Week 4

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The first thing that struck me when watching Rashomon was the extremely beautiful and inventive cinematography. This movie was released almost 20 years after the last film we watched in class “I was born, butt…” and in that time the art of filmmaking seems to have undergone a dramatic transformation. One of the most well-shot parts of the movie was at the beginning when the peasant is recounting his walk through the forest before discovering the dead body of the slain samurai. The camera views him from behind, then from the front. The camera then tilts up to show a gorgeous shot of the sun shining through the branches of the trees. This immersion in the forest setting allows the viewer to feel like he or she is also in the forest with the character from the movie. In the same shot, and in several other scenes throughout the movie, stark black shadows are visible across the face of the character. These shadows stand in contrast to the bright light that also floods shot shots. In the Rashomon documentary it was revealed that Kurosawa used a special technique to have bright scenes in the forest: he used mirrors to shine bright light onto the faces and features of the actors in the movie. This created an interesting visual spectacle that was highly noticeable and enjoyable for the average movie fan. Another interesting part, which was also the central theme of the movie, was the play on truth. It is impossible to know who is telling the truth and who is lying. Each person who was interviewed by the investigator implicated themselves in their testimony. The thief claimed he killed the samurai, but he had planned on leaving the samurai until the woman demanded that one of them must die. The woman claimed she couldn’t remember what had happened, but she had been advancing toward the samurai while holding her knife. The samurai, speaking through a medium, claimed that he had taken his own life after witnessing the betrayal of his wife. Every person had to be lying to some extent. The woodcutter’s story conflicts with all other accounts, but he does agree that the bandit was the person who killed the samurai.

Rashomon
The cinematography seems a lot like what we see in movies today, with the camera following the subject more than the subject moving within the shot. The scenes with the three men at the temple were all well planned, with the men being spaced and shot to accentuate their conversations. When someone’s thoughts are being refuted by the other two, he is shown far in the back ground while they talk. When two are trying to convince the third of something, they are shot straight on with the third in the foreground and the other men behind each shoulder. I also noticed that throughout the movie, many shots are from above looking down on the subject, although I’m not quite sure yet why. The left to right wipes Kurosawa used to change shots took me out of the movie a little; they seemed old fashioned, not something you’d see in dramas nowadays.
One of my favorite cinematographic choices is that Kurosawa chose to have the witnesses testify facing the camera, where the judge would be. At first I thought it was a little kitschy, but then I realized it’s because the audience is supposed to be judge of what happened. We are supposed to draw our own conclusions about the incident, not some other character.
Of the all character, I found Tajomaru’s characteristics in particular to be well portrayed. The loud, frequent bouts of laughter show his partial insanity and total lack of respect for others, and his squalor is punctuated by his constant slapping at bugs and scratching. In the woodcutter’s version, we see the wife show these characteristics, laughing loudly after losing her respect for the husband and Tajomaru.
Of course in the end we are supposed to wonder which version is true, whether the woodcutter’s version is believable. I think it is. It was the version to show all the characters how they wouldn’t want to be seen. Tajomaru and the husband both are obviously clumsy, weak and frightened during their fight, unlike the glorious battle that Tajomaru recounted, or the honorable suicide that the husband claimed. It’s also obvious that the wife and her husband both loathed her. She chooses to tell a story about how frightened and weak she was rather than the crazy woman she wound up being.

Rashomon was a very interesting movie replete with fascinating themes and technical nuances that made the production very compelling. I found Kurosawa’s use of lighting and his choice of music especially interesting.
The lighting, as elaborated upon in our reading, shows not only the mood of the scene in which the characters are in, but also the underlying emotions of these characters that are not readily apparent. The scene that most caught my attention was the scene in which the bandit kissed the woman in the forest in the bandit’s version of the story. The woman looked shocked as he forced his mouth onto hers; yet, at the same time, she it almost seemed as though she accepted her fate and actually allowed the bandit to kiss her. Her face was dappled in sunlight from the leaves of the forest, not just for the effect of the scenery, but to also show her inner turmoil of having her virtue stained but not especially minding it.
Sometimes Kurosawa’s music puzzled me and I found it hard to relate it to what was actually happening in the film. For example, in the beginning of the film during the woodcutter’s tale and parts of the bandit’s tale, the music seemed very exotic. It was reminiscent of some kind of Indian rendition of Japanese music and I found it to be troubling. It distracted me from what was happening to the characters and the advancement of the plot causing me to become confused as to its purpose for being chosen in the first place. As the film progressed, I found the music to align with the action and characters better than I had in the beginning of the film, but is it because the music changed or is it because I just got used to Kurosawa’s style that the musical score didn’t seem as relevant? Kurosawa would not have randomly picked this kind of music and I wonder now if there was some ulterior reason that he would have chosen music that seemed unsettling in the scene and, if so, why did he not continue the pattern throughout the film?
Overall I really like this movie and I think that Kurosawa is one of the best directors of Japanese film that we have seen so far in this class. His deliberate style and attention to detail is what makes his work so realistically moving and compelling to watch.

This movie was excellent. The story was excellent and the way in which it was told was brilliant and intriguing. Kurosawa's decision to cast the audience as the jury/prosecutor/judge was simply out of the norm and convention. Then to have that transposed against this being a retelling of that retelling, well it is hard to know exactly what the truth is at that point. The use of flashback to build the story is revolutionary for the time I am sure, and the use of multiple views must also have been a first for cinema., but it was the camera work that brought me about in this film. Even though the two most critical scenes are never shown, the rape and the murder, the camera work hints at them and at their ramifications without ever directly showing you what was happening, like a horror mystery. The use of camera at the trial is also amazing as it places you the viewer as on of the jury/judge/prosecutor inside of a building that we never get to see. This along with the fact that the actors respond to the camera/us and our questions without us having to ask them. This intentional lack of a voice for the jury/judge/prosecutor is amazing as it deepens the viewers connection to the movie by forcing them to ask the questions that the characters on trail are answering. The story itself was also somewhat uninteresting, a rape and a murder, but this played well into the real point of the movie, that everyone, even the dead, are trying to save face. This need to look like the hero makes all of the stories told by the characters lies, even the final version told by the wood cutter of what really happened and makes the man, his wife and the bandit all look like idiots, cowards and fools, leaves out the critical piece of information that he was the one to take the womans tanto blade. This we learn was not for his sake but for the sake of his children, making it excusable but still he lied and there is no way around that. The baby seemed to me a little contrived and just a tad bit out of the realm of realism but it added a crucial point of conflict between the men seeking refuge from the rain and because of this was necessary for the film.

