Truth and beauty: Confucian philosophy in the films of Akira Kurosawa through the documentary film medium

This doctoral research consists of two 90 minute DVD documentaries and a complementary text about the Japanese film director, Akira Kurosawa, a major figure in 20th century cinema. It focuses on how the Confucian cultural heritage has informed many aspects of his approach to filmmaking, especially his manifestation of philosophical and aesthetic concepts. To bridge the gap in the existing critiques of Kurosawa’s films, the research incorporates critical analysis of interviews with twelve filmmakers and scholars in philosophy, history, arts, drama and film. The interviews discuss the aesthetic elements from traditional arts and theatre, and address a failure in the literature to draw from the deep meaning of the Confucian cultural heritage. The first documentary, An Exploration of Truth in the Films of Akira Kurosawa, has three sections: The Way of Self- Cultivation, The Way of Cultivating Tao and The Way of Cultivating Buddhism. It explores how the films of Kurosawa manifested the Confucian philosophy via inner self-cultivation, which displayed his humanist values. It also examines the ‘outer enlightenment pattern’ in Kurosawa’s films which effects profound dramatic tension. The interrelationship between Confucianism, Shinto and Buddhism in different periods of Kurosawa’s films is explored, focusing on issues of historical background, cultural heritage and philosophy and film narrative elements. The second documentary, The Origin and Renovation of Traditional Arts and Theatre in the Films of Akira Kurosawa, has three sections: Structure and Mise-En-Scene from Noh and Kabuki, Representation and Symbolism from Noh Masks and Chinese Painting and Color and Mise-En-Scene from The ‘Five Elements’ Theory and Japanese Prints. It explores not only the deeply symbolic aspects of the films of Kurosawa, by tracing the roots of his cultural heritage including Noh, Kabuki, Chinese painting and Japanese prints, but also his use of those traditional arts and theatre to inform his film aesthetics and narrative elements. As an adjunct to the two documentaries, the written text explores the truth of the onstant virtues and the beauty of yugen in Kurosawa’s films, to address the extisting inadequate film critiques. The text focuses on how Kurosawa injected Confucian principles of ‘self-cultivation’, ‘The Five Constant Virtues’ and human nature into the philosophy and action of his characters. It also examines the aesthetic concept of yugen and the philosophical concept of the Tao in Kurosawa’s films, which manifested the Confucian philosophy, and its inter-relationship with Taoism and Chan Buddhism. The aesthetic concept includes the forms and symbolism of traditional art forms consisting of elements of Noh and Chinese painting, including flash back structure, spirit character, symbolic use of colors, and mise-en-scene, which was drawn on by Kurosawa. This text also includes the production strategy and production process of the two documentaries. It intends to provide an overview of the conceptual, craft and collaborative skills required in the phases of development, pre-production, production and post production of the two documentaries. This research shows how the films of Akira Kurosawa could be both an illustration of a philosophical theory and also sites of deep thought on the value of humanity within the Confucian philosophy. The two documentaries may advance film research by communicating visual and audio interpretation of film philosophy and aesthetic narrative elements in Kurosawa’s films, to both contemporary film makers and students. It is hoped that the text will contribute to film theory by recognizing the distinct use of Confucian philosophy in the films of Kurosawa