!["Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing. This script portrays such human beings — the kind who cannot survive without lies to make them feel they are better people than they really are. It even shows this sinful need for flatteringfalsehood going beyond the grave — even the character who dies cannot give up his lies when he speaks to the living through a medium. Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego. You say that you can’t understand this script at all, but that is because the human heart itself is impossible to understand. If you focus on the impossibility of truly understanding human psychology and read the script one more time, I think you will grasp the point of it.”
"I can’t afford to hate anyone. I don’t have that kind of time."
"I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film."
"Granting that there is some truth to the theory that defects in society give rise to the emergence of criminals, I still maintain that those who use this theory as a defense of criminality are overlooking the fact that there are many people in this defective society who survive without resorting to crime. The argument to the contrary is pure sophistry."
"If the Emperor had not delivered his [15 August 1945] address urging the Japanese people to lay down their swords—if that speech had been a call instead for the Honorable Death of the Hundred Million—those people on that street in Sōshigaya probably would have done what they were told and died. And probably I would have done likewise. The Japanese see self-assertion as immoral and self-sacrifice as the sensible course to take in life. We were accustomed to this teaching and had never thought to question it."
"For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.”
"No matter where I go in the world, although I can't speak any foreign language, I don't feel out of place. I think of the earth as my home. If everyone thought this way, people might notice just how foolish international friction is, and they would put an end to it. We are, after all, at a point where it is almost narrow-minded to think merely in geocentric terms."
"Ignorance is a kind of insanity in the human animal. People who delight in torturing defenseless children or tiny creatures are in reality insane. The terrible thing is that people who are madmen in private may wear a totally bland and innocent expression in public."
"People today have forgotten they're really just a part of nature. Yet, they destroy the nature on which our lives depend. They always think they can make something better. Especially scientists. They may be smart, but most don't understand the heart of nature. They only invent things that, in the end, make people unhappy. Yet they're so proud of their inventions. What's worse, most people are, too. They view them as if they were miracles. They worship them. They don't know it, but they're losing nature. They don't see that they're going to perish. The most important things for human beings are clean air and clean water."
"To be an artist means never to avert one's eyes."
"Human beings have launched satellites into outer space, and yet they still grovel on earth looking at their own feet like wild dogs. What is to become of our planet?"
-Akira Kurosawa (黒澤明)
Akira Kurosawa (Japanese: 黒澤明 Kurosawa Akira; March 23, 1910 – September 6, 1998) was a Japanese film director, screenwriter, and producer who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema.
Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (a.k.a. Judo Saga). After the war, the critically acclaimed Drunken Angel(1948), in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another 15 films.
Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as Ikiru(1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s he became much less prolific; even so, his later work—including his final two epics, Kagemusha(1980) and Ran (1985)—continued to win awards, though more often abroad than in Japan.
In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media formats.
Japan is divided into 47 prefectures (Japanese: 都道府県, todōfuken, [todoːɸɯ̥ꜜkeɴ]), forming the country's first level of jurisdiction and administrative division. They include 43 prefectures (県, ken, [keꜜɴ]) proper, two urban prefectures (府, fu, [ɸɯꜜ]; Osaka and Kyoto), one "circuit" or "territory" (道, dō, [doꜜː]; Hokkaido) and one "metropolis" (都, to, [toꜜ]; Tokyo). In 1868, the Meiji Fuhanken sanchisei administration created the first prefectures (urban -fu and rural -ken) to replace the urban and rural administrators (bugyō, daikan, etc.) in the parts of the country previously controlled directly by the shogunate and a few territories of rebels/shogunate loyalists who had not submitted to the new government such as Aizu/Wakamatsu. In 1871, all remaining feudal domains (han) were also transformed into prefectures, so that prefectures subdivided the whole country. In several waves of territorial consolidation, today's 47 prefectures were formed by the turn of the century. In many instances, these are contiguous with the ancient ritsuryō provinces of Japan.
Each prefecture's chief executive is a directly elected governor (知事, chiji). Ordinances and budgets are enacted by a unicameral assembly (議会, gikai)whose members are elected for four-year terms.