In the documentary that we watched in class Kurosawa said that he did not like to have dialogue for its own sake and in fact even liked to use it as sparingly as possible. This is a very effective technique in that it allows the viewer to become more engrossed in the film. The benshi found in the previous films, while helpful, was also distracting at times. In Rashomon there is time for reflection as the characters consider the profound statements being made about the nature and weakness of men in the ruined temple. This is a beautiful film with many intriguing plot elements. The effects used during the dead man’s tale were surprisingly powerful. It was not exactly frightening, but at least somewhat disturbing when you saw the woman being used as a medium for the dead man. To achieve the effect the woman’s makeup was changed to make her look ghostly in a way. I found it interesting when one of the people that worked on the film with Kurosawa mentioned that he was never entirely satisfied with a shot unless there was lots of rain. I think that the tone set by heavy rain in this film reflects his vision of the state of Japan and the state of human affairs in general during that time. The priest (not sure if he was a priest) at the end of the film says that he has lost faith in men and that they cannot tell the truth because they are weak. However, his faith is restored when one of the men says that he will take care of the orphaned child because he has six other children and it would not matter. The film’s main outlook on mankind may have been influenced by his childhood experience of going through the ruins of Tokyo and seeing all of the dead people and probably also the atomic bombings themselves. It is sad that he was charged with producing films for “westerners” and that many said that his film won the Venice prize purely for “exoticism”, i.e. Japan was exotic to the west at the time because little was really known about it. There are other artists who have had the same accusation made against them such as Haruki Murakami, author of The Wind-up Bird Chronicle. It must be disheartening at times for artists in Japan who may want to expand their scope.

Thomas James Nosbish
All 3456 Japanese Film
Position Paper
October 1, 2009
Rashomon
This famous, ever astounding, and cinema history changing film, lived up to its name in full. Akira Kurosawa’s Rashomon pushed many intense boundaries when compared to his previous other works. The re-telling of four basic facts in the movie of a samurai being murdered, a women being raped, Tajōmaru the bandit committing these deeds, and the lesser known mystery of what befallen the valuable dagger belong to the women (samurai’s wife). These account are retold some very different perspectives, all of which favor the story teller. The first full account of the events are told by Tajōmaru, after fooling the samurai husband with the possibility of treasure, he binds him to a tree and “seduces” the wife in his telling , and honorably duels the husband for the hand of his wife and wins. This theme of egoism of the film is repeated, most noticeably during the samurai’s retelling through a medium.
The scene were the medium performs the ritual is one of vivid movement, and very quick cuts, as compared to other shots in the film, where the camera rarely cuts form a scene to another. A good example of this tracking movement is placed in the first telling of the woodsman, as he seemingly floats over the natural obstacles, the camera follow without a missed beat. Other amazing camera techniques were used in the lighting of the forest. Two shots specifically, during Tojomaru’s tale at the point of seduction, immense lighting is showered on the samurai’s wife, and also the continued lighting of the grove area. This emphasis of lighting brings glow and attention to the characters, there is also additional help from the darken forest background.
The film as a whole moved very smoothly, even through at the end of the film the audience is unable to conclude what is the truth. This is also seems to be the moral of the film. Each telling holds a value of truth, but none are more believable then the other. This mastery of storytelling is one that I have only seen mimicked in modern film. Yet, I don’t believe they will ever be able to match the quality, or historical impact the Rashomon has imprinted.

It was surprising to read in the Yoshimoto article that Rashomon was seen as an “incomprehensible” film when it was first released. This was the first time I had seen the film, and there were two major themes that seemed to stand out pretty clearly to me. First, the subjectivity and unrelatability of experience; second, humanity’s capacity for both good and evil. I can see how the first theme may not have been as thoroughly explored as of 1950, especially in film, but it seems like the second theme has already been so overdone that an audience ought to have been able to recognize the clichéd ending.
It is impossible to relate experience to others because it is by nature subjective. Kurosawa shows this formally through techniques such as multiple camera placements within scenes that provide multiple points of view for the same actions, as well as lighting, as in the scenes in the grove where shadows blur the characters, keeping the events of the flashbacks obscured to some extent. This is also shown narratively, as four different characters (counting the woodsman) relate four different versions of the same incident. Through each character’s testimonies, it is possible to see the different psychologies and individual flaws that determine just how each testimony is constructed. The woodsman’s testimony, for example, is mediated through his fear of both his traumatic experiences and of the authorities from whom he hides his own criminal act; the bandit’s reflects masculine insecurity; the samurai’s reflects self-pity and victimization; the woman’s reflects her own self-loathing through her recollection of her husband’s gaze (“Beat me, kill me, but don’t look at me like that!”). With each character’s relation of their experience influenced by their own unique backgrounds and psychologies, it is impossible for anyone else to ever know the real truth. All this is captured by the woodsman’s repeated complaint, “I can’t understand it. I just can’t understand it at all.”
But something did happen; we know for sure the samurai is dead, and both the woman and the bandit acknowledge a rape took place. Man-made catastrophes like these are a motif throughout the film; yet at the end, Kurosawa makes it clear that man is capable of both redeeming himself and confronting evil in others by doing good.

Position paper for week four
Japanese film ALL3456
By Eric Michelson

When I was watching “Rashomon” I expected a lot from a film by Kurusawa and I was not disappointed. There were several points I noticed the film trying to make. The first one I noticed is that the questioning of truth seemed to be big in this movie. It has been long known to me that several different people see the same thing in many different ways, but in the case of the movie the stories differed too greatly that there is no knowing what the truth is. Even at the very end we see the story that is supposed to be true from the man who found the body, but right after that story we see the man being accused of stealing the dagger with the pearl inlay, which calls the accuracy of his story into question.

When we are seeing the bandits story we see that the bandit has a habit of scratching his neck at certain points in the film, the only sorry that includes the bandit scratching his neck is the story by the bandit. None of the other stories include that character trait at all. This doesn’t lend any legitimacy to the story of the bandit; I really don’t know what it says about the bandit's story.

We also see the priest almost lose faith in the human soul. Several of kurusawas movies have a darker element to them, and I suppose that this is the dark element of Rashomon. As the film goes along the priest steadily loses faith in the human soul until at the very end I believe that he has lost all faith once he sees a man steal from an abandoned new born, after which due to the other man saying that he will watch the child he gets it back. I find the actions of the person who wandered in from the rain to be quite disturbing. There is a time when he says something to the flavor of “you have to be selfish to survive in this world” I find that these words are believed by more people then are willing to admit. Their presence in the movie is a subtly social commentary, because there are many people who believe like that. Kurusawas social commentary is always subtle. The movie left us with no definite answer to which story was the truth, in fact none of them could have been the truth, and we as the viewer have to answer that question for ourselves.

