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The Warrior's Camera By Stephen Prince
PDF Download The Warrior's Camera By Stephen Prince
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- Sales Rank: #453294 in Books
- Brand: Brand: Princeton University Press
- Published on: 1999-10-25
- Released on: 1999-11-14
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.11" w x 6.00" l, 1.36 pounds
- Binding: Paperback
- 440 pages
- Used Book in Good Condition
Review
One of Choice's Outstanding Academic Titles for 1991
"The Warrior's Camera is not only a thoughtful, stimulating and rigorous study but also a major addition to both Kurosawa and Japanese film scholarship. Its examination of the intersection of self, culture, and history is meticulously done; its extended close analysis of individual films, especially Ikiru, Yojimbo, High and Low, and Red Beard, is superbly confident."--Film Quarterly
"The subtle nuances that enrich Akira Kurosawa's intense cinemagraphic imagery distinguish Stephen Prince's insightful study, The Warrior's Camera."--American Cinematographer
"[Prince's] close analysis of the films generates many superb insights. This work is accessible, nicely illustrated and an essential text about a great subject."--Choice
From the Back Cover
The Japanese film director Akira Kurosawa, who died at the age of eighty-eight, has been internationally acclaimed as a giant of world cinema. Rashomon, which won both the Venice Film Festival's grand prize and an Academy Award for best foreign-language film, helped ignite Western interest in the Japanese cinema. Seven Samurai and Yojimbo remain enormously popular both in Japan and abroad. In this newly revised and expanded edition of his study of Kurosawa's films, Stephen Prince provides two new chapters in which he examines Kurosawa's remaining work, placing him in the context of cinema history. Prince also discusses how Kurosawa furnished a template for some well-known Hollywood directors, including Martin Scorsese, Steven Speilberg, and George Lucas.
The Warrior's Camera examines the four creative stages of Kurosawa's work. After exploring the development of Kurosawa's visual style in his early films, the book shows how he used this style in subsequent films to forge a politically committed model of filmmaking. It then demonstrates how the collapse of Kurosawa's efforts to participate as a filmmaker in the tasks of social reconstruction produced a revision of his style in the pessimistic films of 1970-1985. Finally, it examines the psychobiographical mode of Kurosawa's last films, produced when the director was in his eighties and preoccupied by issues of aging and his artistic legacy.
About the Author
Stephen Prince is Associate Professor of Communication Studies at Virginia Tech. His recent books include Savage Cinema: Sam Peckinpah and the Rise of Ultraviolent Movies.
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