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Relevant bibliographies by topics / Samurai films

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Academic literature on the topic 'Samurai films'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Samurai films"

1

Varley, Paul, and David Desser. "The Samurai Films of Akira Kurosawa." Journal of the Association of Teachers of Japanese 20, no. 1 (April 1986): 86. http://dx.doi.org/10.2307/489527.

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Ehrlich, Linda C. "Beyond Swords and Samurai: Another Look at the Films of Kurosawa." Asian Cinema 13, no. 1 (March 1, 2002): 44–56. http://dx.doi.org/10.1386/ac.13.1.44_1.

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Nordin, Kenneth. "Images of Uma (Horses) in the Samurai Films of Akira Kurosawa." Asian Cinema 14, no. 2 (September 1, 2003): 155–69. http://dx.doi.org/10.1386/ac.14.2.155_1.

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Barrowman, Kyle. "The Availability of Jim Jarmusch’s Film-Philosophy: Wittgenstein, Derrida and Private Language in Ghost Dog: The Way of the Samurai." Film-Philosophy 26, no. 3 (October 2022): 352–74. http://dx.doi.org/10.3366/film.2022.0205.

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To date, film scholars have found the films of Jim Jarmusch to be tantamount to works of postmodern philosophy. For as intriguing and productive as such interpretations of Jarmusch’s films have been, I submit that the postmodern framework occludes a crucial aspect of Jarmusch’s film-philosophy, namely, his investment in the ordinary. From this perspective, I intend to show the availability of Jarmusch’s films to Wittgensteinian interpretation. More specifically, I plan to situate Jarmusch’s arthouse action film Ghost Dog: The Way of the Samurai (1999) between Ludwig Wittgenstein and Jacques Derrida in order to demonstrate the profound affinities between Jarmusch’s film-philosophy and Wittgenstein’s conception of ordinary language. Through a consideration of character dialogue, I will demonstrate the extent to which Jarmusch rejects the private language argument – which, by extension, amounts to a rejection of linguistic relativism as an instance, or species, of skepticism – in favor of ordinary conceptions of language, expressiveness, knowledge, and responsibility.

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李, 承泽. "New Frontiers in Japanese Film Studies—A Review on the Research on Japanese Samurai Films." Art Research Letters 12, no. 04 (2023): 340–43. http://dx.doi.org/10.12677/arl.2023.124057.

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Stańko, Paweł. "Cowboy and Samurai Values and Their Exponents in the Western "A Fistful of Dollars" (1964) and Its Predecessor the Samurai Movie "Yojimbo" (1961): Proposal of a Methodological Framework for Axiological Analyses of Multimodal Filmic Texts." Anglica Wratislaviensia 57 (October 4, 2019): 149–65. http://dx.doi.org/10.19195/0301-7966.57.12.

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This paper focuses on the issue of valuations and values in the chosen movies linked by the relationship of remaking. Its goal is to show that the complexity of multimodal texts, to which filmic texts and therefore remakes belong, makes it necessary to examine the axiological level of film texts too. In this way we hope to prove that the amply justified and evidenced axiological aspects of language cf. Krzeszowski, Angels, Aspekty, Equivalence; Puzynina, “Językoznawstwo”, Język are also a property of primarily visual film texts. Consequently, the very aspects of the relationship of remaking itself that the two films share, i.e. the fact that the film A Fistful of Dollars 1964 is a remake of Yojimbo 1961, is not examined in this paper. Instead, we restricted our attempt to showing how axiological charges and values are expressed in the process of remaking. The basis of the analysis is the compositional level and the compositional-narrative structure of filmic texts, a choice which correlates with the approach to multimodality of filmic texts described in Post Film. The sample axiological analysis presented in the fourth section of this paper relies on the approaches of Krzeszowski Angels, Meaning, Puzynina “Językoznawstwo”, Język and Post Film. With the instruments selected from these works we underline the differences and similarities between values and axiological charges present in both films as well as their importance and impact on the overall meaning of filmic segments.