Rob Lyksett
10/01


Rashomon is a keen illustration in the evolution of Japanese cinema for this course as it’s a huge departure from the fare that has been presented so far (such as Taki no Shiraito) in its utilization of mise en scene to tell the story. There is, in my opinion a vast improvement in the utilization of film as both an art form and as a storytelling medium here. We see that movies like Rashomon illustrate their narrative through a much wider array of shot composition (mise en scene), cuts, and camera movement. And frankly, it just works better. Auteurs like Kurosawa were able to see film for the unique artistic medium it was and were able to adapt to it, rather than utilitizing it as essentially a tool for filming theatre or live performance (like a play on film) as evidenced in early films like Orochi which, while engaging, don't make anywhere near the same effort and framing shots and creating composition that is meaningful both to the narrative and artistically. Part of this improvement can be attributed to nearly two decades of technological advances between the movies of the silent era and 1950’s Rashomon, but at least as much can be attributed to the creativity of filmmakers like Kurosawa. Rashomon was absolutely visually stunning. Yoshimoto notes this, stating “The focus of the film is how the story is presented as much as what it is about.” Kurosawa obviously isn’t the first filmmaker to pay such attention to how the film is presented, as we see such conviction, for example, in Ozu, such as the low angle shots in I was Born, But. However, Kurosawa seems to have taken the medium to a new level, using the camera in new ways, such as the rotating camera tracking around the samurai’s wife as she realizes what has happened to her husband in the robber’s version of the story. The camera tracks/pans to follow the movement of characters, even in close-ups, such as when the samurai’s wife begins laughing maniacally in the final story. The composition of shots during the interview/confession scenes is stunning, utilizing horizontal themes, as Yoshimoto notes, and almost creating a surreal experience for the viewer as we see the other characters listening in the background. The unseen interviewer adds to the surrealism.

Oh the delight of sound~! Kurosawa certainly doesn’t overdo it, still relying on moments when the characters communicate only with their eyes and facial expressions to balance out the dialogue. The music present attempts to meld with the characters’ movements and feelings, thus blending in well enough to be accepted (though arguably strange sounding at times). But, as discussed in the reading, it is interesting to see when the music cuts out. In the real world of the three men discussing the conflicting stories, we hear rain and their voices. During the individual stories, emotional music plays. But these are lies, according to the one man. So, despite the medium’s words, “Everything was silent. How quiet it was. Suddenly the sun went away. I was enveloped in deep silence,” there is not silence but mournful sound, belying the falsehood. When the man tells the “truth” of the matter, no music disrupts the events. It is the real thing, where labored breathing, dull clinks of swords, and the woman’s screams are the true soundtrack. While this is mildly distracting for an audience used to epic music playing during the climax, it goes with the ideas discussed by Abrams. Music was missing from The Blair Witch Project, and I believe likewise for Rashomon’s final scene, because “the film is supposed to be documentary footage…which records ‘real’ events” (Abrams, 111). However, it is a bit altered from the man’s perspective with close-ups and movement that would be illogical for one man to see. So, the factuality of his report is a little skewed, somewhat in the manner of wanting the event to sound as truthful as possible, but underscored by humanities inability to remember (much less tell) things one hundred percent correctly. In the end, even his version is questionable, adding to the pile of questions left unanswered (especially the fate of Tajomaru and the woman after their interviews).

However, the use of voices made the scene with the medium much stronger than it ever could have been if silent. The voiceover gave it so much more with the juxtaposition of the woman’s body and the man’s torment voice. Knowing that there are female voices present in the film, but not at this moment is something that would not be the easiest to pull off with a benshi. (Certainly, he could raise his voice for the woman and concoct a menacing voice for the medium, but it wouldn’t capture the initial surprise nor have the underlying distinct quality of the husband’s voice. The characters as separate entities, untied even through a benshi, is essential to the concept of the film and its differing views.) The mechanical, tunneled effect for the voice furthered stressed these were words from beyond the veil, traveling indescribable distances. It made the woman that much more strange and her actions more frighteningly mystical. While we may be perfectly aware that her ability is the result of prerecorded sound matched to motion, it nonetheless brings power to the scene. To see her scurrying in rapid circles, veils snapping in the wind, dirt flying in clouds, and uttering that terrible hurrrrrrrgh sound is rather unsettling. The viewer is further unbalanced by the emotional changes in the voice’s tone. Raucous laughter is quickly followed by whispers that seem so unbelievably lonesome and broken. It is repelling, yet hard not to sympathize with what is left of the husband. It is the first time in the film that he actually speaks for a lengthy period (in the final version, he is surprisingly vocal) and it feels like we have finally broken into the mind of the stoic man. And find that he is just like any other person who has been betrayed; sad, angry, gleeful at her pain, hopeless, and beyond real reason.

Andrew Fischer
fisch427@umn.edu

In Akira Kurosawa’s Rashoman, the issue of subjectivity is experimented with both from a narrative standpoint and a technical one. Throughout the movie the audience is presented with the question of which viewpoint is the truth. While they all vary significantly it becomes apparent at the end of the film that even the third party of the woodsman has reason to alter how he tells the story because of the theft of the samurai’s dagger. This brings to light the line of dialogue from the commoner, “ It is human to lie. Most of the time we aren’t able to be honest with ourselves.” The audience is then left with the question of not which viewpoint is more valid but whether or not the truth of the situation even matters. Kurosawa achieves this idea through formalism as Mitsuhiro Yoshimoto states, “What makes Rashoman such a special film is first and foremost its formal experiment, particularly its audiovisual form and narration” (185). Technically Kurosawa uses several techniques to increase the idea of subjectivity in the film. Amongst the countless point of view shots, one of the more striking visuals occurs during the court scenes. Kurosawa place the camera directly in front of the actors as they each give their testimonies, the unique element being that he never shows a reverse shot of who the characters are testifying too. This places the audience in the seat of the jury and makes it as if the characters are appealing directly to the audience. Ultimately in Rashoman, form is emphasized greatly over content in that the story could be about any number of situations in which truth is contested. Through this Kurosawa is able to examine broad and complex ideals such as subjectivity, humanity, and as to whether or not humanity needs to reconcile with the fact that there are no absolute truths. The importance of Rashoman does not lie within the story, but rather, how it is told.