Under a set of 1888–1890 laws on local government until the 1920s, each prefecture (then only 3 -fu and 42 -ken; Hokkai-dō and Okinawa-ken were subject to different laws until the 20th century) was subdivided into cities (市, shi) and districts (郡, gun) and each district into towns (町, chō/machi) and villages(村, son/mura). Hokkaido has 14 subprefectures that act as General Subprefectural Bureaus (総合振興局, sōgō-shinkō-kyoku) and Subprefectural Bureaus (振興局, shinkō-kyoku) of the prefecture. Some other prefectures also have branch offices that carry out prefectural administrative functions outside the capital. Tokyo, the capital of Japan, is a merged city-prefecture; a metropolis, it has features of both cities and prefectures.
Source: Wikipedia](https://images.saatchiart.com/saatchi/1343820/art/8087634/additional_2b25b081d4e75a7ae33ab8def110ed4c03c10f76-AICC2-22.jpg)
!["Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing. This script portrays such human beings — the kind who cannot survive without lies to make them feel they are better people than they really are. It even shows this sinful need for flatteringfalsehood going beyond the grave — even the character who dies cannot give up his lies when he speaks to the living through a medium. Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego. You say that you can’t understand this script at all, but that is because the human heart itself is impossible to understand. If you focus on the impossibility of truly understanding human psychology and read the script one more time, I think you will grasp the point of it.”
"I can’t afford to hate anyone. I don’t have that kind of time."
"I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film."
"Granting that there is some truth to the theory that defects in society give rise to the emergence of criminals, I still maintain that those who use this theory as a defense of criminality are overlooking the fact that there are many people in this defective society who survive without resorting to crime. The argument to the contrary is pure sophistry."
"If the Emperor had not delivered his [15 August 1945] address urging the Japanese people to lay down their swords—if that speech had been a call instead for the Honorable Death of the Hundred Million—those people on that street in Sōshigaya probably would have done what they were told and died. And probably I would have done likewise. The Japanese see self-assertion as immoral and self-sacrifice as the sensible course to take in life. We were accustomed to this teaching and had never thought to question it."
"For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.”
"No matter where I go in the world, although I can't speak any foreign language, I don't feel out of place. I think of the earth as my home. If everyone thought this way, people might notice just how foolish international friction is, and they would put an end to it. We are, after all, at a point where it is almost narrow-minded to think merely in geocentric terms."
"Ignorance is a kind of insanity in the human animal. People who delight in torturing defenseless children or tiny creatures are in reality insane. The terrible thing is that people who are madmen in private may wear a totally bland and innocent expression in public."
"People today have forgotten they're really just a part of nature. Yet, they destroy the nature on which our lives depend. They always think they can make something better. Especially scientists. They may be smart, but most don't understand the heart of nature. They only invent things that, in the end, make people unhappy. Yet they're so proud of their inventions. What's worse, most people are, too. They view them as if they were miracles. They worship them. They don't know it, but they're losing nature. They don't see that they're going to perish. The most important things for human beings are clean air and clean water."
"To be an artist means never to avert one's eyes."
"Human beings have launched satellites into outer space, and yet they still grovel on earth looking at their own feet like wild dogs. What is to become of our planet?"
-Akira Kurosawa (黒澤明)
Akira Kurosawa (Japanese: 黒澤明 Kurosawa Akira; March 23, 1910 – September 6, 1998) was a Japanese film director, screenwriter, and producer who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema.
Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (a.k.a. Judo Saga). After the war, the critically acclaimed Drunken Angel(1948), in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another 15 films.
Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as Ikiru(1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s he became much less prolific; even so, his later work—including his final two epics, Kagemusha(1980) and Ran (1985)—continued to win awards, though more often abroad than in Japan.
In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media formats.
Japan is divided into 47 prefectures (Japanese: 都道府県, todōfuken, [todoːɸɯ̥ꜜkeɴ]), forming the country's first level of jurisdiction and administrative division. They include 43 prefectures (県, ken, [keꜜɴ]) proper, two urban prefectures (府, fu, [ɸɯꜜ]; Osaka and Kyoto), one "circuit" or "territory" (道, dō, [doꜜː]; Hokkaido) and one "metropolis" (都, to, [toꜜ]; Tokyo). In 1868, the Meiji Fuhanken sanchisei administration created the first prefectures (urban -fu and rural -ken) to replace the urban and rural administrators (bugyō, daikan, etc.) in the parts of the country previously controlled directly by the shogunate and a few territories of rebels/shogunate loyalists who had not submitted to the new government such as Aizu/Wakamatsu. In 1871, all remaining feudal domains (han) were also transformed into prefectures, so that prefectures subdivided the whole country. In several waves of territorial consolidation, today's 47 prefectures were formed by the turn of the century. In many instances, these are contiguous with the ancient ritsuryō provinces of Japan.
