 & 3. USA: . Wachowski, Andy, and Larry Wachowski. 2003. Matrix Revolutions. USA: Warner Brothers Pictures. Wagon Train. 1957–1965. USA: Revue Studios. The Waltons. 1972–1981. USA: . Welles, Orson. 1941. Citizen Kane. USA: Mercury Productions Inc. ———. 1974. F for Fake (Vérités et mensonges). France/Iran/West Germany: Janus Film. Wendkos, Paul. 1969. Guns of the Magnificent Seven. USA: The Mirisch Corporation. Whedon, Joss. 1997–2003. Buffy the Vampire Slayer: the Series. USA: Twentieth Century Fox Television. Wilcox, Fred M. 1956. Forbidden Planet. USA: MGM. Wilder, Billy. 1944. Double Indemnity. USA: Paramount Pictures. Wiseman, Len. 2007. . UK/USA: . Bibliography 209

Wolf, Dick (creator). 1990–. Law & Order. USA: Wolf Films. Wyler, William. 1946. The Best Years of Our Lives. USA: Company. The X Files. 1993–2002. USA/Canada: Twentieth Century Fox Television. Yates, David. 2007. Harry Potter and the Order of the Phoenix. UK/USA: Warner Brothers Pictures. Yoshida Hiroaki. 1991. Iron Maze. Japan/USA: J&M Entertainment. . 2002. Hero (Ying Xiong). Hong Kong/China: Beijin New Picture Co. Zimmerman, Vernon. 1980. Fade to Black. USA: Leisure Investments. Zinneman, Fred. 1952. . USA: Productions. Zorro. 1957–1959. USA: Walt Disney Productions. Zwick, Edward. 1989. Glory. USA: Tristar Pictures. ———. 1996. . USA: . ———. 2003. . USA: Warner Brothers Pictures.

Kurosawa Akira Filmography

1943. Sanshiro Sugata (Sugata Sanshirô). Japan: Toho Company. 1944. (Ichiban utsukushiku). Japan: Toho Company. 1945. Sanshiro Sugata, Part 2 (Zoku Sugata Sanshirô). Japan: Toho Company. 1945. They Who Step on the Tiger’s Tail (Tora no O wo Fumu Otokotachi). Japan: Toho Company. 1946. No Regrets for Our Youth (Waga seishun ni kuinashi). Japan: Toho Company. 1947. One Wonderful Sunday (Subarashiki nichiyôbi). Japan: Toho Company. 1948. (Yoidore tenshi). Japan: Toho Company. 1949. The Quiet Duel (Shizukanaru ketto). Japan: Daiei Motion Picture Company. 1949. Stray Dog (Nora inu). Japan: Film Art Association. 1950. Scandal (Shubun). Japan: Company. 1950. Rashomon (Rashômon). Japan: Daiei Motion Picture Company. 1951. (Hakuchi). Japan: Shochiku Kinema Kenkyû-jo. 1952. (Ikiru). Japan: Toho Company. 1954. Seven Samurai (Shichinin no samurai). Japan: Toho Company. 1955. Record of a Living Being (Ikimono no kiroku). Japan: Toho Company. 1957. (Kumonosu-jô). Japan: Toho Company. 1957. (Donzoko). Japan: Toho Company. 1958. The Hidden Fortress (Kakushi toride no san akunin). Japan: Toho Company. 1960. (Warui yatsu hodo yoku nemuru). Japan: Kurosawa Production Company. 1961. Yojimbo (Yôjinbô). Japan: Kurosawa Production Company. 1962. Sanjuro (Tsubaki Sanjûrô). Japan: Kurosawa Production Company. 1963. High and Low (Tengoku to jigoku). Japan: Kurosawa Production Company. 210 Bibliography

1965. (Akahige). Japan: Kurosawa Production Company. 1970. Dodeskaden (Dodesukade). Japan: Toho Company. 1975. (Derusu Uzara). /Japan: Atelier 41. 1980. (Kagemusha). Japan: Kurosawa Production Company/Twentieth Century Fox. 1985. Ran (Ran). Japan/France: Greenwich Film Productions. 1990. Dreams (Yume). USA: Warner Brothers Pictures. 1991. Rhapsody in August (Hachigatsu no kyôshikyoku). Japan: Feature Film Enterprise II. 1993. (Mâdadayo). Japan: DENTSU Music and Entertainment. Index

Absent presence, 5, 34 Japanese, 38, 53, 130 Actors, 4, 5, 6, 23, 84, 86, 108, Artists, 6, 9, 20–21, 33, 58 118, 124, 131, 136–138, 143, as bridges, 44, 179 152, 162, 166, 177, 184-n.4, and creativity, 1, 2 187-n.8 identity of, 3, 7, 19, 171 Aesthetics, 85, 140, 158–160 western, xvi, 22 see also Film, art; Violence Asia Africa, xvii, 2, 40 East, xvii, 3, 142 Akutagawa Ryu¯nosuke (1892–1927), South, xiv, xvi, xvii, 186-n.4.3 31, 47, 54, 56, 57, 59, 64, Southeast, xvii 91, 98 Audiences, xiv–xv, xvii, 9, 15–17, Americans, 5, 7, 13, 40, 47, 49, 79, 23, 24, 26–27, 34, 36, 38, 81, 83, 137, 139, 149, 159 39–40, 41, 45, 47, 49–50, 57, Native, 120, 122, 124, 67, 70, 72–73, 76–77, 82, 125–126, 127 86–87, 95, 100, 105–106, Ang Lee, 28, 190-n.13, 204 114–115, 159, 170, 173, 180, Anthropology, xix, 2, 3, 11, 183-n.1, 186-n.3.6, 187-n.7, 185-n.2, 189-n.7.4 188-n.6.3 and film, xiii–xiv, xviii, 1, 3, 173 children, 16, 133–134, 135, 158, of globalization, xiii–xiv, 183-n.3, 184-n.9 xvi–xvii, 175 as critics, 2, 11–12, 26, 44, methods, xiv, xvii 62–63, 107, 109, 150, 156, 169, and Orientalism, 7–8 184-n.9 theory, xiii, xv, xviii, 7, 9, 44, 45, filmmakers as, 2, 6, 16–17, 26, 183-n.2, 186-n.3.9 108–110, 171, 173, 175 Antonioni, Michelangelo (1912– and foreign films, 7, 15–16, 23, 2007), 6, 175–176 108, 110, 117, 131–132, 169, Art, 1–2, 7, 20, 65, 108, 142, 156, 175, 179 183–184-n.1.2 ideology and, 2, 108, 132 as commodity, xv, 9 imagination, 10, 15–16, 36, 78, and globalization, 4, 19 79–80, 85, 86, 91–92, 94–95, and film xviii, 4, 20, 44, 140, 98–100, 104, 110, 159, 179, see 175, 190–191-n.15 also Imagination 212 Index