Laura Ullery
Position Paper 4

Rashomon is very different from the silent films we have watched so far in form, which is defined in our reading as the combination of style and content. In Rashomon, we see the same event narrated four different times. Unlike the single chain of events presented in the other movies we have watched, the narratives of Rashomon are not coherent. By presenting the same event multiple times, the focus is on the perceptions of the characters instead of on events or circumstance. In Rashomon, the unalterable present circumstances have little effect on the characters and are not considered for very long. Even though the film is set in a time of war, earthquakes, fire, famine, plague, and burglary, the characters at the gate express more shock and horror towards the conflicting testimonies about the events in the grove than towards the general state of chaos. In the other films we have watched, the characters generally have no control over what happens to them, but in Rashomon, the characters actually define their own experiences. The story of the crimes is altered by the perception of everyone involved to make the outcome as easy to cope with as possible for each individual. Instead of the characters’ lives becoming products of circumstance, the opposite happens: the events are shaped by the characters perceptions.

The style of Rashomon is formalist rather than realist. The overdramatic acting and the dreamlike grove setting are not meant to actually represent what happened; they are instead utilized as way to portray the ambiguity of the human mind. Juxtaposition of visual motifs such as light and shadow or horizontal and vertical lines build a formal structure around the ambiguous events. The stories are neither proved nor discredited because what actually happened in the grove does not matter: the important point is why the stories differ rather than how they differ. The woodcutter and the priest are confused and horrified because they cannot understand why the testimonies should all be so different. However, the third man accepts the discrepancies because he believes that the stories are actually testimonies towards human nature: people lie and deceive themselves to protect themselves. “Truth” is an arbitrary concept: it can mean different things to different people. A story is always influenced by the person relating it.

Something I noticed about Rashomon was Kurosawa’s use of sound. The audio was something I picked up on right away for two reasons. One Rashomon is the first film we have watched as a class that is a “talkie” therefore making the audio something fresh for the film. The second reason I picked up on the audio, is that I think Kurosawa is master of combining diegetic and non-diegetic sound. In all of his films that I have seen this is true, but I think Rashomon is prime example of this. The first place I noticed this in the film was within the first five minutes. As the film moves from the rainy scene on the porch to the flash back of the man walking, as he walks we hear s steady light beat if drums keeping the pace with a light woodwind melody over it, then just before he finds the hat the music suddenly stops giving a moment of complete silence which corresponds with a close up of his face to alert the audience that something is a miss. As he moves away from the hat the normal theme begins again, then with each additional item found there is a slight variation in the music to let the viewer note the importance of what is happening. Finally when he stumbles over the body there is a crescendo-ing trill of all of the woodwinds and a thunderous clang of the gongs which musically imitate the feelings of the actor, then a fast paced theme as he runs back to town. This use of non-diegetic sound in this way is something that brings the emotional connection to the film to a higher level then anything else we have seen this far.
The second notable thing about Kurosawa’s use of audio is the actors themselves. One of the stars of this film is Toshirô Mifune as Tajômaru. Toshiro also stared in Seven Samurai as Kikuchiyo. Something I noticed in both films is that Toshiro has great animation in his voice, and by using different intonation and volume levels he clearly projects his emotions out so that they can be understood despite a language barrier. I think that Toshiro was an excellent choice for this role (as well as Kikuchiyo) because of his ability to convey such strong emotions through his voice and (somewhat crazy) laugh.
This is by far my favorite film we have watched so far.

James Updyke
1 October 2009
ALL 3456

Kurosawa’s “Rashomon” is a strong representation of both Japanese film and the visual beauty created from an artist’s script (Hashimoto Shinobu). The style of the filmography, the structural storyline, and the wide range of simplistic nuances places the film in a flow of cinematic elegance. Director, Kurosawa, uses methods of wide shots, panning, and character-following shots. Kurosawa’s wide shots always set, not just the place, but the mood and setting for each sequence. For example, the beginning of the film has a variety of wide shots of the broken-down “Rashomon” gate being pounded with heavy rain. The audience is shown the mood of sorrow and confusion, the characters that run for cover, and the nature of the scene. The director also uses lots of panning for the same purpose and also to show more of the character. For example, there is a consistency of shots that directly follow the characters through the woods in the mountains. Anger is displayed by the bandit by slashing through the brush and seriousness is shown by the footing of the husband. However, some of the most powerful shots Kurosawa uses are not wide shots or panning, but a close-up. Some of the best scenes take place in the “courtroom” where the characters are shot close-up to display their personalities, moods, and emotions.

The basis and structure of the storyline moves “Rahomon” along with its style. As Mitsuhiro Yoshimoto points out, the film is centered on a theme of “social chaos.” What’s more, Yoshimoto explains, “What leads humans to destroy themselves is egotism… Egotism must be countered by human compassion, honesty, and altruism.” (183). This theme is structured by showing the destruction in the start of the film which leads to a revelation for the priest; ultimately restoring faith in humanity. In other words, the film tears down any hope for “compassion, honesty, and altruism” with lies, evil, and wrong-doings, then the movie ends with the once deceiving man becoming an example of true humanistic values. With all these character representations and developing theme, Kurosawa creates his work of art, “Rashomon.”

Rashomon tells the story of a crime in a grove told from four different perspectives – the bandit, the samurai, the samurai’s wife, and the woodcutter. Three of these stories are presented as testimony at the trial and are mutually exclusive in the events, details and nature of the crime, and the woodcutter tells his story later, which shares details with all three testimonies. However, just because it was an outside witness to the crime, does not mean that it is necessarily the truth. The woodcutter was also deeply affected by the crime he witnessed, and his memory of it may be affected by his own personal self-interest and his philosophy of life. This conflict between wanting to believe in the decency of mankind and forgoing decency for one’s own gain is represented by the two characters with him at the Rashomon Gate – the priest and the thief. The woodcutter shares elements of the two, as he stole the valuable dagger from the scene of the crime, but also takes in an abandoned baby at the end of the film. This spectrum of selflessness and selfishness is visually reinforced by the shot composition – a few times when the men at the Rashomon Gate are discussing the issue of man’s humanity, the woodcutter is in the foreground, with the thief and priest behind him on either side of his head, almost an angel and devil on his shoulders, pushing him in different directions. Although it’s not visually represented quite as clearly, the same dynamic exists within each of the people involved in the crime during their testimony. Each wanted most of all to be viewed favorably, and emphasized the aspects of the event that they considered to be most important, which also happened to be the aspects that cast them in the most honorable and sympathetic light. Kurosawa’s frequent use of close-ups also visually reinforces this, as testimony is given less like a legal procedure and more like a confession, emphasizing how they viewed the events in the grove. Just because they contradict each other, doesn’t mean one of the stories is “true” and another is “false”. The skilled sword fight the bandit recalls and the sloppy, inept struggle the woodcutter recalls aren’t necessarily mutually exclusive.