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Paryż, Marek. "Contemporary Transnational Westerns: Trajectories and Constellations." Studia Filmoznawcze 38 (June 21, 2017): 5–14. http://dx.doi.org/10.19195/0860-116x.38.1.

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This introductory article maps out the main directions to be observed in contemporary transnational Westerns. It looks specifically at three areas beyond the United States where the films in the Western genre have assumed the most symptomatic forms: Europe, Australia and Japan. European Westerns seem to comprise awider scope of artistic possibilities offered by the genre than elsewhere, as they subscribe to one of the following models: apopular action/sensational formula, an artistic engagement with the convention, or aparody. The Australian Western is related to the American genre primarily through historical analogies, while the Japanese Western has developed thanks to the similarity of the archetypal plots of U.S. Westerns and Japanese samurai films. WSPÓŁCZESNE WESTERNY TRANSNARODOWE: TRAJEKTORIE I KONSTELACJEArtykuł omawia pokrótce główne tendencje we współczesnych westernach transnarodowych. Szczególną uwagę zwrócono na trzy obszary geograficzne, gdzie gatunek przybrał w ostatnich kilkunastu latach najbardziej symptomatyczne formy: Europę, Australię i Japonię. Westerny europejskie dają najszerszy przegląd możliwości kreacyjnych i oscylują między trzema modelami: film akcji, parodia i artystyczny dialog z konwencją. Westerny australijskie korespondują z amerykańskimi przede wszystkim z uwagi na analogie historyczne, a produkcje japońskie — z racji podobieństw archetypów obecnych w westernach i filmach samurajskich. przeł. Kordian Bobowski

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8

Teo, Stephen. "Confucian Orientalism and Western Outlook in Martial Arts Film." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 65–82. http://dx.doi.org/10.1515/jcfs-2021-0006.

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Abstract This paper discusses the martial arts genre with reference to the films of the Japanese master Kurosawa Akira and the Chinese director Zhang Yimou, discussing how both directors converge in their themes and styles through the concept of “Eastern Orientalism.” Such Orientalism is based on Confucian precepts of zhengming (rectification of names), chaos theory, and the defense of the people undertaken by militaristic but heroic individual protagonists (samurai or xia). In raising the issue of Orientalism, the paper probes into the Western perceptions of the genre and the imperative of directors like Kurosawa and Zhang in pandering to Western tastes. However, these same directors seem equally preoccupied with fostering a sense of self and nationalistic expression in their response to and treatment of Orientalized content. The paper concludes with a discussion on The Great Wall (2016) as a comparative review of the Western and Eastern viewpoints at play in the US-China co-production. Here the analysis revolves around the issue of sameness, dramatized as a main theme in the film.

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BUKIN, DANILA S. "Discourse of Traditional Japan in the British Newsreels of the 1920s." Art and Science of Television 18, no. 1 (2022): 197–216. http://dx.doi.org/10.30628/1994-9529-2022-18.1-197-216.

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The article aims to distinguish the features of the language used to describe traditional Japan in the media discourse of the 1920s British newsreels. This becomes possible thanks to a modern trend of digitizing reels from the archives of companies which were involved in production and distribution of films at that time. In this paper, I consider reels of Pathé News, Gaumont Graphic, and Empire News Bulletin. At the present time, open access to video footage is provided by British Pathé Internet archive, therefore it served as a basis for my source database. The language for describing traditional Japan was derived from the media discourse of newsreels, or, in other words, their linguistic space, which determined the possibilities and limitations of expressive means; this is why considerable attention is paid to the reconstruction of this language. For this purpose, I address the multifaceted context of newsreel production. The article raises questions of authorship, motives, goals and objectives of newsreels, its audience and ideological content. In order to analyze the means for describing traditional Japan, I choose films in which discursive markers of Japanese culture are present: Japanese costumes, samurai and geisha, Shinto temples, cherry blossoms, chrysanthemums, summer umbrellas, wooden sandals, ritual practices, etc. Judging by the patterns used, British newsreels of that period reproduced the Western tradition of describing Orient as an ahistorical space in which ancient customs were preserved. At the same time, newsreels modified this Orientalist discourse by accentuating Western influence on Japan, giving it some temporality by placing it in the conventional context of modern civilization.