Audiences—Continued Buffy the vampire slayer, 13–14, Japanese, 9, 20, 23, 24, 26–27, 44, 170, 175, 208 36, 39–40, 77, 84, 116, A Bug’s Life, 128, 132–134, 187–188-n.13 191-n.16, 206 and knowledge, 108, 129, 130, plot, 133–134 171, 179, see also Knowledge story, 131–132, 135 television, 8, 27, 155–156 Buñuel, Luis, 5, 6 as voyeurs, 62, 90, 162 see also Fans; Film, buffs Capitalism, 6, 16, 108, 151, 167, 174 Bakhtin, Mikhail Mikhailovich, 2, see also Class; Ideology 9, 10, 12, 20–21, 34, 98, 104, Carpenter, John, 96, 150, 204 180, 184-n.8, 184-n.10, 188- and Kurosawa remakes, n.6.3, 195 95–96, 110 Battle Beyond the Stars, 128–130, Censorship, 9, 15, 21–22, 34, 53, 133, 190-n.14, 207 118, 120, 185-n.6 story, 128, 130–131, 135, 159 Chan, Jackie, xvii, 28, 205 Bava, Mario, 43, 72, 81, 110, China, 5, 27, 80, 140, 171 186-n.4.1, 204 Christianity, see Religion and Kurosawa remakes, 65, 69, Citizen Kane, 76–77, 79, 76–77, 187–188-n.13 186-n.6, 208 Benjamin, Walter, 1–2, 9, 15, Class, 24, 50–51, 52–53, 55, 82, 196 108–109, 116, 121, 122, Bergman, Ingmar, 5, 6, 190– 125–126, 133, 135, 163, 167, 191-n.15, 204 174, 190-n.10 Blade, 13, 207 samurai, 33, 121, 165 Blade Runner, 136, 139, 207 Comedy, 65–66, 68–69, 73, 96, 99, , xiv, xvi, 80 128, 130–131, 138–139, 142, Boomtown, 78, 96, 105, 110, 127, 151–152, 153, 162, 163–164, 200, 204 188-n.5.2, 191-n.17 narrative, 100 film, 14, 24, 64–65, 138–139, stories in, 102, 103, 189–190- 157–158, 177, 189–190-n.4 n.8.4 Consciousness, xviii, 6, 44, 51, story of, 99–102 186-n.4.2 Borders, xviii; xix, 48–49, 118, 149 Consumption, 3, 14 see also Mexico of commodities, xv, 2, 109 Bridges, xiv, xviii, xix, 29, 44, 175, Coppola, Francis Ford, 12, 24, 179, 181 26–28, 44, 169, 170–171, 205 conceptual, xiv, 2–3, 16, 173, Copying, xix, 1–2, 15, 20, 44 180, 183-n.1.1 see also Permutations creation of, 2, 29, 175, 179 Copyright, 5, 118, 141, 149, 150 Buddhism, 31, 35–38, 41, 58, 75, Corman, Roger, 128, 130, 102, 143–144 190–191-n.15 see also Religion Cosmopolitism, see Global, citizens Index 213

Courage under fire, 78, 87–90, 97, and the imagination, xviii, 2, 105, 110, 177, 209 104, 106, 149, 168, 173 stories in, 88–89, 91 lines, xviii, xix, 16, 107–111, 171, story of, 87–88 173, 181 Creativity, xv, xviii, 1–2, 14, 44, Dialogic, 2, 9–11, 20–21, 105, 111, 75–76, 105, 109, 111, 132, 131, 180, 184-n.8, 185-n.3 135, 169, 171, 176, 179, 181, imagination, 10, 78, 80, 92, 187-n.5 98, 104 see also Artists; Filmmakers relationship, 34, 105, 110 Crime, 32, 36, 54–55, 57, 63, 68, Difference, xiv, xviii, xix, 10, 93, 72–73, 77–81, 83–86, 98, 100, 108, 135, 136, 167, 176, 104, 117, 122, 149, 187-n.6, 178–181 189-n.8.2 in films, xiv, 11, 47, 61, 65, 68, as genre, 54, 98–100, 143, 186-n.2 75–76, 81, 84, 90–91, 92, Critics, xvii, 12, 26, 36, 38, 39, 67, 98–99, 101, 105–106, 122, 99, 108, 109, 155, 173, 142, 151, 176–177, 187-n.12 183-n.1, 185-n.10 and identity, 8, 15, 22, 28–29, 37, American, 4, 25, 40, 54 41, 45, 46–47, 50–51, 106–107, Japanese, 24, 25 108–109, 115, 121, 122–123, Cukor, George, 66, 205 174, 184-n.8 and Kurosawa remakes, 68, in meaning, 2, 9, 11, 16, 43–44, 76, 110 46, 63, 73, 80, 87, 98, 127, Cultural, 2, 3, 6, 11, 17, 26, 53, 139, 173, 175 158, 161, 173, 184-n.4, 184- see also Similarity; Social, reality n.10, 185-n.12 Directors, see Filmmakers capital, 6, 108–109, 171, 173 Disjuncture, xvi, xviii, 2, 107 cross, 15, 16, 179 and scapes, xvi, 2, 174, 180 imperialism, 4, 5 Dostoevsky, Fyodor Mikhaylovich, similarity, 15, 41 36, 56, 77, 90, 114 theory, xiii, xvii, 2–3, 183-n.1 and Kurosawa, 20, 33–34, 37–38, Culture, xiii–xiv, xvi, 2, 68, 75, 47, 102, 185-n.3 106, 107, 138, 176, 178, 181, novels, 20–21, 33, 34–35 183-n.2 dominant, 11, 44, 45, 174 Eastwood, Clint, 27, 62, 124, global, xviii, 2, 6, 174–175, 180 148–151, 152–155, 187–188-n.13, Japanese, 38, 55, 75 189-n.8.3, 192-n.9.7, 205 local, 6, 34, 174, 180, 187-n.6 Economics, xvi, xvii, 5 nation-state, 8–9, 174 Eisenstein, Sergi, 6, 162 popular, xv, 1, 3, 6, 9–10, 108, Epics, 5, 76, 114, 188-n.6.3 109, 137 Europe, 3, 4, 7, 40, 80, 105, 118, similarity, see Cultural, similarity 149, 183–184-n.1.2 European, 4–5, 39–41, 45, 47, Desire, xv, 13, 16, 22, 40, 41, 47, 69, 94, 105–106, 110, 149, 49, 53, 101, 103, 121, 139, 175 151, 159 214 Index