Each prefecture's chief executive is a directly elected governor (知事, chiji). Ordinances and budgets are enacted by a unicameral assembly (議会, gikai)whose members are elected for four-year terms.
Under a set of 1888–1890 laws on local government until the 1920s, each prefecture (then only 3 -fu and 42 -ken; Hokkai-dō and Okinawa-ken were subject to different laws until the 20th century) was subdivided into cities (市, shi) and districts (郡, gun) and each district into towns (町, chō/machi) and villages(村, son/mura). Hokkaido has 14 subprefectures that act as General Subprefectural Bureaus (総合振興局, sōgō-shinkō-kyoku) and Subprefectural Bureaus (振興局, shinkō-kyoku) of the prefecture. Some other prefectures also have branch offices that carry out prefectural administrative functions outside the capital. Tokyo, the capital of Japan, is a merged city-prefecture; a metropolis, it has features of both cities and prefectures.
Source: Wikipedia](https://images.saatchiart.com/saatchi/1343820/art/8087634/additional_a8387eb9bb3797a2f09ab682ad870812ea7beed5-AICC2-22.jpg)
!["Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing. This script portrays such human beings — the kind who cannot survive without lies to make them feel they are better people than they really are. It even shows this sinful need for flatteringfalsehood going beyond the grave — even the character who dies cannot give up his lies when he speaks to the living through a medium. Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego. You say that you can’t understand this script at all, but that is because the human heart itself is impossible to understand. If you focus on the impossibility of truly understanding human psychology and read the script one more time, I think you will grasp the point of it.”
"I can’t afford to hate anyone. I don’t have that kind of time."
"I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film."
"Granting that there is some truth to the theory that defects in society give rise to the emergence of criminals, I still maintain that those who use this theory as a defense of criminality are overlooking the fact that there are many people in this defective society who survive without resorting to crime. The argument to the contrary is pure sophistry."
"If the Emperor had not delivered his [15 August 1945] address urging the Japanese people to lay down their swords—if that speech had been a call instead for the Honorable Death of the Hundred Million—those people on that street in Sōshigaya probably would have done what they were told and died. And probably I would have done likewise. The Japanese see self-assertion as immoral and self-sacrifice as the sensible course to take in life. We were accustomed to this teaching and had never thought to question it."
"For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.”
"No matter where I go in the world, although I can't speak any foreign language, I don't feel out of place. I think of the earth as my home. If everyone thought this way, people might notice just how foolish international friction is, and they would put an end to it. We are, after all, at a point where it is almost narrow-minded to think merely in geocentric terms."
"Ignorance is a kind of insanity in the human animal. People who delight in torturing defenseless children or tiny creatures are in reality insane. The terrible thing is that people who are madmen in private may wear a totally bland and innocent expression in public."
"People today have forgotten they're really just a part of nature. Yet, they destroy the nature on which our lives depend. They always think they can make something better. Especially scientists. They may be smart, but most don't understand the heart of nature. They only invent things that, in the end, make people unhappy. Yet they're so proud of their inventions. What's worse, most people are, too. They view them as if they were miracles. They worship them. They don't know it, but they're losing nature. They don't see that they're going to perish. The most important things for human beings are clean air and clean water."
"To be an artist means never to avert one's eyes."
"Human beings have launched satellites into outer space, and yet they still grovel on earth looking at their own feet like wild dogs. What is to become of our planet?"
-Akira Kurosawa (黒澤明)
Akira Kurosawa (Japanese: 黒澤明 Kurosawa Akira; March 23, 1910 – September 6, 1998) was a Japanese film director, screenwriter, and producer who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema.
Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (a.k.a. Judo Saga). After the war, the critically acclaimed Drunken Angel(1948), in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another 15 films.
Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as Ikiru(1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s he became much less prolific; even so, his later work—including his final two epics, Kagemusha(1980) and Ran (1985)—continued to win awards, though more often abroad than in Japan.
In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media formats.