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Wang, Xinan. "Historical costumes in films of the Wuxia genre: origins and interpretation." Философия и культура, no. 6 (June 2024): 219–26. http://dx.doi.org/10.7256/2454-0757.2024.6.70826.

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The object of the study is a screen costume in cinema as an element of the visual and artistic-figurative system of a Chinese film in the genre of "wuxia". The subject of the study is the problem of the formation of historical costume in the films of Wuxia, the historical and cultural origins of the costume and the peculiarities of interpretation in various films of Wuxia. Such issues as the degree of study of the topic under consideration and a number of paintings from the late 1970s to the 1980s are analyzed. The analysis of the works reveals the specifics of the costume in Wuxia films, its relationship with traditional Chinese theater. Special attention is paid to the analysis of examples of the use of color in a costume as an expression of personality, social status and other characteristics of a character. The questions about the methods of displaying gender identity in a suit were raised. The methodology of the research consists in using a systematic approach at the intersection of art criticism, aesthetics, art practice, painting, film studies and film criticism. A systematic method, a historical and cultural method, and a system-structural analysis are used, which made it possible to consider the costumes of the characters as an integral part of the artistic concept of films by Chinese directors. The work provides a comprehensive study of the screen costume as a visual and expressive means, which helps to create a film image in the context of an artistic and imaginative solution to the subject-spatial environment of a Chinese film using the example of the Wuxia genre. For the first time, the historical and cultural origins of the costume are established at the stage of formation of the genre in cinema. The interpretive techniques and principles of Chinese directors in the use of costume in Wuxia films of the late 1970s - 1980s are revealed. The interpretation of the costume in the works of various Wuxia film directors is largely consistent with the traditional principles of the Beijing Opera. The hero's costume is perceived as an important means of communication with the viewer, visualization of the social status, clan affiliation, personality and emotional experiences of the heroes. Chinese directors of Wuxia films generally adhere to realism in the depiction of costumes of a number of socially labeled characters: a warrior (for example, a samurai), a monk, etc. Weapons make up the most important part of the character's costume, the type of weapon is also clearly consistent with his image, expressing primarily the social status of the hero.

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Dissertations / Theses on the topic "Samurai films"

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Lackney, Lisa M. "From Nostalgia to Cruelty: Changing Stories of Love, Violence, and Masculinity in Postwar Japanese Samurai Films." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279473191.

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Lancaster, Aaron A. "Yasuke: The Black Samurai." Digital Commons at Loyola Marymount University and Loyola Law School, 2016. https://digitalcommons.lmu.edu/etd/287.

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Alencar, Jorge Couto de. "Chanbara: a atmosfera nos filmes de samurai do sÃculo XXI." Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20018.

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CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior
A Chanbara, gÃnero cinematogrÃfico japonÃs, popularmente conhecido no ocidente como cinema de samurai, tem como uma de suas principais caracterÃsticas a atmosfera cinematogrÃfica, preocupaÃÃo recorrente do cinema do JapÃo. O presente trabalho procura aprofundar os estudos sobre o tema no cinema japonÃs do sÃculo XXI, atravÃs da pesquisa histÃrica e anÃlise fÃlmica. O primeiro foco da pesquisa Ã entender as caracterÃsticas que tornam o cinema produzido no JapÃo Ãnico e quais as particularidades do samurai, um personagem importante para a identidade japonesa e fundamental no cinema de Chanbara. Terminada a parte histÃrica, a pesquisa voltou atenÃÃo para os elementos da atmosfera cinematogrÃfica e sua importÃncia para o cinema de gÃnero. Em seguida, foi realizada uma anÃlise da criaÃÃo da atmosfera cinematogrÃfica dos filmes 13 Assassinos (Takashi Miike, 2010) e O Samurai do Entardecer (Yoji Yamada, 2002), obras do sÃculo XXI que mereceram seu devido destaque no cinema japonÃs e no gÃnero Chanbara.
Chanbara, the Japanese film genre popularly known in the West as samurai cinema, has as one of its main characteristics the cinematographic atmosphere, a recurring concern of Japanese cinema. This work seeks to deepen the studies on the subject in Japanese cinema of the 21st century through Historical research and film analysis. The first focus of the research is to understand the characteristics that make the cinema produced in Japan unique and what are the peculiarities of the samurai, an important character for the Japanese identity and fundamental in Chanbara cinema. After the historical part, the research turned its attention to the elements of the cinematographic atmosphere and its importance for genre cinema. Then, an analysis was made of the creation of the cinematic atmosphere of the films 13 Assassins (Takashi Miike, 2010) and The Twilight Samurai (Yoji Yamada, 2002), works of the 21st century that deserved their prominence in Japanese cinema and the Chanbara genre.