Experience, xiii, xiv–xv, 16, 25, 26, context, 34, 41, 47, 55, 57, 38, 47, 53, 63, 79–81, 84, 63–64, 72, 82–84, 114–116, 86–87, 98–99, 114, 149, 167, 122, 142–143, 163, 190-n.12 176–177, 180–181, 186-n.3 crews, 6, 179 of film, 10–11, 175–177 criticism, xvi, 2, 14, 24, 25, 36, and gender, 68 38, 108, 183-n.1, 184-n.9, see individual, 9, 36, 44, 46–47, 56, also Critics 104, 178 as dialogic, 2, 34, 111, 131, 180, shared, 39–41, 45, 47, 84, 106, 185-n.3 176–178, 180 expense, xvii, 4, 113, 170 see also Subjectivity as feminist, xiii, 52–53, 55, 62, 91, 187–188-n.13 Fans, xvii, 9, 24, 50, 72, 128–129, festivals, xvii, 4, 27, 128, 187-n.6 137, 187-n.9 foreign, xiv, 4, 16, 19–20, 23, see also Audiences; Film, buffs 26–29, 45, 69, 75, 94, 108, Fantasy, 9–10, 12, 25, 48, 62, 109, 142, 174–176, 179, 63–64, 76, 91, 111, 193-n.6 190–191-n.15 Fellini, Frederico, 6, 185-n.10, 191- French, 4–5, 53, 79–80 n.15, 205 gender in, see Men; Women Feminism, xiii, 14, 52–53, 62, 64, and globalization, xiii, xv, 3, 5, 68, 91, 135 11, 16, 27, 29, 106, 109, 173– Festivals, 144–145, 157, 161, 175, 177, 179–180, 184-n.4 165–166 grammar of, 15, 141, 149, 176 Film, xiii, xvii, xix, 1–3, 11, 19–20, historical, 25, 48, 113–114, 21–28, 33, 35, 38–41, 45, 47, 143, 190-n.12, see also 51, 54, 56, 57, 59, 61, 62, 65, Samurai, film 66, 68, 71, 76, 80, 81–83, 85, history of, 6, 19, 109, 129, 167, 92–93, 95, 107–111, 118, 120– 183–184-n.1.2 121, 123–124, 126, 129, 133– horror, xviii, 12–13, 69–72, 81, 136, 140, 181, 184-n.12, 170, 190–191-n.15 185-n.10, 187-n.9, 188-n.6.4, and ideology, 2, 9, 106, 132, 178, 191-n.22 see also Ideology American, the, 4–5, 185-n.12, see industry, 1, 3, 4–5, 20–21, also Hollywood 22–24, 27–128, 141, 149–150, analysis, xiv, xv, xvi, 3, 29, 34, 183–184-n.1.2 147, 185-n.9, 187-n.6, 187- knowledge, see Knowledge n.10, 190–191-n.15 and Marxism, xiii, 3, 135 art, xviii, 44, 140, 158–160, 175, multiple readings of, 9–10, 17, 39, 190–191-n.15 56, 76, 109–110, 119, 159–160, audiences of, see Audiences 174, 179, see also Dialogic; buffs, xvii, 2, 70, 109, see also Heteroglossia Audiences and myth, see Myth business, xvii, 6, 28 narration, see Narrative censorship, see Censorship narrator, see Narrator Index 215

noir, 56, 77, 79, 94, 136–137, independent, 28, 109, 169, 171, 148–149 174, 190–191-n.15 permutations, see Permutations Japanese, 11, 24, 27, 54, 56, 87, and politics, xiii, 128, 136–137, 110, 168 167–168 and knowledge capital, 16–17, polyphony, see Polyphony 108–109, 129, 171, 174, 176, producers, xvii, 4, 25, 179, 190–191-n.15 183-n.3 Western, 25, 26, 48, 87 realism, 57, 83, 97–98, 105, 114, Filmmaking, xiii–xiv, xviii, 1, 22, 162, 169 29, 40, 81, 174, 183–184-n.2 as resistance, xv, 21–22, 25, local, 3–4, 20 109, 115 techniques, xv, 14–17, 24, 28, 40, science fiction, 128, 129, 132, 69, 76–77, 81, 84–86, 93, 95, 136–139, 168–171, 191-n.18 98, 100, 108, 110, 113, 124, scripts, 1, 6, 7, 22, 50, 118–119, 139–140, 157, 159, 170, 174, 125, 129, 141, 185-n.5, 176, 178, 191-n.19, 191-n.23, 192-n.5 see also Rashomon technique silent, 3, 12, 20, 22, 49, 131, Fistful of Dollars, a (Per un pugno 183-n.1.2, 184-n.3 di dollari), 148, 155 South Asian, see Bollywood narrative, 148 studies, xiii–xiv, 17, 19, 21, story, 148, 149, 150, 151, 153 75, 109 Flashbacks, 14, 47, 54, 56, 70, subjectivity, see Subjectivity 76–77, 79, 81, 84–85, 86, 88, theory, xv, xix, 1, 34, 183-n.1, 90, 95–96, 98, 100, 103–104, 186-n.6 107–108, 157, 167, 186-n.3.3, tragedy, 69, 131 186-n.3.6, 188-n.6.3 translation of, xiii–xiv, 14–15, Frankfurt School, 1, 9 28, 43, 48, 75, 117, 141, Freud, xv, 10, 71 177–180, see also Translation violence in, see Violence Galaxy Quest, 128, 135–139, 207 Westerns, see Westerns plot, 137–138 Filmmakers, xiv, xvii, 1–7, 15–17, story, 138 21–23, 26, 29–41, 43, 46, Genealogy, 76, 79, 95, 106, 109, 50, 52, 75, 76, 79, 85, 86, 171, 180 90, 93, 95, 99, 105, 110, 113, Ghosts of Mars, 78, 95–96, 98, 99, 118, 124, 138, 140, 147, 160, 105, 204 171, 173, 175, 176–177, 180, narrative, 95 183-n.3, 185-n.10, 185-n.12, stories in, 95 187–188-n.13 story of, 95–96 as artists, 11, 29, 44, 175, 179 Global, the, xiv, xvii–xviii, 6, foreign, 6, 27, 28, 69, 94, 110, 11–12, 28, 179–180, 162, 170, 174 183–184-n.3 and genealogies, 27, 106, business, xvii, 4–5 170–171, 173 citizens, 6 216 Index