Japan is divided into 47 prefectures (Japanese: 都道府県, todōfuken, [todoːɸɯ̥ꜜkeɴ]), forming the country's first level of jurisdiction and administrative division. They include 43 prefectures (県, ken, [keꜜɴ]) proper, two urban prefectures (府, fu, [ɸɯꜜ]; Osaka and Kyoto), one "circuit" or "territory" (道, dō, [doꜜː]; Hokkaido) and one "metropolis" (都, to, [toꜜ]; Tokyo). In 1868, the Meiji Fuhanken sanchisei administration created the first prefectures (urban -fu and rural -ken) to replace the urban and rural administrators (bugyō, daikan, etc.) in the parts of the country previously controlled directly by the shogunate and a few territories of rebels/shogunate loyalists who had not submitted to the new government such as Aizu/Wakamatsu. In 1871, all remaining feudal domains (han) were also transformed into prefectures, so that prefectures subdivided the whole country. In several waves of territorial consolidation, today's 47 prefectures were formed by the turn of the century. In many instances, these are contiguous with the ancient ritsuryō provinces of Japan.
Each prefecture's chief executive is a directly elected governor (知事, chiji). Ordinances and budgets are enacted by a unicameral assembly (議会, gikai)whose members are elected for four-year terms.
Under a set of 1888–1890 laws on local government until the 1920s, each prefecture (then only 3 -fu and 42 -ken; Hokkai-dō and Okinawa-ken were subject to different laws until the 20th century) was subdivided into cities (市, shi) and districts (郡, gun) and each district into towns (町, chō/machi) and villages(村, son/mura). Hokkaido has 14 subprefectures that act as General Subprefectural Bureaus (総合振興局, sōgō-shinkō-kyoku) and Subprefectural Bureaus (振興局, shinkō-kyoku) of the prefecture. Some other prefectures also have branch offices that carry out prefectural administrative functions outside the capital. Tokyo, the capital of Japan, is a merged city-prefecture; a metropolis, it has features of both cities and prefectures.
Source: Wikipedia](https://images.saatchiart.com/saatchi/1343820/art/8087634/additional_a489b2bc6f1399af268fb11433084c820f420ecc-AICC2-22.jpg)
!["Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing. This script portrays such human beings — the kind who cannot survive without lies to make them feel they are better people than they really are. It even shows this sinful need for flatteringfalsehood going beyond the grave — even the character who dies cannot give up his lies when he speaks to the living through a medium. Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego. You say that you can’t understand this script at all, but that is because the human heart itself is impossible to understand. If you focus on the impossibility of truly understanding human psychology and read the script one more time, I think you will grasp the point of it.”
"I can’t afford to hate anyone. I don’t have that kind of time."
"I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film."
"Granting that there is some truth to the theory that defects in society give rise to the emergence of criminals, I still maintain that those who use this theory as a defense of criminality are overlooking the fact that there are many people in this defective society who survive without resorting to crime. The argument to the contrary is pure sophistry."
"If the Emperor had not delivered his [15 August 1945] address urging the Japanese people to lay down their swords—if that speech had been a call instead for the Honorable Death of the Hundred Million—those people on that street in Sōshigaya probably would have done what they were told and died. And probably I would have done likewise. The Japanese see self-assertion as immoral and self-sacrifice as the sensible course to take in life. We were accustomed to this teaching and had never thought to question it."
"For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.”
"No matter where I go in the world, although I can't speak any foreign language, I don't feel out of place. I think of the earth as my home. If everyone thought this way, people might notice just how foolish international friction is, and they would put an end to it. We are, after all, at a point where it is almost narrow-minded to think merely in geocentric terms."
"Ignorance is a kind of insanity in the human animal. People who delight in torturing defenseless children or tiny creatures are in reality insane. The terrible thing is that people who are madmen in private may wear a totally bland and innocent expression in public."
"People today have forgotten they're really just a part of nature. Yet, they destroy the nature on which our lives depend. They always think they can make something better. Especially scientists. They may be smart, but most don't understand the heart of nature. They only invent things that, in the end, make people unhappy. Yet they're so proud of their inventions. What's worse, most people are, too. They view them as if they were miracles. They worship them. They don't know it, but they're losing nature. They don't see that they're going to perish. The most important things for human beings are clean air and clean water."
"To be an artist means never to avert one's eyes."
"Human beings have launched satellites into outer space, and yet they still grovel on earth looking at their own feet like wild dogs. What is to become of our planet?"