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Alencar, Jorge Couto de. "Chanbara: a atmosfera nos filmes de Samurai do Século XXI." reponame:Repositório Institucional da UFC, 2017. http://www.repositorio.ufc.br/handle/riufc/26631.

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ALENCAR, Jorge Couto de. Chanbara: a atmosfera nos filmes de Samurai do Século XXI. 2017. 136f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Comunicação Social, Fortaleza (CE), 2017.
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Chanbara, the Japanese film genre popularly known in the West as samurai cinema, has as one of its main characteristics the cinematographic atmosphere, a recurring concern of Japanese cinema. This work seeks to deepen the studies on the subject in Japanese cinema of the 21st century through Historical research and film analysis. The first focus of the research is to understand the characteristics that make the cinema produced in Japan unique and what are the peculiarities of the samurai, an important character for the Japanese identity and fundamental in Chanbara cinema. After the historical part, the research turned its attention to the elements of the cinematographic atmosphere and its importance for genre cinema. Then, an analysis was made of the creation of the cinematic atmosphere of the films 13 Assassins (Takashi Miike, 2010) and The Twilight Samurai (Yoji Yamada, 2002), works of the 21st century that deserved their prominence in Japanese cinema and the Chanbara genre.
A Chanbara, gênero cinematográfico japonês, popularmente conhecido no ocidente como cinema de samurai, tem como uma de suas principais características a atmosfera cinematográfica, preocupação recorrente do cinema do Japão. O presente trabalho procura aprofundar os estudos sobre o tema no cinema japonês do século XXI, através da pesquisa histórica e análise fílmica. O primeiro foco da pesquisa é entender as características que tornam o cinema produzido no Japão único e quais as particularidades do samurai, um personagem importante para a identidade japonesa e fundamental no cinema de Chanbara. Terminada a parte histórica, a pesquisa voltou atenção para os elementos da atmosfera cinematográfica e sua importância para o cinema de gênero. Em seguida, foi realizada uma análise da criação da atmosfera cinematográfica dos filmes 13 Assassinos (Takashi Miike, 2010) e O Samurai do Entardecer (Yoji Yamada, 2002), obras do século XXI que mereceram seu devido destaque no cinema japonês e no gênero Chanbara.

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Albrow, Stephen J. "The Significance of the Typical Samurai Image: A Study of Three Novellas by Fujisawa Shūhei and the Film 'Tasogare Seibei' by Yamada Yōji." Thesis, University of Canterbury. Languages and Cultures, 2007. http://hdl.handle.net/10092/1008.

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The thesis examines the samurai image portrayed within the film 'Tasogare Seibei' by Yamada Yōji and three novellas by Fujisawa Shūhei, upon which the film is based. An historical outline of the evolution of the samurai and their ideals is provided as a background to the works studied, with emphasis placed on the Tokugawa period. It is demonstrated that through their depictions of samurai, the novellas and the film make a significant social commentary about modernisation and Japanese values concerning power, status and wealth in the postwar period. Two of Fujisawa's novellas relevant to this thesis, 'Hoito Sukehachi' and Tasogare Seibei', have been translated here from Japanese into English. As these works have hitherto not been translated, this will facilitate a degree of access for English readers to Fujisawa's literature, which, aside from a single existing selection of short stories, is to date available in Japanese only.

