Screening report on either Seven summurai, Wooden Camera or Totsi Essay

masking piece report on either Seven summurai, Wooden Camearned run average or Totsi - Essay Exampleny movie theatres from the analysts perspective, we can, without prompting from spud critics or historians, begin to understand Kurosawas own sense of Nipponese nationalism. Perhaps in even more depth, we might gain a sense of what can be described as traditional nationalism. In other words, in his use ups Kurosawa forefronts the Japanese pre World state of war II traditions arising out of patriarchal family, honor, humility, and loyalty to Japans imperial emperor.There is, too, a great vista of Kurosawas sentiment towards the Japanese role in World War II, and the Japanese nuclear holocaust, which brought near an end to the war in the Pacific. His expressions comes through in the directors choices and use of symbolism, and in tell apart tradition with the move away from tradition, especially the move away from loyalty to the emperor, and towards World War II militaristic gov ernance.This brief analysis, to focus on these elements, well limit that range of focus to just one film, The Samurai Seven. This film embodies Kurosawas own sense of traditional nationalism, his sense of his pre and post war culture, and even comments on the Japanese nuclear holocaust. It is important to keep in mind that The Seven Samurai is a post war film.Kurosawa was well(p) received in Japan, even before his great post World War II film career commenced, which was the period for which he is roughly well known. Sanshiro Sugata was financed in part by the pre World War II Japanese Film Council because, historian David Cook writes, government officials misinterpreted Kurosawas metaphoric message, and perceived the film to be useful as propaganda (Cook, 1996, 833). Most of the Japanese filmmaking in the pre World War II era was focused on works that would help move Japan away from imperialism, and toward a military mince over the government that was eager to expand Japanese aut hority and control in East Asia.For the most part, Japanese cinema was very nationalistic, and,