Film style and narration in Rashomon
نویسنده
چکیده
This article analyses the use of film style in Rashomon (1950) to determine if the different accounts of the rape and murder provided by the bandit, the wife, the husband, and the woodcutter are formally distinct by comparing shot length data and using multiple correspondence analysis to look for relationships between shot scale, camera movement, camera angle, and the use of point-of-view shots, reverse-angle cuts, and axial cuts. The results show that the four accounts of the rape and the murder in Rashomon differ not only in their content but also in the way they are narrated. The editing pace varies so that although the action of the film is repeated the presentation of events to the viewer is different each time. There is a distinction between presentational (shot scale and camera movement) and perspectival (shot types) aspects of style depending on their function within the film, while other elements (camera angle) fulfil both these functions. Different types of shot are used to create the narrative perspectives of the bandit, the wife, and the husband that marks them out as either active or passive narrators reflecting their level of narrative agency within the film, while the woodcutter’s account exhibits both active and passive aspects to create an ambiguous mode of narration. Rashomon is a deliberately and precisely constructed artwork in which form and content work together to create an epistemological puzzle for the viewer.
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تاریخ انتشار 2013