-Akira Kurosawa (黒澤明)
Akira Kurosawa (Japanese: 黒澤明 Kurosawa Akira; March 23, 1910 – September 6, 1998) was a Japanese film director, screenwriter, and producer who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema.
Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (a.k.a. Judo Saga). After the war, the critically acclaimed Drunken Angel(1948), in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another 15 films.
Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as Ikiru(1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s he became much less prolific; even so, his later work—including his final two epics, Kagemusha(1980) and Ran (1985)—continued to win awards, though more often abroad than in Japan.
In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media formats.
Japan is divided into 47 prefectures (Japanese: 都道府県, todōfuken, [todoːɸɯ̥ꜜkeɴ]), forming the country's first level of jurisdiction and administrative division. They include 43 prefectures (県, ken, [keꜜɴ]) proper, two urban prefectures (府, fu, [ɸɯꜜ]; Osaka and Kyoto), one "circuit" or "territory" (道, dō, [doꜜː]; Hokkaido) and one "metropolis" (都, to, [toꜜ]; Tokyo). In 1868, the Meiji Fuhanken sanchisei administration created the first prefectures (urban -fu and rural -ken) to replace the urban and rural administrators (bugyō, daikan, etc.) in the parts of the country previously controlled directly by the shogunate and a few territories of rebels/shogunate loyalists who had not submitted to the new government such as Aizu/Wakamatsu. In 1871, all remaining feudal domains (han) were also transformed into prefectures, so that prefectures subdivided the whole country. In several waves of territorial consolidation, today's 47 prefectures were formed by the turn of the century. In many instances, these are contiguous with the ancient ritsuryō provinces of Japan.
Each prefecture's chief executive is a directly elected governor (知事, chiji). Ordinances and budgets are enacted by a unicameral assembly (議会, gikai)whose members are elected for four-year terms.
Under a set of 1888–1890 laws on local government until the 1920s, each prefecture (then only 3 -fu and 42 -ken; Hokkai-dō and Okinawa-ken were subject to different laws until the 20th century) was subdivided into cities (市, shi) and districts (郡, gun) and each district into towns (町, chō/machi) and villages(村, son/mura). Hokkaido has 14 subprefectures that act as General Subprefectural Bureaus (総合振興局, sōgō-shinkō-kyoku) and Subprefectural Bureaus (振興局, shinkō-kyoku) of the prefecture. Some other prefectures also have branch offices that carry out prefectural administrative functions outside the capital. Tokyo, the capital of Japan, is a merged city-prefecture; a metropolis, it has features of both cities and prefectures.
Source: Wikipedia](https://images.saatchiart.com/saatchi/1343820/art/8087634/additional_5f2833bafe46eb8914a74008062dc7723a376e75-AICC2-22.jpg)
!["Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing. This script portrays such human beings — the kind who cannot survive without lies to make them feel they are better people than they really are. It even shows this sinful need for flatteringfalsehood going beyond the grave — even the character who dies cannot give up his lies when he speaks to the living through a medium. Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego. You say that you can’t understand this script at all, but that is because the human heart itself is impossible to understand. If you focus on the impossibility of truly understanding human psychology and read the script one more time, I think you will grasp the point of it.”
"I can’t afford to hate anyone. I don’t have that kind of time."
"I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film."
"Granting that there is some truth to the theory that defects in society give rise to the emergence of criminals, I still maintain that those who use this theory as a defense of criminality are overlooking the fact that there are many people in this defective society who survive without resorting to crime. The argument to the contrary is pure sophistry."
"If the Emperor had not delivered his [15 August 1945] address urging the Japanese people to lay down their swords—if that speech had been a call instead for the Honorable Death of the Hundred Million—those people on that street in Sōshigaya probably would have done what they were told and died. And probably I would have done likewise. The Japanese see self-assertion as immoral and self-sacrifice as the sensible course to take in life. We were accustomed to this teaching and had never thought to question it."
"For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.”
"No matter where I go in the world, although I can't speak any foreign language, I don't feel out of place. I think of the earth as my home. If everyone thought this way, people might notice just how foolish international friction is, and they would put an end to it. We are, after all, at a point where it is almost narrow-minded to think merely in geocentric terms."
"Ignorance is a kind of insanity in the human animal. People who delight in torturing defenseless children or tiny creatures are in reality insane. The terrible thing is that people who are madmen in private may wear a totally bland and innocent expression in public."