I definitely noticed a more polished look in “Rashomon” than the previous films. Aside from color, I felt many of the camera techniques were very modern and still practiced today. Once the story of the bandit, husband, and wife begins, the camera follows the woodcutter into the woods. The camera has a close up of his axe, so there is no need to explain what he is. During this scene as well the camera mainly uses extreme long shots or close ups in the brush. This approach prevents the audience form seeing his face for a long time until we have finished following him and he discovers the lost white hat.
The trial was also used as an effective story telling technique as each character then had a reason for confessing their ‘truth.’ However, it was an interesting choice to not assign a jury, but to have only the one character’s dialogue responding to an unheard second dialogue. This choice put emphasis on the one sided story, and not the interrogation. The camera position was eye level with the characters yet they all looked up to acknowledge their current position in front of the jury or judges. This allows for better stress on their ‘powerlessness’ since they are being looked down upon, yet I don’t believe any of the characters were a victim during these scenes.
One turn I liked was the multi-facets of the wife. Each time the story changed, so did her portrayal of the new wife. When Tajomaru first glimpses her, the veil on her hat parts by the wind. Our first impression is mystical, innocent (all white), and intriguing since he is mesmerized by this glimpse. A following scene puts the wife in a long shot with the horse on the left of the screen while placing her in the middle illuminated by the sunlight and in the camera’s focus. This virginal scene I thought helped establish her mystery—is she a loving wife or manipulative, drawing you in?
Even during Tajomaru’s kiss, I was surprised by her reaction and had to wonder if he was a truthful storyteller or not. The camera circles them, heightening the ‘dazed’ look in the wife’s face and the bright lights of the sun glaring through the leaves. Her hand creeps up his back and the camera blurs. This left me wondering ‘has she been seduced?’ ‘Is this a reliable narrator?’ which is exactly what I think Kurosawa was trying to achieve in this high action scene.

Rashomon tells the story of a crime in a grove told from four different perspectives – the bandit, the samurai, the samurai’s wife, and the woodcutter. Three of these stories are presented as testimony at the trial and are mutually exclusive in the events, details and nature of the crime, and the woodcutter tells his story later, which shares details with all three testimonies. However, just because it was an outside witness to the crime, does not mean that it is necessarily the truth. The woodcutter was also deeply affected by the crime he witnessed, and his memory of it may be affected by his own personal self-interest and his philosophy of life. This conflict between wanting to believe in the decency of mankind and forgoing decency for one’s own gain is represented by the two characters with him at the Rashomon Gate – the priest and the thief. The woodcutter shares elements of the two, as he stole the valuable dagger from the scene of the crime, but also takes in an abandoned baby at the end of the film. This spectrum of selflessness and selfishness is visually reinforced by the shot composition – a few times when the men at the Rashomon Gate are discussing the issue of man’s humanity, the woodcutter is in the foreground, with the thief and priest behind him on either side of his head, almost an angel and devil on his shoulders, pushing him in different directions. Although it’s not visually represented quite as clearly, the same dynamic exists within each of the people involved in the crime during their testimony. Each wanted most of all to be viewed favorably, and emphasized the aspects of the event that they considered to be most important, which also happened to be the aspects that cast them in the most honorable and sympathetic light. Kurosawa’s frequent use of close-ups also visually reinforces this, as testimony is given less like a legal procedure and more like a confession, emphasizing how they viewed the events in the grove. Just because they contradict each other, doesn’t mean one of the stories is “true” and another is “false”. The skilled sword fight the bandit recalls and the sloppy, inept struggle the woodcutter recalls aren’t necessarily mutually exclusive.

Off the bat, “Roshomon” was overall superior on many points in comparison to the other films we have seen (the fact that it was a talkie may have played a part as well). There was fluidity throughout the cuts and it felt like the camera knew what the audience was anticipating to see next. I thought it may have seemed that way due to the difference in production years between the other films and Rashomon that the advancements behind the scenes allowed there to be a cleaner way of telling the story. I found the character of Tajomaru to be unlike any of the other main characters in our previous films particularly speaking to the fact that he was the only one other than the husband and the wife who was not serious throughout the whole story. It was interesting to see through their testimonies how each witness told their version of the same incident and how the flashbacks correlated accordingly.
The scene where Tajomaru and the husband are duling (in the wife’s testimony), the fighting came across all over the place and really messy. Tajomaru was tripping a lot and at times it did not look as thought they were natural.
“The Language of Film” reading seemed appropriate for this film in that the camera movement seemed to be well thought out and accurate. Close ups were used pretty frequently in the film and they enhanced each of the recollections for the audience. At times, certain mannerisms of each of the characters got pretty irritating. Tajomaru in many instances had this really annoying laugh that was prevalent while he was testifying in front of the magistrate. With regards to the wife she would portray herself as a very helpless, crying female. Yet, when Tajomaru states that in general “women are weak by nature” you see a transformation in her personality as she becomes “ticked off” (for lack of a better word) at both men for resorting to that conclusion. We then see her feisty side come out as she criticizes both men on their behavior towards her.

Overall, the line that stuck the most with me was when the priest says around the end of the movie, “I believe in men,” this sentence summarized the necessary mentality appropriate for change and a better tomorrow.

Rashomon is to Japanese film as Citizen Kane is to American film. The cinematography used in this film is above and beyond anything we've seen so far. The use of light and shadow to display severe contrasts were tremendous, such as the courtroom scenes where there was shadow and light layered from near to far. The kinds of shots in the film ran the gambit of stationary to tracking to panning, but not just in an ordinary way. The use of natural sounds and music made every scene have its own style and you felt right there in the same environment as the characters themselves. The beginning scene at the Rashomon were there was nothing but the sound of rain and mostly dark made me feel a little colder than the scenes in the forest were it was mostly sunny.
The film overall has a light and dark side as well, with the theme being about the chaos of the time, as well as being an allegory for the chaos in the time in which the film was made. The theme is about the chaos engulfing the world and that the chaos needs to be countered by things like compassion, honesty and altruism, as Yoshimoto explained in the reading. The film is a masterpiece, and I do not think that manner people disagree on that since it is one of the best known Japanese films outside of Japan.

