#Throne of Blood

[swampjawn]

God I love animation. I love it for the way it can bring anything to life beyond the constraints of boring ol' reality, but also the ways that it's inextricably linked to, and draws on the conventions of live-action film-making.

So fuck it, let's look at how Hayao Miyazaki straight up copies some camera framing techniques from his predecessor and the other most influential Japanese filmmaker of all time, Akira Kurosawa! (Kurosawa really was the master of framing scenes around his characters, so he's a great source of inspiration)

(btw, this is a screenshot from this TV special where the two met for the first time just after the release of Kurosawa's final film. It's pretty interesting, and also very cute how nervous Miyazaki seems to be to meet one of his idols.)

Specifically, how the two each choose to break the 180 degree rule (well, not technically 'break' in the case of Kurosawa) to show their protagonists' changing destiny in "Throne of Blood" and "Princess Mononoke".

For anyone who doesn't know, the 180 degree rule is a basic film-making rule of thumb which states that in any scene where two characters interact, you should draw an imaginary line between them and the camera should always stay on one side of that line.

("In the Mood for Love" - Wong Kar-wai)

This way, one character is always looking to the right of the camera, the other is always looking to the left, and the audience doesn't get confused by the geography of the scene. Crossing this line can be disorienting, but when done intentionally, it can convey a paradigm shift of some kind in the scene.

In this scene from "Throne of Blood," (a feudal Japanese retelling of Macbeth) Washizu's wife Asaji discusses tactics with him and tries to convince him to aspire to the throne and to assassinate his lord Tsuzuki while he sleeps.

As two servants appear to notify them that Washizu's sleeping quarters are prepared, the camera dollies left and around the characters' backs. This camera movement is motivated by the motion of the servants' torches outside the room, but it also signifies a change in Washizu's outlook.

Washizu is completely silent for most of this scene, contemplating his wife's advice. But as the camera slides behind his back and across the line of action, the scene is now re-framed, illustrating his change in perspective.

He's been convinced and the trajectory of his life is about to change - and now, facing away from the camera, is the time for action.

Because the camera slides smoothly across the line, Kurosawa isn't technically breaking the 180 degree rule. Miyazaki on the other hand, takes it a little further.

The complimentary scene in Princess Mononoke comes near the start when the wise woman of the village reads Prince Ashitaka's fortune after he's cursed by the wild boar spirit. She tells him that it is his fate to leave the village and travel to the west, where he may be able to lift the curse on his arm. The trajectory of Ashitaka's life changes in this moment too. As he accepts his fate, the change is symbolized by him cutting off his hair, but also by the camera jumping the line.

Throughout this dialogue scene and even as he cuts his hair, the simulated camera sits just slightly to the side of Ashitaka's left shoulder.

But once it's done, for the final shot, the scene is reframed and we jump to the other side, where Ashitaka is now looking to the right of the camera instead of the left.

Making the camera dolly across a scene like Kurosawa's version in 2D animation is no simple task, so this transition with a simple cut is in a way subtler, in another way a bit more jarring, but it conveys the same meaning.

This is the moment when our protagonists make the choice to embark on a new destiny and re-frame their lives.

This has been an excerpt from a short video essay I made a while back, which not many people watched. I think this is at least in part due to my failure to package it well, and it seems you tumblheads like this animation/cinematography analysis stuff, so this is an experiment to see if, with the help of y'all, and a new title and thumbnail, it's at all possible to give this video a second wind in the eyes of the Youtube Gods!

So if you found this interesting, I'd appreciate if you checked it out! Thanks for reading!

[amatesura]

Throne of Blood (1957) | dir. Akira Kurosawa

[nerdreamer]

[victusinveritas]

Throne of Blood, Akira Kurosawa

[throneofblood-if]

Chapter 5: Dai is up now!

Thanks so much for your patience. As always, please let me know if there are any issues, no matter how small. It's inevitable that I'll miss something.

In this update, you'll be spending time with Dai and get to know them a little more; their insecurities and their toils.

Your hunt for the witch will see you being introduced to two mortals. Delve deeper into the Zarus Empire with them and see how the mortal society truly functions.

It's 55,672 words without code.

Play here | Forum | Ko-fi

[boydswan]

THRONE OF BLOOD (1957) dir. Akira Kurosawa

[sonimage1965]

Toshiro Mifune and Akira Kurosawa

On the set of

Throne of Blood (1957)

[bobbole]

Joe Wilson, illustration for Throne of Blood by Akira Kurosawa

[cimmerian-war-shrine]

[junior-stargazer-goke91]

Throne of Blood (1957)

Director: Akira Kurosawa 

Cinematographer: Asakazu Nakai

[rosencrantzsguildenstern]

Set in a three Michelin star restaurant owned by celebrity chef Duncan Docherty, with Joe Macbeth as the sous chef and his wife Ella as the Maître d'. Joe and his fellow chef Billy Banquo are annoyed that Duncan takes the credit for Joe's work, and that Duncan's son Malcolm has, in their opinion, no real flair for the business. Then they encounter three supernatural binmen who predict that Macbeth will get ownership of the restaurant, as will Billy's children. Joe and Ella are inspired to kill Duncan, but the binmen subsequently warn that Macbeth should be wary of Peter Macduff, the head waiter.