Global, the—Continued 142, 159–160, 162–163, 165, culture, xiv, xvi, xviii, 2, 174–175, 168, 169 180–181 Heteroglossia, 9, 12, 104, 175, 180 economy of, xvi, xvii, 8 Hidden Fortress (Kakushi Tori no film distribution, 3, 5, 27, San Akunin), xix, 13, 14, 51, 174, 179 106, 111, 128, 157, 161–168, film production, 3, 5, 27, 179, 192-n.1, 193-n.4, 209 174, 179 plot of, 167 flows, xiv, xvi, xix, 19 story of, 14, 165–167, 168 and human imagination, xv–xvi, Hill, Walter, 159, 205 173, 175 and Kurosawa remakes, 148–149, and local, xiv, xvii, xviii, 3–5, 45, 151–155, 158 174–175, 179 History, 11–12, 16–17, 29, 37, 40, politics of, xvii, 137 47, 48, 55, 68, 72, 75, 105–106, see also Story, grand 114, 115–116, 124, 132, Globalization, xiii–xiv, xvii, 3, 5, 135–138, 139, 142–143, 45, 174, 177 155–156, 161, 169, 171, 173, Group(s), 11, 59, 81, 85, 87, 175, 184-n.8, 190-n.12 113–140, 163, 165, 184-n.8 of film, 6, 19, 109, 129, 167, 183– heroic, 111, 142 184-n.2 Japanese, 122–123, 124, 126, national, 8, 33, 48, 64, 118–119 127, 134, 189-n.8.2, 190-n.10 see also Samurai, film Guilt, 21, 29, 34, 36–39, 53, 55–56, Hitchcock, Alfred, 6, 199 62–63, 64, 68, 75, 84, 90, Hollywood, xvii, 3–4, 7, 9, 28, 68, 94, 97, 101–102, 104, 114, 81, 117, 119, 124, 141, 152, 116, 167 155, 168, 174, 176, 179, and responsibility, 102, 163, 180 183–184-n.1.2, 191-n.23 , see Men, as directors, see Filmmakers gunfighters dominance of, 4, 5, 9, 106, 180 and local cinemas, 5, 118, 180 Hegemony, 5, 10, 106 and remakes, 29, 48, 54, 193-n.4, Hero, the, 13, 22, 28, 29, 49, 56, see also Remakes 89, 90, 111, 124, 129–132, resistance to, 5, 120, 185-n.1 134, 139, 159, 165, 169, 177, Homogenization, xviii, 174 180, 187-n.12, 189–190-n.8.4, Honor, 64, 90–91, 119, 129–130, 191-n.3 132, 151, 166 antihero, 111, 149–150, 167, Medal of, 88, 188–189-n.6 177–178 Human, xix, 10, 11, 12–13, 33, 40, lone, 111, 123–124, 127, 141–160 44, 53, 56, 59, 62, 68, 73, 90, super, 122, 144, 148 95, 96, 100, 102, 108, 132, Heroines, 13–14, 38, 44, 51, 62, 136, 139, 146, 148–150, 155, 88–89, 91, 93, 95–96, 110, 163, 165, 176, 192-n.5 136, 170, 188–189-n.6.6 activity, 2, 5, 45, 111 Heroism, 51, 88–89, 91, 111, 124, beings, xiv, xv, xviii, 15, 25, 36, 130, 132, 134–136, 138, 139, 46, 56, 164, 173, 188-n.6.5 Index 217

connections, xviii, 2–3, 45, 47, artists, 9, 21 179–180 culture, 9, 53, 75, 90, 113, 115, consciousness, xviii, 73, 97, 105, 122, 127, 142 186-n.4.2 folktales, 9, 25, 143, 167, 184-n.6 creativity, xviii, xix, 44, 104, and globalization, 19–20, 171, 111, 181 183-n.1.2 emotions, 32, 65, 84 Heian era (794–1185 CE), 64, 75 experience, 16, 46, 97, 105, identity, 6–9, 23–25, 27 177–178 literature, 9, 78, 141 narration, xiii, xviii, 44, 105 Occupation of, 9, 34, 84, 123 Humanism, 20, 29, 138–139, 180 and religion, 37, 178 Showa Era, 20, 52, 185-n.2 Identity, 2, 3, 5, 8–9, 43, 45, 85, studies of, xiv, xix, 7–8 108, 131, 179 Taishô Era, 20, 185-n.2 Japanese, 6–9, 38–39, 116 Tokugawa Era, 139 national, xviii, 6–9, 33, 45 and the U.S.A., xvi, 4, 7–8, 14, see also, Kurosawa, identity 55–56, 76, 124, 171 Ideology, xv, xvi, 5, 10, 38, 45, 105, jidai-geki (period film), see 132, 174, 179, 184-n.8 Samurai, film dominant, 2, 9–10, 12, 27, 108, 122 Killing, The, 80, 84, 86, 98, 99, 206 as myth, 9–10, 167 narrative, 78–79 and the nation-state, 8–9, 174 story of, 78 Imagination, xv–xvi, xix, 10–11, Kitano Takeshi, 27, 192-n.13, 78–80, 91–92, 98, 99, 104, 192-n.14, 206 142, 181, 186-n.4.2 and Kurosawa remakes, 156–158 and desire, xviii, 107–111 Knowledge, 6, 16, 20, 91, 115, 149 popular, 3, 150 capital, 6, 108–109, 129, 138, In a Grove (short story), 31, 41, 171, 173 47–48, 54–55, 56, 64, 72, Kubrick, Stanley, 110, 206 75, 141 and Kurosawa remakes, 78–79 Internet, 2, 9 Kurosawa, Akira, 1, 4–6, 11, 19, Iron Maze, 38, 57, 75, 76, 209 35–36, 45–46, 62–63, 69, 71, narrative, 55–56, 75–76 83–84, 86, 90, 94, 98, 101, stories in, 54–56 127, 131–132, 138, 142, 147, story of, 54 149, 158, 185-n.6, 185-n.7, 185-n.10, 186-n.3, 187-n.10, Japan, xvi, xix, 1, 3–5, 6, 8, 19, 21, 189-n.8.3 24, 26–27, 28–29, 31, 33, 38, as artist, 20–21, 22, 24, 25, 26, 39–41, 48, 51, 52–54, 57, 62, 33, 152, 176 64, 80, 105, 107, 114, 116, 117, and Dostoevsky, 20–21, 33–35, 119, 140–141, 151, 169, 37–38, 47, 90, 102, 185-n.3 183-n.1, 192-n.3, 193-n.4 family, 19–20, 192-n.13 aristocrats, 8–9, 130, 162, films, xiii, xv, xvii, xix, 2–3, 21, 164–165, 186-n.4 24–26, 29, 38, 55–56, 64, 78, 218 Index