Rashomon was an excellent film that I had enjoyed watching from start to finish. Kurosawa’s use of flashbacks as a form of narration is quite compelling. Although the film is broken up into four completely different accounts of what had happened that day they all seem to flow together very nicely. I found myself constantly thinking and rethinking exactly how I thought those events played out that day. This story starts out with a man and a priest huddling together for warmth during a torrential downpour looking very distraught. Soon a bandit approaches and asks what had happened. The man then tells the bandit that a man had died earlier that day and that there was a trial to find his killer.
Kurosawa then slides into different flash backs and accounts of everyone’s testimony during the trial. I really enjoyed how during the trial scenes the audience never actually sees or hears who is questioning them. The actors however ask themselves the questions by cleverly repeating what was supposedly asked to them by the judge. One of the testimonies that really jumped out at me was when the medium was used to channel the dead spirit of the samurai that had been killed. In that scene the medium is constantly contorting her body and rolling around as if she really were possessed. Kurosawa’s use of the wind and very deep dark sounding voice also contributed to the all out feeling of being in the presence of something supernatural. I found this to be a very interesting and almost exotic look into how the Japanese culture views death and the afterlife.
Another part of this film that I found made it standout was the fact that even after we had heard everyone’s side of the story, even the man who had lied earlier and said that his was the absolute truth, we as the audience do not have any clearer idea as what actually happened. At the end of the film I found myself wondering as to what Kurosawa was going for. During the re-telling of the story by the man to the bandit these characters are constantly going through the exact same loss of words and deep self doubt that I was. At one point even the priest who was constantly rallying for the idea that mankind is good at heart, starts to loose faith. Even the man who supposedly had told the true story and represented justice and purity was being called a liar and a thief by the bandit.

The movie Rashomon was an amazing flick, I thoroughly enjoyed the entire thing. It reminded me of the end of a film noir where you piece the testimony’s of all those involved with the crime and you logic and reason to deduce what is a lie and what is truth. I also through other media research noticed the use of the half destroyed temple in which it is raining and two or more individuals use the rundown building as a means of keeping dry. Naruto Shippuuden, at an area close to the current anime depicts a scene between two characters that very roughly follows the same temple scenario, also the movie Dororo has some of the similar aspects of this temple scene put into its film. Both deal with infants, rain, and conversation during the rain by two individuals discussing what evils the world has come to. I find it absolutely amazing how versatile Mifune is in the movie, what a dynamic character. From seeing him in other Kurosawa films, I was blown away to find out that he never really had any formal acting training. One could say that he is naturally gifted when it comes to film. The emotion, the intense amount of movement, even the way he carries himself is totally different than his other flicks. This character although similar to Kikuji from Seven Samurai, differs in the inter side of the bandit. The fact that everyone lied about the situation was no shock to me, I saw I coming after the first two stories were explained. Each character had its reason for lying in their story. The bandit wanted to be known for what he did as if he had cover up the fact that he was scared shitless. The Samurai didn’t want to be shamed and then killed by the bandit, so he changed the story so it looked like he died honorably. The woman wanted to look like she was not at fault and that she was the victim of both sides, when in actuality she just wanted to cover up the fact that her honor had been tainted, by making the men try and kill each other.

What interested me most in Rashomon was the use of light to flesh out all of the dark moments of the movie. As we learned during the Kurosawa documentary, a bunch of mirrors were put in place to properly reflect light off of Machiko Kyo’s face during the kiss scene. It sort of highlighted how atrocious the crime that was about to be committed was. Yet during all of the points where the priest, the woodcutter and the drifter were talking, it was rainy, dark and damp, all characteristics that make people think darker things might happen. As Abrams states, dim lighting is often the vehicle for making a suspenseful and fearful atmosphere. Yet all of the suspense and fear is brightly lit, making the events surrounding the rape and murder clearer, almost more gruesome, easier to comprehend and much more confrontational than dim lighting. It feels almost more sinister during each of the stories that the events are so well lit. There are no details leading up to the rape that are hidden, as Abrams would state. Even the murder, although not explicitly shown, isn’t completely shrouded, even if the samurai ends up in a thick grove of trees. For such an explanation on how images can lie to us, as Yoshimoto puts it, the events that are each lies are surprisingly detailed. From previous Japanese film viewing experiences, it always seems as though the good guy, the protagonist, would be dressed in dark, yet the antagonist would always be brightly lit or clad in white. Is this a common aspect of Japanese culture? Or is it just a play on what people’s senses and perspectives would usually indicate?

I can see why Yoshimoto’s explanation that it was Kurosawa’s intent to be ambiguous with the story is plausible. I agree with him in this respect. However, it was very discerning to not have figured out what actually happened in the case. Even if one accepts the woodcutter’s explanation of how everything really happened, he really doesn’t bring any credibility to the tale since he had taken the pearl-inlaid dagger, which must’ve been dropped a long ways away from the scene since it didn’t figure into the samurai’s murder.

As this is a story told from four different perspectives, the viewer is at the end left wondering which, if any, is true. With the film's testimonies being recounted in the past tense by the woodcutter, the decision of the court is never revealed to the audience and we have to make our own decisions as to which is the correct interpretation of the events, if there is one. The woodcutter first recounts his testimony from the trial, followed by the testimonies of the bandit, woman, and the dead man via a medium. It is only after these that he reveals to his companions his “true perspective”, which given that he as lied previously must be taken with a grain of salt.
Even the smallest details seem not to match up between the accounts, so even an amalgam of the stories might be completely inaccurate. However certain points seem to be disputed more than others – the woman's testimony is seen as a lie because “women lie even to themselves”, but regardless each testimony seems self-serving hoping only to preserve the honour of the testifier rather than give the complete and honest truth. It is also interesting the word of the dead man would be included, if even through a medium. It would be difficult to verify the veracity of the material she presented, yet still the story is presented as the samurai trying to save his own face.
After all sides have been presented, the audience as well as the thief may well have come to the same conclusion: that the earth is a living hell where only the selfish survive. It is only these acts of self-preservation that allows a person to continue, and that people cannot be trusted. He goes on to steal the kimono of an abandoned baby, saying that if he hadn't someone else would have. While this by no means justifies his actions, he is now his attitude of only the selfish survive personified. The woodcutter then takes the baby, perhaps as a repentance, vowing to take care of it as he would his own children, for whom he told the presumably false testimony in the first place.

Emily Ly
Japanese Film ALL 3456
Anderson
01 October 2009

Rashomon

This movie, by far, is the one I have enjoyed the most out of the four we have viewed so far. Though I know that the previous silent films have their own merit that make them classics, I find it hard to get into the films without any dialogue spoken or heard from the actors themselves. I am a firm believer that a movie is not only defined by the techniques of the director but the actors and their own take on the characters they are playing.

