By Kenneth R. Morefield
Religion and Spirituality in Masters of worldwide Cinema, quantity II keeps the paintings offered within the first quantity of this identify, released via Cambridge students Publishing in 2008. It presents trained but available articles that might supply readers an advent to masters of global cinema whose works discover the topics 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 latest auteurs who're nonetheless actively operating (for instance, Andersson, and von Trier). whereas keeping a really foreign emphasis it comprises essays approximately administrators from the U.S., Canada, Iran, Sweden, India, Denmark, Italy, Mexico, Australia, and Japan quantity II additionally acts as a tremendous contribution to canon formation, illustrating the complexity and diversity within the motion pictures of these who're really the masters of global cinema. equipped solidly round shut, formal readings of selective movies, the essays in quantity II additionally show familiarity with movie historical past and convey perception from such assorted disciplines as New testomony reports, scientific Psychology, paintings historical past, and Medieval historical past. It additionally seeks to increase the knowledge of religion and spirituality, studying how the that means of such phrases alterations because the cultures that produce the artwork that defines them maintains to conform.
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Additional info for Faith and Spirituality in Masters of World Cinema: Volume II
The Flayed Hare: Trauma and Hope in the Late Films of Kurosawa 33 In Rhapsody’s unambiguously positive portrayal of Kane's faith, thrice seen praying at a Buddhist shrine set in a lovely field of green, one is reminded of the other affirming portrait of religious practice, seen in Kurosawa's first film, Sanshiro Sugata. Here, as the title character walks along with his judo master, they witness their opponent's daughter praying at a Shinto shrine. The teacher's words to Sanshiro could just as readily apply to the camera's gaze as we watch Kane: "In praying, you discard your ego.
Three darker chapters then intervene–an encounter with Vincent van Gogh shortly before his suicide, and two portraits of a nuclear-induced hell on earth–but the film then ends on a more hopeful note. In contrast to the blood-red pools of the post-nuclear war landscape of the seventh dream, the final dream finds “I” in an earthly paradise, a village of watermills along a pure stream. Filthy water, by contrast, had long been a symbol in Kurosawa’s work of social decay leading to the corruption of individuals.
Here, as the title character walks along with his judo master, they witness their opponent's daughter praying at a Shinto shrine. The teacher's words to Sanshiro could just as readily apply to the camera's gaze as we watch Kane: "In praying, you discard your ego. In leaving yourself, you become one with kami. There is nothing mightier than this beauty” (Klinger 134). A meaningful communal faith and spirituality can restore wholeness to the self fragmented and isolated by trauma, and this is demonstrated during Kane's third visit to the local shrine.