Banquo's name is Billy Banquo, Macbeth's name is Joe Macbeth. Macbeth is played by James McAvoy WITH the Scottish accent. The witches are garbage men. A pig flies. It's like if The Bear was literally Macbeth and James McAvoy was there. It's genuinely so good I think it's still all on youtube. It's literally SO 2005, it's my babygirl. Let it be known this movie came out the same year as the first Narnia movie so James McAvoy was Mr Tumnus AND Macbeth in the same year which I think is delightful.

A retelling of MacBeth set in feudal Japan. Returning to their lord's castle, samurai warriors Washizu and Miki are waylaid by a spirit who predicts their futures. When the first part of the spirit's prophecy comes true, Washizu's scheming wife, Asaji, presses him to speed up the rest of the spirit's prophecy by murdering his lord and usurping his place.

Overall this just translates the rising sense of the doom and drama of Macbeth so well! The film is also beautifully atmospheric. It really leans into using mist and darkness to set an eerie feeling tone. Shoutout to Washizu’s (Macbeth’s) absolutely wild death scene in this version.

Moody, atmospheric, visually beautiful film that captures the vibe of Macbeth better than any I've seen. The illusion of the trees moving is astonishing (especially if you're lucky enough to see this on a big screen) and Lady M's hand-washing scene is as creepy as you'll ever see. And Toshiro Mifune gives a splendid performance (and is extremely hot).

[theblindninja]

Toshiro Mifune en Throne of Blood de Akira Kurosawa,1957

[cesarescabinet]

(this is spacekrakens lmao) dude idk anything about like 1950s Japanese cinema, do you have any recommendations? looking for stuff to toss on the watchlist now that I'm a bit burned out on horror (unless you have some horror recs)

Hey! If you’re curious about Japanese cinema (particularly 1950s), there’s a lot of avenues to explore! Musicals, crime, horror, historical—it all depends on what mood you’re in. (Putting this under a read more because I'm DEFINITELY going to be long posting about this!!!) Hope this is useful to you lol.

(Also noting if anybody wants to add to this list with their own recommendations feel free!!)

With old school Japanese cinema, I’ll always recommend Akira Kurosawa (obviously). He’s made some of the best Japanese movies (and arguably, the best movies of all time imo) and I feel like his work is a good gateway. It’s readily available on physical media/streaming too.

Specifically ‘50s stuff; Hidden Fortress (1958) is a good adventure flick whose structure was swiped for Star Wars, Throne of Blood (1957) is Japanese Macbeth if you like Shakespeare, and if you don’t mind a longer movie Seven Samurai (1954) includes Toshiro Mifune acting like this;

Gotta admit, though—my personal favorites from Kurosawa don’t come from the 1950s; Drunken Angel (1948) and Yojimbo (1961). One has a pathetic gangster as the main lead, the other is just a solid, breezy proto-action film (also has my beloved Unosuke but that's besides the point)

Some personal favorites of mine from the 1950s:

Life of a Horse Trader (1951) is a bittersweet story about a man trying to be a good single father to his son in the backdrop of Hokkaido. He tends not to be great at it. Stars Toshiro Mifune, the most famous face of Japanese cinema and for good reason!

Conflagration/Enjo (1958) is a single Buddhist acolyte’s fall into quiet insanity. Raizo Ichikawa is another amazing actor who I love! Also includes Tatsuya Nakadai who is the GOAT (in my heart).

Godzilla (1954) is AMAZING! If you liked Gozilla Minus One, it took a lot of familiar cues from this movie. It also technically counts as horror, depending on your definition.

Japanese horror from the 1950s:

Ugetsu (1951) (Not one I’ve seen personally, but it’s on Criterion)

The Beast Shall Die (1958) (American Psycho, but in Showa Japan. Tatsuya Nakadai is terrifying in this and absolutely despicable—stylish movie tho!)

Ghost of Yotsuya (1959) (Old-school Japanese ghost story. Honestly, there are so many different versions of this story on film that you can pick which version to watch and go from there—I’m partial to the 1965 version myself, because of the rubber rats and Tatsuya Nakadai playing a crazy person).

The Lady Vampire (1959) is the OG western-style vampire movie from Japan. Plays around with the mythos a lot, but hey our Dracula looks like this;

Misc movies that I think are neat or good gateway movies:

The Samurai Trilogy by Hiroshi Inagaki, which stars Toshiro Mifune as Miyamoto Musashi. Found that people otherwise uninterested in Japanese cinema really enjoyed this!

You Can Succeed, Too (1964) is one of my favorites from the ‘60s, also directed by Eizō Sugawa. A fun satire on the corporate world that's super colorful with catchy songs.

The Sword of Doom (1966) is also another favorite of mine, starring my beloved Tatsuya Nakadai as another bastard man (seriously though Ryunosuke is FASCINATING to me--). Fun gore effects and action scenes!

Kwaidan (1964) is an anthology of Japanese folk tales, labeled a horror film but in that kinda sorta old-school way. Beautifully shot by my favorite Japanese director Masaki Kobayashi (who, if you like this you should seriously check out his other work!)

[zegalba]

Undercover: "Throne Of Blood" Mountain Jacket Autumn/Winter 2020

[mirkokosmos]

蜘蛛巣城 [1957年]

[throneofblood-if]

Update #28 DEC 2023

Hello, everyone~! I've been working on some personal projects so I haven't started on Cy's chapter yet. I'm hoping to start again next year, but to be honest I probably have to replay the game to remember what on earth I wrote 🫠 (and make notes this time because it's getting so expansive) Also to crosscheck if the character descriptions match the character art...

So for now, have an art of Eliazar/Eleanor, and happy holidays!