Another aspect of the film that I enjoy immensely is the execution of the story. I like the fact that the movie was told in narration using flashbacks. With the narration and the three different testimonies (the bandit, the wife, and the husband), the audience is able to see the human nature of distorting the truth (and sometimes outright lying) to keep up with the image they have in society. In the case of the bandit, who has the image of a “womanizer”, he tells the court that the wife gave herself to him while the testimonies of both the wife and the husband says she was raped. For the wife, she claims that after she was raped, the bandit leaves and she then frees her husband. In his eyes she does not see anger nor sorrow, but loathing which results in her asking him to kill her. She “blacks out” before she actually does kill him. When she awakens, it is the dagger that kills her husband, not a sword, coinciding with her husband's story, but not the bandit (who claims that he killed the husband with a sword). The narrator himself reveals in the end that he lies about his testimony towards the end of the film. His reasoning is that he “doesn't want to get involved” and wrapped up in the conflict, but later on, the commoner correctly deducts that the woodcutter is the one who stole the dagger and, therefore, he lied to the court (and society) to protect himself.

The message so for is that humans are self-serving and only thinks about what the best decision or outcome is for them, completely disregarding morals such as honesty. Yet, in the end, Kurosawa gleams a light on humankind when the woodcutter takes in an abandoned baby as an adopted son, telling the priest one more child in a household of already six would not be too different than what it already was. This act alone implies that though mankind can destroy each other, it is mankind that will also save us.

In Mitsuhiro Yoshimoto’s article on Rashomon special attention is given to the reaction people had to the film, particularly some involved with the film’s production. These critics are recounted as having believed Rashomon to be incomprehensible. This, states Yoshimoto, was exactly the reaction that Akira Kurosawa was trying to produce. As evidence, Yoshimoto cites the opening scene at the Rashomon in which the priest and the woodcutter appear baffled and are saying to no one in particular, “I can’t understand it.” I agree with Yoshimoto that the priest and the woodcutter obviously play the role of the audience diegetically, but I don’t necessarily believe that their incomprehensible reaction is supposed to be the same as that of the viewer.
I view the story of Rashomon as a commentary on humanity, as Yoshimoto does as well, and I the film does have a comprehensible message. I believe that Rashomon explores the different degrees of truth that people consciously choose to embrace and the facts they willingly omit in order to justify their self-serving actions.
The bandit’s account of events portrays the murder as being spurred on by the wife, who wishes to preserve what dignity she might still have, in which he unties the samurai so they can duel fairly. He casts himself as a skillful fighter and a bandit with some semblance of moral values. Conversely, the samurai claims that after being set free by the bandit he honorably took his own life with a dagger. In turn, each character thus explains the transpiration of events in a way that makes them out to be respectable and in the right.
The truth would seem to be an amalgam of all accounts, but it is ultimately of little importance. The prevalent theme of Rashomon, brought to the fore through the musings of the priest, seems to be that everyone looks out for their own self-interests, however this idea is even brought into question with the conclusion in which the woodcutter atones for his selfish act of stealing the valuable dagger out of the samurai’s corpse (implicitly to provide for his large family) by taking in an abandoned infant, thus restoring the priest’s hope for humanity.

The camera work of Rashomon resembles the camera techniques of today. The close ups of the characters as their sweat beads drip down their faces and the expressions they posses really increase the emotional tensions. The camera also follows the characters, tracking their movements throughout the film instead of a large panoramic view as in the earlier films. There also the emphasis on lighting. During the camera close ups, the lighting on the characters' faces are increased giving this bright contrast to the darker background thus emphasizing the character's emotions and actions. Recollecting on the stories that were told by the characters, they all contained some truth but were skewed or bent to serve the teller. There were a few things that were consistent and there were things that were not consistent. Truth, the samurai died, the lady got raped by Tajomaru, and a few other things like the area and time were consistently correct. But that is where the stories become different. Most of the other points have been covered in class but there were a few things that were left out that could have deduced who was telling the truth or has no relevance at all to the story but I had found very interesting. First off, in the beginning the wood cutter said he went into the mountain and found a woman's hat and found the corpse of the samurai. There was a part where the wood cutter took a long look at something on the ground, the area where he was looking at had a ray of light shining on it. The wood cutter later described it was an amulet with red lining at the court trial, but it was never again mentioned in the film. So what happened to the amulet? In all the other stories there was no mention of the amulet being dropped or ever present in the film. Would the amulet have played anything determining who really spoke the truth but then again it might just be irrelevant to the entire movie. Also another thing that intrigued me was the amount of rain that fell. Is it really possible to have that much rain fall without it being a monsoon or typhoon or hurricane? Seriously though Kurosawa likes his rain, it poured like a waterfall.

Jessua Mathieu
Japanese Film: “Rashomon” Akira Kurosawa
I have been a fan of Kurosawa and Mifune for some time now and was glad to watch this film and put it in some sort of context in my own head. First of all, I love how the whole story unfolds, as Mifune’s character claims, because of a breeze. In fact, the film does a good job of bringing the viewer into the story by letting it unravel one piece at a time. Sometimes, as in the second part of the opening sequence, a man walking deep through the woods suddenly comes across a hat with a veil attached, common for women of those days and a highly unusual object to find in such a remote area. Then he finds some more of her belongings further down the trail, and then some more. And then he finds a body.
The use of cinematography in this starts with you practically walking right next to or right behind the man in the woods with close-ups on the side or back of his head. Then close up on his face as he makes his first shocking discovery. This kind of shot is quite different from what you see in the first part of the opening at the ruined temple. The three men seeking shelter from the rain talking about the strange story are filmed in almost a deliberately more boring manor. Simple of the shoulder shots of whomever was doing the talking. Not that it was boring, since it emphasizes the somber dialogue and allows the viewer to not be distracted by jerky or quick camera movements.
The plot of the story and how the story is portrayed on screen is the most interesting part. Kurosawa was able to show the differences in what the characters’ stories were from the vantage point of who was doing the telling. Also, he was able to tie them together in such a way that it was not a “Edo-Dragnet” crime drama, but almost a ghost story in the scale of its seriousness. In fact, the audience is blessed with a ghost when you are able to hear the victims account of what occurred. It didn’t occur to me until after the film that I thought, what do you mean “A medium was summoned”? As if this were the normal thing to do when fault was questioned in a homicide. I found that very strange, however that scene with the medium is the scene that most will remember from having seen the film.
I, like many probably, was confused by the ending and am still having a little trouble with it. My best guess is that finding the infant and monk allowing the man to take it home was to counter the amount of depression, violence, back-stabbing, and rapping that occurred throughout the film and to not make the crowds leaving the theater to want to go and kill themselves. On the other hand, I believe it was that simple and am looking into it to see what other meanings or representations I can take.