Kurosawa, Akira—Continued Last Man Standing, 7, 155, 159, 119, 129–130, 159, 162–163, 178, 192-n.9 166–167, 187-n.12, 190-n.9 narrative, 148, 150–151, 155 and globalization, 5–7, 27–28, story, 152–153, 154, 158 109, 162 Last Samurai, The, 26, 87, 156, 209 and Hollywood, 4, 28 (L’a n n é e and humanism, 29, 180 dernière à Marienbad), 78, 85, humor, 131, 151, 153, 155, 157 94, 95, 97, 105, 177, 207 identity, 14–15, 22–23, 38, 179, narrative, 79–80 185-n.4 Leone, Sergio, 27, 48, 148–149, influence, 1, 14, 17, 54, 76–78, 154–155, 170, 187-n.13, 87–88, 95, 107–108, 113, 117, 192-n.10, 206 128, 136, 156–157, 168, and Kurosawa remakes, 139, 141, 170–171, 173–174, 176–177, 151–153, 155, 158–159 186-n.2 Les Girls, 65, 72–73, 76, 94, 110, international fame, 4–5, 7, 177, 188-n.5.1, 188-n.5.3, 205 23–25, 27 narrative, 65, 67–68, 73, 75–76 Japanese identity of, 6–7, 24–27 stories in, 66–68 life, xix, 19–29 story of, 66 literature on, 6–7, 19, 33–34, Lévi-Strauss, Claude. xiv, xv, 44 75, 80–81, 113, 121, 140, Literature, 1, 6–7, 16, 19, 124, 148 185-n.1, 185-n.9, 186-n.6, Local, xviii, 3–6, 7, 14, 29, 45, 120, 187-n.6 184-n.4 politics, 20–22, 25, 39, 116, 121, filmmaking, 3–5, 28, 106, 174, 132, 139, 146, 151–152, 154, 179–180 162, 165–167, 169 see also Global remakes, xiv–xv, xix, 1–2, 7, Lucas, George, xii, 24, 26–27, 129, 14–17, 45, 47–49, 57–58, 68, 168, 170, 174, 176, 178, 206 72–73, 106, 117–118, 139, 148, and Kurosawa remakes, 14, 28, 153, 161–162, 173, 180, 100–101, 164, 167–169, 171, 187-n.13, 189-n.8.1, 193-n.4 192-n.10.1 screenplays, 7, 34, 41, 59, 98, 114–115, 118, 130, 131, 135, Magnificent Seven, The (film), 121, 141, 143, 153, 155, 158, 129, 131, 133, 142, 159, 162–163, 166, 178, 185-n.5, 190-n.8, 191-n.22, 205, 208 192-n.5 plot, 124 techniques, 4, 5, 7, 14, 23–24, 34, stories about, 117–118 39–40, 49, 54, 57, 61, 63, 69, story of, 118–119, 135 76, 79–80, 82, 85, 87, 98, 104, Magnificent Seven, The (television), 140–141, 152, 157, 162, 165, 122, 132, 155, 159, 190-n.5, 169, 191-n.23 190-n.11, 206 and Toshiro Mifune, 23–24, narrative, 124 49–50, 152, 162, 165 story, 125, 127, 135 and women, 14, 25, 29, 50–52, Marxism, xiii, 3, 11, 37, 135, 169, 65, 153 190-n.10 Index 219

Masculinity, 71, 76, 85, 127, 135, 153–154, 162, 165, 192-n.7, 138, 192-n.10 192–193-n.2, 193-n.3 see also Men Misty (Misuti), 38, 57, 64, 75, 76, Mass Media, xviii, 1, 3, 8–9, 12, 91, 93, 104, 187–188-n.13 62, 75, 81, 104, 107–109, narrative, 57, 61, 75–75 137, 146 stories in, 59–61, 62 and ideology, 9–10, 90, 180 story of, 57–59, 61, 63, Meaning, 2, 7, 9–14, 26, 34, 44–45, 188-n.6.5 80, 95, 104, 114, 158–159, 171, Modernity, 1, 3, 8, 32, 43–44, 173, 187-n.5 54, 72, 77, 106, 108–109, and translation, 15–16, 43, 136–137, 140, 151, 157, 170, 46–47, 110, 178–179 176, 179, 180, 183–184-n.2, Memento, 78, 96, 98, 100, 105, 192-n.10 189-n.7.1, 207 and gender, 51–53, 142–143, 154, narrative, 95 159, 167 stories in, 94–95 in Japan, 9, 20, 26, 48, 63, 110, story of, 94, 95 114, 116, 159, 192-n.4 Men, 31, 32, 33, 36, 39, 55, 58, see also Postmodernity 67–68, 81, 92, 94, 115, Murakami, Jimmy T., 128, 207 119, 123, 128–130, 132, Myth, xv, 11–12, 58, 61, 63–64, 138, 142, 143, 146, 148, 150, 131–132, 134, 137, 139, 149, 152, 155, 158–159, 161, 162, 159, 184-n.8, 192-n.10 165–166, 171, 177, 192-n.10, definition of, 9–10, 44, 184-n.8 192–193-n.2 and ideology, 9–10, 132, 167, and crime, 49, 52, 57, 59, 61, 63, 184-n.7, 184-n.8, 191-n.3 78, 83–85, 92–93, 102–104, national, 8–9, 48 144–146, 151 and Westerns, 49, 118, 132, as gunfighters, 120–121, 149, 154 123–127, 133 Japanese, 19–20, 23–24, 117, Narration, see Narrative; Narrator 123, 144–145, 185-n.2, Narrative, xiii, xviii, xix, 44, 65, 189-n.8.2 73, 75–75, 108, 118, 124, 132, and violence, 25, 88–91, 95, 102, 159, 179–180 114, 116–117, 122, 165, 167, and consciousness, 44–45, 47, 176, 189–190-n.8.4, 192-n.5 110, 187-n.5 and women, 50–52, 59–60, 62, creativity, xiii, xviii, 22, 27, 45, 64, 65–68, 71, 80, 119, 171, 175, 179–180 153–154, 177, 188-n.5 definition of, 14, 175 see also Heroes; War and difference, 45–46, 136, Mexico, 48, 118, 120, 122, 133, 178–180 135, 149, 154–155, 190-n.7 grand, 98, 104, 178 see also Borders and individuality, 35–36, 41, 46, Mifune Toshiro (1920–1997), 23, 76, 105, 178, 180 27, 32, 49–51, 86, 119–120, plausibility, 45, 124 141, 142, 143, 150–152, and remakes, 43–44, 47, 68 220 Index