"People today have forgotten they're really just a part of nature. Yet, they destroy the nature on which our lives depend. They always think they can make something better. Especially scientists. They may be smart, but most don't understand the heart of nature. They only invent things that, in the end, make people unhappy. Yet they're so proud of their inventions. What's worse, most people are, too. They view them as if they were miracles. They worship them. They don't know it, but they're losing nature. They don't see that they're going to perish. The most important things for human beings are clean air and clean water."
"To be an artist means never to avert one's eyes."
"Human beings have launched satellites into outer space, and yet they still grovel on earth looking at their own feet like wild dogs. What is to become of our planet?"
-Akira Kurosawa (黒澤明)
Akira Kurosawa (Japanese: 黒澤明 Kurosawa Akira; March 23, 1910 – September 6, 1998) was a Japanese film director, screenwriter, and producer who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema.
Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (a.k.a. Judo Saga). After the war, the critically acclaimed Drunken Angel(1948), in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another 15 films.
Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as Ikiru(1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s he became much less prolific; even so, his later work—including his final two epics, Kagemusha(1980) and Ran (1985)—continued to win awards, though more often abroad than in Japan.
In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media formats.
Japan is divided into 47 prefectures (Japanese: 都道府県, todōfuken, [todoːɸɯ̥ꜜkeɴ]), forming the country's first level of jurisdiction and administrative division. They include 43 prefectures (県, ken, [keꜜɴ]) proper, two urban prefectures (府, fu, [ɸɯꜜ]; Osaka and Kyoto), one "circuit" or "territory" (道, dō, [doꜜː]; Hokkaido) and one "metropolis" (都, to, [toꜜ]; Tokyo). In 1868, the Meiji Fuhanken sanchisei administration created the first prefectures (urban -fu and rural -ken) to replace the urban and rural administrators (bugyō, daikan, etc.) in the parts of the country previously controlled directly by the shogunate and a few territories of rebels/shogunate loyalists who had not submitted to the new government such as Aizu/Wakamatsu. In 1871, all remaining feudal domains (han) were also transformed into prefectures, so that prefectures subdivided the whole country. In several waves of territorial consolidation, today's 47 prefectures were formed by the turn of the century. In many instances, these are contiguous with the ancient ritsuryō provinces of Japan.
Each prefecture's chief executive is a directly elected governor (知事, chiji). Ordinances and budgets are enacted by a unicameral assembly (議会, gikai)whose members are elected for four-year terms.
Under a set of 1888–1890 laws on local government until the 1920s, each prefecture (then only 3 -fu and 42 -ken; Hokkai-dō and Okinawa-ken were subject to different laws until the 20th century) was subdivided into cities (市, shi) and districts (郡, gun) and each district into towns (町, chō/machi) and villages(村, son/mura). Hokkaido has 14 subprefectures that act as General Subprefectural Bureaus (総合振興局, sōgō-shinkō-kyoku) and Subprefectural Bureaus (振興局, shinkō-kyoku) of the prefecture. Some other prefectures also have branch offices that carry out prefectural administrative functions outside the capital. Tokyo, the capital of Japan, is a merged city-prefecture; a metropolis, it has features of both cities and prefectures.
