Download Faith and Spirituality in Masters of World Cinema: Volume II by Kenneth R. Morefield PDF

By Kenneth R. Morefield

Religion and Spirituality in Masters of worldwide Cinema, quantity II keeps the paintings offered within the first quantity of this name, released through Cambridge students Publishing in 2008. It offers trained but available articles that may provide readers an advent to masters of worldwide cinema whose works discover the subjects of human spirituality and non secular religion. quantity II comprises essays facing canonical administrators particularly absent from the 1st access of the sequence (such as Godard and Kurosawa) whereas additionally together with examinations of up to date auteurs who're nonetheless actively operating (for instance, Andersson, and von Trier). whereas keeping a really overseas emphasis it contains essays approximately administrators from the USA, Canada, Iran, Sweden, India, Denmark, Italy, Mexico, Australia, and Japan quantity II additionally acts as a big contribution to canon formation, illustrating the complexity and diversity within the movies of these who're actually the masters of worldwide cinema. equipped solidly round shut, formal readings of selective motion pictures, the essays in quantity II additionally exhibit familiarity with movie historical past and convey perception from such different disciplines as New testomony experiences, scientific Psychology, artwork heritage, and Medieval background. It additionally seeks to develop the knowledge of religion and spirituality, studying how the which means of such phrases adjustments because the cultures that produce the artwork that defines them keeps to conform.

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Kurosawa also made it clear that, in creating the screenplay and directing this film, he was drawing from his own survivor guilt, carried over from his experience of the Great Kanto Earthquake (Saburo 153). The narrative of Rhapsody is fairly straightforward, following the lives of Kane and her four grandchildren over the course of a summer vacation. The kids–ranging in age from pre-teen to late adolescence–are staying with Kane while their parents pay a visit to Kane's long-lost brother in Hawaii.

Nonetheless, the beauty of this final sequence is such that the last images of Kane leave not an impression of frailty but of strength and innocence (Richie 226). As her progeny hurtle along, stumbling and falling into the mud, she alone remains steady (Shapiro 62). "Kane is now not a mentally confused woman but a brave warrior whose struggle against the rain and wind transforms her into an allegorical icon affirming the dignity and preciousness of life" (Yoshimoto 371). Kurosawa's theory of the multiplying effect of sound and image is potently on display here.

Healing, instead, comes through inhabiting the special space of the clinic, a region of quiet, stability, and security so different from the outer world" (Prince 243). On the other hand, when action moves outside of the clinic–whether due to character movement or temporal relocation via flashback– dangerous events occur: violent winds, torrential rain, earthquake, landslides, and human brutality (Prince 244). With such occurrences we are placed back in the disordered world of Kurosawa's postwar films: the shattered gate of 12th Century Kyoto in Rashomon; bombed-out postwar landscapes of Ikiru, The Bad Sleep Well, and numerous others; or the Sengoku Jidai (“Time of the Civil Wars") of Seven Samurai, Throne of Blood, and The Hidden Fortress.

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