Narrative—Continued 131, 159, 161–162, 168, 170, and social reality, xviii, 10, 33, 173, 175, 177, 188-n.5.2, 44–45, 56, 73, 95, 104, 110, 191-n.18 136, 178 comic, 64, 128, 157–158 as technique, 10, 12, 14, 16, 33, creativity, 44, 161, 174 34, 38, 61, 76–77, 81, 86, 95, and narratives, 14, 16, 65, 73, 100, 107, 113, 139, 170, 174, 110, 179 176, 178, 183-n.1.1, 186-n.3.6, Plot, 8, 13–15, 40, 46–47, 64, 65, 188-n.6.3 66, 69, 77, 96, 108, 113–114, translation of, 7, 9, 75, 106, 109– 124, 128, 133–134, 137–138, 110, 141, 148, 173, 175, 178 151, 152–153, 156–157, 163, see also Polyphony 167, 170, 174, 179 Narrator, 34, 35–36, 40, 78, 97–98, definition of, 14, 178 143, 148, 150, 155, 171, 178 Politics, xvii, 22, 52, 123, 137, 167, benshi, 20, 22, 185-n.8 190-n.12 unreliable, 79, 80, 82–83, 87, postwar, 6, 128, 136 95–96, 101, 105 Polyphony, 10, 21, 33–34, 41, 76, Nation-state, 8–10, 40, 45, 77, 188-n.6.3 117, 174 Postmodernity, xv, xvii, xix, 1, 6, Japan, 1, 22, 29, 37 56, 109, 178–179 No Regrets for our Youth, 22, 51 theories of, xiii, xv, xix Nolan, Christopher, 97, 207 Power, xvi, 2, 4–5, 13, 36, 55, 85, and Kurosawa remakes, 94, 110 92–95, 103, 122, 146, 169, Novels, 1, 9–10, 20, 37, 98, 105, 180–181 131, 175, 183-n.1, 184-n.10 of film, 2, 47, 49, 122, 179 detective, 78, 190-n.4 political, 54–55, 77, 135, 157, 167–168 Oshima Nagisa (1932–), 5, 20, of stories, 16, 52, 63 185-n.12, 201 and women, 51, 61, 93, 136 Other, the, 5, 10, 12, 16, 34, 39, 107 Quante volte . . . Quella Notte (Four vampires as, 11–14 times that night), 65, 76, Outrage, The, 38, 47, 55, 56, 57, 186-n.4.1, 188-n.5.1, 204 58, 59, 62, 63, 69, 71, 72, 76, narrative, 65, 75–75 90, 91, 118, 120, 121, 136, plot, 69 187-n.9, 188-n.6.1, 207 stories in, 69–72 narrative, 75–76 story of, 60, 70 stories in, 188-n.6.1 story, 49, 51–52 Rashomon (film), xix, 4, 14, 31–42, 65, 67–69, 77, 78–82, 84–87, Perceived cultural similarity, see 90–91, 93–94, 96, 102–105, Similarity, perceived cultural 107–111, 114, 116, 118, 127, Permutations, xix, 7, 12, 14, 17, 27, 130–131, 138, 141, 157, 162, 29, 47, 38, 56, 68, 75–96, 163, 167, 168, 170, 177, 179, 97–98, 105, 107, 110–111, 113, 185-n.4, 185-n.10, 186-n.3.1, Index 221

186-n.3.7, 187-n.6, 187-n.10, Reservoir Dogs 188-n.6.5, 189-n.7.4, 189-n.8.1 narrative, 84–85 international success, 16, 23–25, stories in, 85 29, 45, 53–54 story of, 84–85, 86 as mystery, 36, 73, 76–77, 94, Resistance, xiv, xv, 13, 21–22, 97–98, 103 59–60, 87, 115–116, 122–123, narrative, 33, 34, 35–36, 38, 41, 126, 154, 177, 178–179 45, 73, 75–76, 107, 110, 113 Resnais, Alain, 207 stories in, 31–36, 50–51, 186-n.3 and Kurosawa remakes, story of, 38, 39–41, 49, 65, 75, 79–80, 110 110, 131, 187-n.8, 187-n.10 Responsibility, 35, 37–39, 53, 62, translations of, 29, 43–64, 75, 68, 77, 81, 88, 90–91, 94–95, 107, 110, 186-n.7 97, 101–102, 104, 116, 120– Rashomon (short story), 31, 41, 121, 124, 130–131, 162–164, 47–48, 54–56, 57, 58, 59, 63, 169, 177, 179–180, 190–191-n.15 65, 75, 84, 92, 98, 141, 187-n.8 see also Guilt Rashomon effect, 41, 88, 107, Reversal of Fortune, 38, 78, 81–84, 186-n.3.8 94, 98, 105, 110, 177, 207 Rashomon technique, 47, 56, 76–78, narrative, 82 92, 95, 98–99, 104–106, stories in, 82–83 107–108, 132 story of, 82, 83–84 Red Harvest, 141, 143, 153, 178, Rhapsody in August (Hachigatsu no 191-n.1 Kyôshikoku), 25, 51, 163, Religion, xviii, 2, 37, 58, 129, 170, 210 147, 174 Richie, Donald, 20, 23, 25, 28, 31, in film, 38, 58, 61, 146–148, 32–33, 36, 39–40, 48, 49, 56, 150–151, 153–154, 178, 57, 63, 71, 82, 90, 113–114, 192-n.5 115, 116, 119–120, 122, 128, Remakes, xiii–xiv, xv, xix, 2, 5, 144, 150, 161, 163, 183-n.1.2, 11–12, 14, 29, 38, 43–49, 186-n.1, 192–193-n.10.2 52–54, 56, 57, 64, 65, 72–73, Ritt, Martin, 75, 207 97, 106, 107, 110–111, and Kurosawa remakes, 38, 48, 117–118, 119, 121, 123–124, 50–53, 76, 118 128, 129, 131, 139, 140, Rodriguez, Robert, 48, 150, 147–148, 152–153, 155, 159, 170, 207 161, 163, 167, 170, 173, 176–177, Ronin, see Samurai, unemployed 179, 183-n.1.2, 187-n.13, Run, Lola, Run, 78, 98, 105, 110, 189-n.8.1, 190–191-n.15, 176, 208 192-n.5, 193-n.4 story of, 92–94 and creativity, 11, 28–29, 44, Russia, 10, 20, 35, 37–38, 114, 75, 96, 109, 113 162, 174 as translations, 6, 14, 16–17, 28, 43, 48, 53, 75, Saegusa Kenki, 187–188-n.13, 207 113, 158 and Kurosawa remakes, 38, see also Copying 57–64 222 Index