Source: Wikipedia](https://images.saatchiart.com/saatchi/1343820/art/8087634/additional_e9db384e9aedaf83a9d27f2488ce02a28af4edfd-AICC2-22.jpg)
VIEW IN MY ROOM
Akira Prefecture Drawing
Drawing, Marker on Canvas
Size: 12 W x 36 H x 1.5 D in
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About The Artwork
"Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing. This script portrays such human beings — the kind who cannot survive without lies to make them feel they are better people than they really are. It even shows this sinful need for flatteringfalsehood going beyond the grave — even the character who dies cannot give up his lies when he speaks to the living through a medium. Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego. You say that you can’t understand this script at all, but that is because the human heart itself is impossible to understand. If you focus on the impossibility of truly understanding human psychology and read the script one more time, I think you will grasp the point of it.” "I can’t afford to hate anyone. I don’t have that kind of time." "I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film." "Granting that there is some truth to the theory that defects in society give rise to the emergence of criminals, I still maintain that those who use this theory as a defense of criminality are overlooking the fact that there are many people in this defective society who survive without resorting to crime. The argument to the contrary is pure sophistry." "If the Emperor had not delivered his [15 August 1945] address urging the Japanese people to lay down their swords—if that speech had been a call instead for the Honorable Death of the Hundred Million—those people on that street in Sōshigaya probably would have done what they were told and died. And probably I would have done likewise. The Japanese see self-assertion as immoral and self-sacrifice as the sensible course to take in life. We were accustomed to this teaching and had never thought to question it." "For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.” "No matter where I go in the world, although I can't speak any foreign language, I don't feel out of place. I think of the earth as my home. If everyone thought this way, people might notice just how foolish international friction is, and they would put an end to it. We are, after all, at a point where it is almost narrow-minded to think merely in geocentric terms." "Ignorance is a kind of insanity in the human animal. People who delight in torturing defenseless children or tiny creatures are in reality insane. The terrible thing is that people who are madmen in private may wear a totally bland and innocent expression in public." "People today have forgotten they're really just a part of nature. Yet, they destroy the nature on which our lives depend. They always think they can make something better. Especially scientists. They may be smart, but most don't understand the heart of nature. They only invent things that, in the end, make people unhappy. Yet they're so proud of their inventions. What's worse, most people are, too. They view them as if they were miracles. They worship them. They don't know it, but they're losing nature. They don't see that they're going to perish. The most important things for human beings are clean air and clean water." "To be an artist means never to avert one's eyes." "Human beings have launched satellites into outer space, and yet they still grovel on earth looking at their own feet like wild dogs. What is to become of our planet?" -Akira Kurosawa (黒澤明) Akira Kurosawa (Japanese: 黒澤明 Kurosawa Akira; March 23, 1910 – September 6, 1998) was a Japanese film director, screenwriter, and producer who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema. Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (a.k.a. Judo Saga). After the war, the critically acclaimed Drunken Angel(1948), in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another 15 films. Rashomon, which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as Ikiru(1952), Seven Samurai (1954) and Yojimbo (1961). After the 1960s he became much less prolific; even so, his later work—including his final two epics, Kagemusha(1980) and Ran (1985)—continued to win awards, though more often abroad than in Japan. In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media formats. Japan is divided into 47 prefectures (Japanese: 都道府県, todōfuken, [todoːɸɯ̥ꜜkeɴ]), forming the country's first level of jurisdiction and administrative division. They include 43 prefectures (県, ken, [keꜜɴ]) proper, two urban prefectures (府, fu, [ɸɯꜜ]; Osaka and Kyoto), one "circuit" or "territory" (道, dō, [doꜜː]; Hokkaido) and one "metropolis" (都, to, [toꜜ]; Tokyo). In 1868, the Meiji Fuhanken sanchisei administration created the first prefectures (urban -fu and rural -ken) to replace the urban and rural administrators (bugyō, daikan, etc.) in the parts of the country previously controlled directly by the shogunate and a few territories of rebels/shogunate loyalists who had not submitted to the new government such as Aizu/Wakamatsu. In 1871, all remaining feudal domains (han) were also transformed into prefectures, so that prefectures subdivided the whole country. In several waves of territorial consolidation, today's 47 prefectures were formed by the turn of the century. In many instances, these are contiguous with the ancient ritsuryō provinces of Japan. Each prefecture's chief executive is a directly elected governor (知事, chiji). Ordinances and budgets are enacted by a unicameral assembly (議会, gikai)whose members are elected for four-year terms. Under a set of 1888–1890 laws on local government until the 1920s, each prefecture (then only 3 -fu and 42 -ken; Hokkai-dō and Okinawa-ken were subject to different laws until the 20th century) was subdivided into cities (市, shi) and districts (郡, gun) and each district into towns (町, chō/machi) and villages(村, son/mura). Hokkaido has 14 subprefectures that act as General Subprefectural Bureaus (総合振興局, sōgō-shinkō-kyoku) and Subprefectural Bureaus (振興局, shinkō-kyoku) of the prefecture. Some other prefectures also have branch offices that carry out prefectural administrative functions outside the capital. Tokyo, the capital of Japan, is a merged city-prefecture; a metropolis, it has features of both cities and prefectures. Source: Wikipedia
Details & Dimensions
Drawing:Marker on Canvas
Original:One-of-a-kind Artwork
Size:12 W x 36 H x 1.5 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"
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