Take for example that you meet a few friends over for dinner and the conversation is steered to the city park. Jeremy may be right about Richie making too direct an assumption about the triangle. The story revolves around the rape of a woman and the murder/suicide of her husband in a forest. The Gate, we must remember, is not just any gate but the capital city’s mighty Rashomon, a symbol in some ways of Japan itself. The Rashomon effect derives its name from the 1950 Akira Kurosawa film by the same name―Rashomon. the husband: the neocortex of the brain. Barbarow’s oversight here is perhaps that he didn’t ask why these things actually weren’t shown in the film. The scene with the medium in particular is stunning on the big screen, I felt a chill run down my spine watching it that I never experienced on my other viewings. I saw the restored version on the big screen a couple years back, and agree heartily with Ugetsu that there is something lost on the little screen. This website uses cookies to improve your experience. What is interesting is that the closer we get to the inner grove, the more tangled and less linear or upright the forest becomes; the visual echoes of the gate’s pillars disappear.

The husband being at the peak, claims ownership of all with in the shape. As you indicate they serve no function in the plot and that’s probably why I’ve overlooked them; I’ll have a look at the scenes soon and see if anything comes to mind. Ugestu, I have been lucky enough to see Yojimbo on the big screen. This phenomenon of relating the same incident through varied interpretations was so novel and unique that it came to named The Rashomon Effect since. I just happen to like Richie’s mention of conflict, I havent had to chance to hear what he said, but I think he is lacking depth to the bandits role in the shape. The man, a lowly servant recently fired, is contemplating whether to starve to death or to become a thief to survive in the barren times. His “It was three days ago” does not refer to the trials (as I previously claimed) but to the events that he is about to narrate. Water is traditionally (although I don’t know if this is true of Japan) seen as a feminine element, and symbolises (among other things) purification, life and fertility. First, Kurosawa presents a long shot from behind the woodcutter as he walks into the sunlight in vivid contrast to the shadow over the gate. It is due to this that it becomes extremely difficult to verify the truth. Don’t know if Kurosawa intended that, though. Ask Claes Oldenburg, (http://en.wikipedia.org/wiki/File:Dropped_cone_Cologne.jpg) or any filmmaker. Rashomon has four POVs, not three. The story is set at the end of the period when floods and earthquakes have devastated the city and the impressive gate has been left to fall to pieces. And they can intermingle, mix, go into totally different directions and still make sense as a whole. The forest, of course, is the provider of shade and therefore, in McDonald’s interpretation, the domain of impulsiveness, which manifests itself as what we would see as cowardice. As he walks toward the camera, he stops and bows to the priest, beaming with happiness. Yoshimito (189) very briefly touches on the idea that the film on some level could be seen as dealing with the post-war conditions in Japan. The Rashomon effect is a phenomenon that describes how a single entity is described differently by different people. The first two are apparently the short stories on which Kurosawa's famous film, "Rashomon," is based. intellect. These posts help inspire a paper I did for Rashomon in a film class earlier this year. The glade and the forest – Kurosawa gives us enough clues in Something Like an Autobiography for us to be able to guess what he intended.
Does this mean that there is misleading involved?

For a third person who’s witnessing this conversation, both viewpoints will seem legitimate because you are, after all, stating facts; but, there will be a dilemma in his mind about whether the park is worth visiting or not. Getting back to Rashomon at last, I take back my earlier speculations about the role of water – I do think that Vili is right on the mark when he writes about how Tajomaru is beyond redemption and therefore cannot be purified by water. Thanks! If the rain symbolises travails and the mud the muddying of moral clarity, it is no surprise that the commoner seems to emerge out of the very mud – his element being the morass. It portrays the differing accounts put forth by the husband, wife, and the witnesses of the event. The Michigan just did Rashomon again.

The film was, after all, sold to Daei with the idea that it would be cheap: three locations, a handful of actors.

Actually, I just had a look at my dictionary of symbolism and while there’s nothing about a bow it does mention that the arrow is for psychoanalysists the symbol of phallic sadism. Towards in the inner grove, there is no such linearity and uprightness. As usual I don’t really have much time to put my thoughts into proper order or to revise what I write but I’ll do my best. At the same time, I can certainly see the sense of the triangle as suggesting uncertainty or conflict, as Vili says, at least on the thematic level and in the relationships between characters. Though this collection was published in 1999, long after Akutagawa's death in 1927, the earliest of the six stories was first published in 1915. The gate, in other words, now serves not as a stopping place but as a portal from one state to another. "Rashōmon" (羅生門) is a short story by Ryūnosuke Akutagawa based on tales from the Konjaku Monogatarishū. (I am currently at yet another airport, and don’t have Yoshimoto with me, so I can’t check. I often think that some people over think the story and/or the directing too much. Also as Vili second picture shows, to me at least its again a means of grouping all those under the gate together, rather then presenting conflict, but I suppose that feeling is easily debatable. That is a triangle in itself. Reading through it again, I’m not sure how much Kurosawa would have been aware of these details on a conscious level (presuming there is any verity to the idea that the verticals stand for something), but that’s a thing about an artist being focused on a work – even the smallest things reflect that vision. Her later trying to drown herself could then be taken as an act of purification, her (attempt at) cleansing of herself of the evil that has been done to her. With your post in mind, it would perhaps be interesting to look also at the courtyard scenes and the varying postures adopted by the characters when they give their accounts. I think that I got the chronology wrong, or actually I think that I either misunderstood what Yoshimoto wrote or Yoshimoto got it wrong. The trouble that I do have, however, is that I lack any sort of background in Japanese culture and of course the meaning of symbols is at least in part culturally determined. A stream, of course, also has a relatively strong sexual connotation. The Rashomon gate that gives the story its title is both the setting for the story and a major symbol. Moreover, I don’t think that any artist is ultimately totally conscious of what they are doing. Copyright © Psychologenie & Buzzle.com, Inc. The scene with the medium in particular is stunning on the big screen, I felt a chill run down my spine watching it that I never experienced on my other viewings. As with recent philosophers who, like Thomas Nagel, take issue with the possibility of a ‘view from nowhere’, so too does Kurosawa’s adoption of Ryunosuke Akutagawa’s short story. You are so right! Interesting thing for the husband to be carrying around. Jeremy probably knows more about this than I do, but Richie notes that triangular compositions are generally used to communicate uncertainty and conflict, as opposed to squares (calmness) and circles (togetherness). Kurosawa, you could argue, may have had something more specific in mind, considering the film’s immediate post-war timing (it was actually originally planned for 1948). I am going to update the website software today, with the hope that it would stop that happening.). I am personally not at all sure if I understand why the signboard is a religious symbol. The priest, in the scene where he glimpses the husband and wife, is seen to carry a staff of wood, standing for his moral uprightness. Can You Use Cognitive Behavioral Therapy for Schizophrenia? I’ll be reading over this thread again for any further thoughts. In fact, it is a very popular narrative device. The husband and wife following the straight and narrow path, hemmed in by pieces of bamboo(?). Brain Training or Exercising Your Mind Like a Muscle. Sanjuro wrote: Despite having resized the photo on said site so that it appears small, it still appears here as enormous, spilling over the edge of the message board window.

I wouldn’t go around saying that Kurosawa intended this, but it’s just an interesting coincidence.


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