Samurai, 19–20, 23, 26, 28, 31–33, story, 113–114, 115–116, 119, 38–39, 49, 59–60, 114–116, 127, 130–131, 135, 144, 177 119, 121–124, 130–132, 135, translations of, 106, 111, 113, 139, 141–144, 147, 156–158, 125, 128, 130–131, 139, 141– 162, 167–169, 187-n.12, 142, 157–158, 170–171, 177 190-n.9, 190-n.12, 191-n.9.2, Shame, 37–38, 64, 90, 115, 145 186-n.4, 190-n.10, 192-n.4, see also Guilt 192-n.5 Shinto, 37, 58, 61, 63, 143–144, film (jidai geki), 14, 25, 27, 29, 192-n.5 48, 51, 85, 87, 106, 111, Similarity, xv, xix, 46, 144, 147, 113–114, 116–117, 119, 122, 157–158, 173, 175–176, 178, 181 125, 127–133, 138–139, 142, perceived cultural, xvii, xviii, 15 143, 151–152, 156–159, social, xviii, 41, 155–156 162–163, 165, 170–171, 177, see also Difference 185-n.6, 185-n.10, 189-n.8.1, Simmel, Georg, xix, 17, 181 189–190-n.4, 190-n.9, Simpsons, The, xvi, 107 191-n.18 Singer, Bryan, 27, 208 on television, 115, 127, 141, and Kurosawa remakes, 86–87, 155–156, 189-n.8.1 110, 176 unemployed (ronin), 116, 117, Social, 6, 9, 12, 33, 35, 41, 68, 142, 143, 191-n.9.2 161, 179 values, 146, 165, 185-n.6 critique, 114, 132, 169 Sanjuro (Tsubaki Sanjuro), 51, justice, 29, 83, 159 85–86, 163, 165–166, reality, xix, 10, 16, 46–47, 56, 61, 187-n.12, 192-n.5, 209 73, 97, 104–105, 110, 131, 135, Sanshiro Sugata (Sugata Sanshiro), 162, 178–180 21, 22, 209 system, 118, 131 Schroeder, Barbet, 38, 207 Society, xv, xvii–xviii, 8, 11, 35, and Kurosawa remakes, 110 40, 48, 56, 68, 73, 77, 90, Scorsese, Martin, 175–176, 117, 129, 131, 142, 154, 155, 189–190-n.4, 207 159, 163, 177, 183–184-n.2, Screenwriting, see Film, scripts 186-n.8 Second World War, 4, 7, 21, 33–34, Japanese, 33, 35, 50–51, 110, 36, 38, 64, 107, 115–116, 168, 115, 127, 141–142, 189-n.8.2 185-n.5 and stories, 63, 135, 179–180 see also War U.S., 53, 106, 122, 189-n.7.2 Seven Samurai, xix, 14, 25, 27, 29, women in, 62–63, 97 51, 85, 114, 122, 127, 129, Spielberg, Steven, 27, 169, 170, 171, 132–133, 138, 141, 151, 152, 193-n.5, 208 159, 162, 163, 165, 167, Star Wars, 14, 128, 129, 161, 163, 185-n.10, 189-n.8.1, 169–170, 173–174, 178, 189–190-n.5, 191-n.18, 209 192-n.10.1, 193-n.4, 206 narrative, 124, 139 story of, 14, 128, 167–168 plot, 113–114, 124, 128, Status, 6, 72, 108–109, 138, 186-n.4 133–134, 137–138 see also Class Index 223