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Paulsson, Björn. "Utmärkande drag i Akira Kurosawas filmskapande : Teman, Rörelse och Väder." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85524.

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Det övergripande syftet med uppsatsens är att belysa Akira Kurosawas unika färdigheter och utmärkande drag som filmskapare, vilket adresseras i tre frågeställningar: Vilka återkommande narrativa teman finns representerade i Kurosawas filmproduktion, och hur presenteras dessa i tre utvalda filmer? Hur använder sig regissören stilistiskt och filmtekniskt av rörelse i de tre filmerna? Hur tar sig väder och andra naturfenomen uttryck i de tre filmerna och vilken funktion har de där? Filmerna som analyseras är Drunken Angel (Yoidore tenshi/Den berusade ängeln, 1948), Stray Dog (Nora inu/ Revolvern, 1949) och The Hidden Fortress (Kakushi toride no san akunin/ Den vilda flykten, 1958). Analysen utgår från det neoformalistiska tillvägagångsätt som David Bordwell och Kristin Thompson beskriver. Genom främmandegörning identifieras och granskas återkommande teman, rörelse och väder och andra naturfenomen i filmerna, studerade i sina socio-historiska sammanhang. Rättfärdigandet av inslagen, dvs deras motivering, adresseras tillsammans med den funktion de intar i scenerna. I Kurosawas filmproduktion identifieras 17 återkommande teman, där två kluster av teman, regissörens förhållande till japansk tradition och hans humanistiska livssyn, är särskilt framträdande. Väder- och naturfenomen som regn, vind, hetta, eld och dimma förekommer ofta och intar speciella funktioner i filmerna, både estetiskt och narrativt. De interagerar även med karaktärerna. Rörelser i bildrutan åstadkoms filmtekniskt på olika sätt. De är viktiga visuella komponenter som skapar spänning och kontinuitet, men har även ett rent artistiskt värde. Genom variationer och kombinationer av återkommande teman, väderinslag och rörelse visar Kurosawas på en stilistisk särart som karakteriserar hans filmskapande.

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Weiss, Katherine. "Samuel Beckett’s Film: A Tribute to James Joyce." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/2276.

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Porcelli, Vittoria <1993&gt. "Le modalità di distribuzione cinematografica dei film indipendenti fra l’Italia e il Giappone: “I sette samurai” e “La strada”; “A Snake of June” e “La vita è bella”; “Your Name.” e “Lo chiamavano Jeeg Robot”." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12535.

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Le modalità di distribuzione cinematografica si sono evolute contestualmente ai cambiamenti dell’industria contemporanea. In particolare, i progetti indipendenti hanno dovuto elaborare le più variegate strategie per fronteggiare le sfide sempre maggiori della distribuzione, nazionale e internazionale. In questo elaborato si analizzano innanzitutto le tecniche di distribuzione dei film indipendenti durante tutte le fasi del film: pre-produzione, produzione, post-produzione. In seguito, si presentano le caratteristiche dell’industria cinematografica giapponese nella sua evoluzione dagli anni Cinquanta ad oggi, sottolineandone le differenze con l’industria cinematografica occidentale. Poi si introducono le tre coppie di film esaminati divise per periodo storico, analizzandone la traduzione dei titoli, le locandine e il montaggio del trailer. Il confronto dei metodi di distribuzione di ciascuna coppia di film permetterà infine di determinare se si è realizzato un modello tradizionale di distribuzione internazionale o altrimenti. Gli anni Cinquanta sono rappresentati da “I sette samurai”, per la regia di Akira Kurosawa, e “La strada”, diretto da Federico Fellini. “A Snake of June”, di Shin’ya Tsukamoto, e “La vita è bella”, di Roberto Benigni, esemplificano gli anni Novanta. “Your Name.”, diretto da Makoto Shinkai, e “Lo chiamavano Jeeg Robot”, diretto da Gabriele Mainetti, rappresentano invece gli esempi del periodo contemporaneo.