Story, xviii, 2, 11–14, 16, 22, 24, system, 4, 5 25, 28–29, 31–33, 38, 40–41, Sturges, John, 208 43–45, 47, 49, 50–51, 54, 55, and Kurosawa remakes, 119–122 57, 58–62, 65–72, 75–76, 79, Subcultures, xvii, 129, 138 81, 82–86, 88–91, 94–96, 98, Subjectivity, xix, 10, 12, 31–41, 100–104, 107–108, 113–116, 43–64, 65–73, 79–81, 93–94, 117–118, 119, 127, 130–131, 97–98, 104–105, 107–108, 110, 138, 142–144, 147, 148–151, 131, 179, 188-n.6.5 153–156, 158–159, 166–168, Subtitles, 14, 15, 53 171, 176, 183-n.2, 184-n.9, see also Translation 185-n.8, 186-n.3.1, 187-n.8, Sullivan’s Travels, 138, 208 187-n.10, 188-n.6.3, 188-n.6.5 as bridges, 29, 178 Tarantino, Quentin, 27, 79, 86, 109, comic, 131, 138, 151, 155 140, 157, 158–159, 184-n.4, crime, 51, 77, 98 188-n.6.5, 192-n.8, 208 definition of, 14, 43, 174, 178 and Kurosawa remakes, fairy, 45, 111, 132, 163, 167 84–85, 110 and gender, 68, 76, 92 Television, 8, 45, 83, 96, 104–105, grand, 178–179 146, 158, 184-n.4, 191-n.23, of the Grand Inquisitor, 34–35 193-n.4 horror, 81, 179–180 and film, 24, 27, 47, 54, 56, 132, human need for, 41, 45, 104, 176, 155, 189-n.8.1 178–179 samurai dramas, 127, 141, 146, and knowledge, 16, 52, 76–77, 155–156, 191-n.9.2 111, 178, 184-n.9 series, 47, 78, 96, 97–106, 122, as mirrors of society, 9, 16–17, 125, 127, 129, 136–138, 63, 73, 90, 98–99, 104, 117, 186-n.3.1, 189–190-n.4 127, 143, 159 Westerns, 118, 131 narrators of, 78, 110 Translation, xiii–xiv, 2, 6, 7, 14–17, retelling of, 3, 14, 16–17, 20, 28, 29, 43, 48, 52, 53, 110, 43–45, 46, 48, 52, 56, 68, 75, 141, 158, 173, 175 107, 111, 117, 156, 174–175, faithful, see Translation, word- 176, 178–179, 183-n.2 for-word short, 31, 54, 55, 63 possibility of, xiv, 7, 9, 45–46, 75, structures, 43, 99 110, 113, 142, 175, 179 and subjectivity, 41, 44–47, 61, as problematic, xviii, 3, 45, 84, 97, 108, 110 46–47, 75 translation of, 14, 46, 48, 52, 56, word-for-word, 15–16, 46 110, 113, 128, 131, 135, 142, see also Subtitles 175–178 Truffaut, François (1932–1984), 6, Story of the Kelly Gang, The, 191-n.15, 208 183-n.2 Truth, xix, 29, 32, 40, 43–64, 65, Storytelling, 14, 20, 22, 131, 66–68, 70–71, 73, 77–78, 188-n.6.1 80–84, 87, 89–91, 94–95, Studios, 21, 24, 28, 113 97–98, 105, 108–110, 132, 224 Index

Truth—Continued aesthetitics of, 85, 158–160 134–135, 169–170, 177, in film, 10–11, 140, 158, 192-n.3 179–180, 186-n.3.3, 186-n.3.8 and the U.S.A., 11, 125–126 individual, 34–36, 39, see also Subjectivity War, 31, 36, 85, 87, 117, 120, Tykwer, Tom, xii, 93 136–137, 145, 160, 162, 167, and Kurosawa remakes, 27, 92, 169, 180, 185-n.5, 186-n.8, 110, 176 189–190-n.4 American Civil, 49, 90, 91, 118, U.S.A., 3, 5, 10–11, 13, 21, 25, 28, 125, 149 48–49, 50–53, 55, 56, 69, in film, 21–22, 25, 26, 34, 36, 82–84, 88, 90, 105–106, 39, 53, 87–90, 117, 162, 119–121, 123, 127, 133, 165–166, 168–170, 189-n.8.3, 136–137, 149, 151, 158, 163, 189–190-n.8.4 168–169, 178, 180, 184-n.4 Gulf, 64, 81, 87–91, 94, 101, 125, and crime, 56, 83–84, 99–100, 189–190-n.4 136, 186-n.3.2, 189-n.7.2 Second World War, 4, 7–8, 21, film, 3–5, 25, 65–66, 87, 132, 33–34, 38, 64, 115–116, 168 179, 183–184-n.2, 185-n.12 victims of, 25, 29, 165 history, 40, 48, 53, 70, 90–91, Vietnam, 53–54, 64, 150, 169, 108, 117–118, 122, 125–126, 189–190-n.4 128, 137, 149, 150, 155, Welles, Orson, 76–77, 87, 94, 169–170 185-n.10, 186-n.6, 208 individualism, 120, 122, 124, Westerns, 117–118, 135–136, 151, 135, 142, 189–190-n.4 155, 168, 189-n.8.3, 193-n.5 and Japan, xvi, 7–8, 14, 22, 47, characters, 52, 56, 123–124, 137 53–57, 76, 110, 115, 124, 171 revisionist, 126, 154 novels, 54, 111, 124, 143 Spaghetti, 69, 149–150 women, 51, 54, 67, 91, see also see also Myth Women Willis, Bruce, 27, 148–149, 150, see also Americans 153–154, 155 U.S.S.R., see Russia Women, 12, 29, 38, 46, 50, 53, 55, Usual Suspects, The, 78, 105, 110, 65, 67–68, 91, 97, 100–101, 176, 208 102–104, 110, 115, 127, 132 narrative, 87 American, 51, 54, 91 stories in, 86–87 in film, 32, 33, 36, 49–52, 55, story of, 86 57, 61–62, 67–68, 77, 82, 90, 92, 110, 115–116, 119, Value(s), 3, 6, 10, 22, 109, 138, 180 122–123, 126, 130–131, American, 48, 106, 137, 169 135, 144–145, 148, 151–154, Japanese, 116, 146, 159–160, 155, 157, 164, 170, 177, 165, 167, 185-n.6 178, 187-n.12, 188-n.6.5, , 4, 27, 187-n.6 192-n.12 Violence, 76, 122, 131, 139, 150, Japanese, 20, 21, 25, 39, 49–50, 180, 186-n.8, 189-n.7.2, 192-n.5 53, 62, 91, 186-n.4 Index 225

and men, 39, 50, 55, 57–64, narrative, 148 65–73, 80, 91, 151, 153–154, plot, 151–153, 157 188-n.6.5 story, 35, 141, 148, 153, 155, as problems, 51, 62, 92, 97, 151, 165–166 154, 177 translations of, 106, 139–140, sexuality, 12–13, 62 141, 148–149, 156, 158, 177–178 and violence, 14, 33, 52–53, Yoshida Hiroaki, 209 85–86, 91 and Kurosawa remakes, 38, and war, 91, 105, 162, 188–189-n.6 54–56 see also Heroines Zatôichi, 191-n.9.2, 192-n.14, 206 , 144, 146, 158, 178 plot of, 156–157 Yojimbo, xix, 14, 51, 143, 151–152, story, 156 155, 162, 163, 167, 170, Zwick, Edward, 91, 209 192-n.5, 109 and Kurosawa remakes, 78, 87–90