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Albrow, S. J. "The significance of the atypical samurai image : a study of three novellas by Fujisawa Shūhei and the film Tasogare Seibei by Yamada Yōji : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Japanese at the University of Canterbury /." 2007. http://library.canterbury.ac.nz/etd/adt-NZCU20080313.144546.

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Books on the topic "Samurai films"

1

Silver, Alain. The samurai film. New York: Overlook Press, 2005.

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Galloway, Patrick. Stray dogs & lone wolves: The samurai film handbook. Berkeley, Calif: Stone Bridge Press, 2005.

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Galloway, Patrick. Warring clans, flashing blades: A Samurai film companion. Berkeley, Calif: Stone Bridge Press, 2009.

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Kasuga, Taichi, 1977- interviewer, interviewee, ed. Machiyama Tomohiro, Kasuga Taichi no Nihon eiga kōgi: Sensō, panikku eiga hen. Tōkyō: Kawade Shobō Shinsha, 2019.

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Kasuga, Taichi, 1977- interviewer, interviewee, ed. Machiyama Tomohiro, Kasuga Taichi no Nihon eiga kōgi: Jidaigeki hen. Tōkyō: Kabushiki Kaisha Kawade Shobō Shinsha, 2019.

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1934-, Ishiwari Osamu, Maruo Toshirō, Sasaki Junichirō 1951-, and Tōei Kabushiki Kaisha, eds. Tōei chanbara ōgon jidai Shōwa 30-nendai: Nihon eiga suchīrushū. Tōkyō: Waizu Shuppan, 2001.

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Kajita, Akira. Ōkōchi Denjirō: Hito to sakuhin, sono miryoku no subete. Tōkyō: Asahi Sonorama, 1992.

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Izumo, Marō. Chanbara kuīn. Tōkyō: Pandora, 2002.

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1948-, Tsutsui Kiyotada, Katō Mikirō 1957-, and Kyōto Eigasai Jikkō Iinkai, eds. Jidaigeki eiga to wa nanika: Nyū firumu sutadīzu. Kyōto: Jinbun Shoin, 1997.

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1961-, Maruo Toshirō, and Yokoyama Yukinori 1954-, eds. Nikkatsu jidaigeki. Tōkyō: Waizu Shuppan, 2002.

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Book chapters on the topic "Samurai films"

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Keirstead, Thomas. "The Anti-Samurai Film." In A Companion to the Historical Film, 425–42. Oxford, UK: Blackwell Publishing Ltd., 2013. http://dx.doi.org/10.1002/9781118322673.ch21.

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Cardullo, R. J. "Circumstantial Evidence: Akira Kurosawa and The Seven Samurai." In Teaching Sound Film, 59–71. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_6.

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Keaveney, Christopher T. "Coming Home: Portraying Japanese Baseball on the Silver Screen." In Contesting the Myths of Samurai Baseball. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455829.003.0004.

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Chapter 3 examines the long history of baseball films in Japan, a tradition nearly as old as the history of Japanese cinema itself. After a brief survey of the early history of cinema in Japan, a tradition whose history parallels that of the game of baseball chronologically, the study focuses on early shomingeki films and explores how baseball became an important marker of domesticity and middle class respectability in this genre of film in the 1930s. The chapter then examines several pivotal films in the postwar era, examining how baseball was used alternately to perpetuate a national hero in Suzuki Hideo’s Immortal Pitcher (1955) or to chart the corruption and greed surrounding professional baseball as in Kobayashi Masaki’s I Will Buy You (1956). In the 1960s and 1970s, as young filmmakers arose to challenge the dominance of the great postwar filmmakers and to produce often avant-garde and politically charged films that reflected an international challenge to the hegemony of Hollywood films, the baseball film was again adopted as a means to offer that challenge. Ōshima Nagisa’s Ceremonies, in a film that contests the very concept of the baseball film, uses baseball as a metaphor for the Japan’s abandonment of its citizens during the war. The recent splatter comedy baseball films of Yamaguchi Yūdai likewise play with the familiar tropes of Japanese baseball and of the baseball hero as antihero in problematizing the very concept of the baseball film.

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Peary, Gerald. "Two Interviews with Jim Jarmusch." In Mavericks, 125–30. University Press of Kentucky, 2024. http://dx.doi.org/10.5810/kentucky/9780813197944.003.0021.

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Two interviews with the American independent filmmaker, Jim Jarmusch, make up this chapter. In the first, he discusses his concert film, Year of the Horse, which is a recording of the live concert music of Neil Young and his legendary musicians, Crazy Horse. Jarmusch hopes his documentary provides “a little insight into the greatest garage band in the world.” His second interview concerns Ghost Dog: the Way of the Samurai, a modern-age gangster film about a Zen-obsessed assassin played by Forest Whitaker. His film is an homage to American-style crime films made by Japanese and French filmmakers. Jarmusch describes his protagonist as “Don Quixote as a fool" for his samurai-like killings motivated by “seemingly outmoded chivalric rules.”

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Sapra, Rahul. "Sholay (1975)." In Routledge Encyclopedia of Modernism. London: Routledge, 2020. http://dx.doi.org/10.4324/9781135000356-rem2104-1.

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Sholay (directed by Ramesh Sippy and written by Javed Akhtar and Salim Khan) is considered to be the most successful movie in the history of Indian film. It is influenced by American western films such as Butch Cassidy and the Sundance Kid (1969), the spaghetti western Once Upon a Time in the West (1968), and also Kurosawa’s Seven Samurai (1954). To match the magnitude of the American westerns, Sholay was to be India’s first 70 mm film with stereophonic sound, but due to the expense involved, it was shot on 35 mm film and then converted to 70 mm widescreen format.

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Eller, Jonathan R. "Samurai Kabuki." In Bradbury Beyond Apollo, 281–86. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043413.003.0042.

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The ghosts that Bradbury had carried since his challenging time in early 1950s Ireland with John Huston were finally laid to rest when Bradbury received an honorary degree from the University of Ireland, Galway, home to the Huston School of Film and Digital Media. Chapter 41 also describes the film adaptation of A Sound of Thunder (2005) and the need to extend this time travel story into a feature film requiring more special effects than the production could afford. In spite of excellent casting and strong performances, the film fell short of the mark for critics and audiences. The chapter also describes Bradbury’s late-life reflections on Japanese and Chinese culture and his attempts to have Samurai Kabuki produced as a film.

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Hüttemann, Felix. "Die kalte Linse des Samurai." In Literatur und Film im Spiegel des Digitalen, 73–90. De Gruyter, 2024. http://dx.doi.org/10.1515/9783110774337-005.

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Klein, Thomas. "Bounty Hunters, Yakuzas and Rōnins: Intercultural Transformations between the Italian Western and the Japanese Swordfight Film in the 1960s." In Spaghetti Westerns at the Crossroads. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748695454.003.0008.

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This chapter presents a comparative analysis based on the assumption that the outlaw is a global figural stereotype in cinematic narratives that make use of semantic elements as well as syntactic formations of the Western genre. It argues that typical figures of the Italian Western and the Japanese sword film make equivalent claims on the outlaw narrative. In the Italian Western, bounty hunters and mercenaries are often ‘nihilistic heroes’ who, although they are not outlaws in a narrow sense of the word, often act like them in an ambivalent way. The sword film can be considered a subgenre of jidai-geki (the Japanese expression for historical period dramas). Typical figures in these films are rōnins (masterless samurais) and yakuzas (gamblers), who often act as bounty hunters and mercenaries. All these figures are modelled on the stereotype of the outlaw.

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"3 Edo Gothic: Deceitful Samurai and Wronged Women." In Introduction to Japanese Horror Film, 50–69. Edinburgh University Press, 2008. http://dx.doi.org/10.1515/9780748630592-008.

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"4. Period Film Par Excellence: Hiroshi Inagaki’s Samurai Trilogy (1954–1956)." In Reading a Japanese Film, 66–92. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824840372-007.

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