In “I was born, but...” we were presented with a very interesting meta-level display of story telling when we see the father and boss watching a movie. In it, it shows a different side to the father then we had previously seen. Not only where the two brothers shown this new aspect of their father, we as the audience were presented with some that same viewpoint. The omnipotent viewpoint of the audience was being challenged.

In Rashomon, this is taken to an entirely new level, where the audience is presented with a series of stories within stories, and we are never told which is the 'true' story. In its essence, I feel that Kurasawa was actually challenging this concept of the omnipotent perspective by presenting multiple viewpoints that only few are privileged to hear. Only the people discussing at the broken temple heard all sides of the story, and with blatant contradictions, parts must surely be lies. However these were all the perspectives of everyone involved, even the dead. I suspect that was added to ensure the audience didn't retract to “taking the truth to the grave” cop-out. Instead, it felt like an argument that the truth was really either relative, or without some higher meaning.

Each story left us, the audience, more perplexed. Which story was true, which was false. Were all the stories partial truth and partial fib? Then, after all these things are thrown into question: absolute truth, value in the human soul, etc. the innocence of an abandoned newborn, ignored by one of the men at the temple, brings about something that reminds us of our worth despite the horrors of the rest of the film. Without such an ending, the film would have left me feeling that we are indeed without virtue. Kurosawa took us on this journey that showed us light through what can at times seem like nothing but endless darkness.

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I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

Alot of people are into gadgets, sports, entertainment etc, but many of them dont really know what it takes to be at the upper echelons of the industry, and yet you still get people criticizing products or sports people, despite not knowing really how to do the task themselves, lol !

Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.

Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

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Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.

If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.

This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.

Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

If you're still on the fence: grab your favorite earphones, head down to a Best Buy and ask to plug them into a Zune then an iPod and see which one sounds better to you, and which interface makes you smile more. Then you'll know which is right for you.

Zune and iPod: Most people compare the Zune to the Touch, but after seeing how slim and surprisingly small and light it is, I consider it to be a rather unique hybrid that combines qualities of both the Touch and the Nano. It's very colorful and lovely OLED screen is slightly smaller than the touch screen, but the player itself feels quite a bit smaller and lighter. It weighs about 2/3 as much, and is noticeably smaller in width and height, while being just a hair thicker.

The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.

Sorry for the huge review, but I'm really loving the new Zune, and hope this, as well as the excellent reviews some other people have written, will help you decide if it's the right choice for you.

The Zune concentrates on being a Portable Media Player. Not a web browser. Not a game machine. Maybe in the future it'll do even better in those areas, but for now it's a fantastic way to organize and listen to your music and videos, and is without peer in that regard. The iPod's strengths are its web browsing and apps. If those sound more compelling, perhaps it is your best choice.

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Apple now has Rhapsody as an app, which is a great start, but it is currently hampered by the inability to store locally on your iPod, and has a dismal 64kbps bit rate. If this changes, then it will somewhat negate this advantage for the Zune, but the 10 songs per month will still be a big plus in Zune Pass' favor.

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I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

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Hands down, Apple's app store wins by a mile. It's a huge selection of all sorts of apps vs a rather sad selection of a handful for Zune. Microsoft has plans, especially in the realm of games, but I'm not sure I'd want to bet on the future if this aspect is important to you. The iPod is a much better choice in that case.

The new Zune browser is surprisingly good, but not as good as the iPod's. It works well, but isn't as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that's not an issue, but if you're planning to browse the web alot from your PMP then the iPod's larger screen and better browser may be important.

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This is getting a bit more subjective, but I much prefer the Zune Marketplace. The interface is colorful, has more flair, and some cool features like 'Mixview' that let you quickly see related albums, songs, or other users related to what you're listening to. Clicking on one of those will center on that item, and another set of "neighbors" will come into view, allowing you to navigate around exploring by similar artists, songs, or users. Speaking of users, the Zune "Social" is also great fun, letting you find others with shared tastes and becoming friends with them. You then can listen to a playlist created based on an amalgamation of what all your friends are listening to, which is also enjoyable. Those concerned with privacy will be relieved to know you can prevent the public from seeing your personal listening habits if you so choose.

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Team USA defeats Spain in preparation for Turkeys FIBA Planet Championship by Stephen Lars




Team USA defeats Spain in preparation for Turkeys FIBA Globe Championship by Stephen Lars





Group USA had to go into overdrive and count on a bit of last-minute luck to barely make it pass Spain in their warm-up match ahead of the FIBA World Championship begins this Saturday. Kevin Durant was a key-player in this game, managing to block shots by each Ricky Rubio and Rudy Fernandez within the last seconds. In case you need to speak about suspense and excitement, you ought to have seen this international affair's last quarter. It was as dramatic because it gets. Spain managed to lead a few instances, as well as the margin was never far more then two points. With the finish, it was Durant who saved the day for group USA. Jim Boehiam, the Syracuse University coach, created a last minute transform in Team USA tactical scheme and went for his classic Orange Method. The 2-3 zone game plan paid off since the North American team was ready to clench an 86-85 victory over Spain. Modifying to zone-defense as opposed to going one particular on a single within the final play, actually caught the Spanish offense off-guard. This rapidly gave the advantage to Group USA regardless of the reality that it had been Spain who held the final possession and had two last possibilities to shot. Each blocked by Kevin Durant. The Usa had to truly push tough in the fourth quarter, since the team rallied right after Spain which closed the 3rd quarter 13 points behind. So,NFL Mitchell&Ness Dallas Cowboys #12 Roger Staubach Authentic Th, yeah, in case you do the math,MLB New York Mets #45 Pedro Martinez grey authentic Jersey, the last quarter was quite intense. Group USA had won the Olympic Last back in 2008 against Spain. And you could inform that the Spaniards were hungry for revenge. And they were very close. Spain took the lead for the very first time inside the game with 90 seconds to go. Then Rubio, created a nice play in the flank and was in a position to serve Felipe Reyes for an simple shot to bring up the advantage in the Spaniards 82-80. Kevin Durant, who closed the match with 25 points answered rapidly soon after and managed a three-point play soon after a double free of charge throw play. The FIBA World Championship begins Saturday Tune in for some of the best basketball. Sure, the NBA is in its off-season, however the Miami Heat starts to collect every one of the sports reporters attentions, take a moment or two and examine out what the rest from the globe is doing with all the great game of basketball. Turkey is going to become hosting its 1st FIBA Planet Cup, and every thing is prepared. The teams are currently arriving in the distinct cities where they are going to play within the group stages. The FIBA Globe Championship betting lines are currently up. Team USA is actually a 23-point favorite above Croatia. Spain alternatively includes a 12?-point benefit inside the spread. As of press time both Spain, and Group USA are amongst the favorites to win the championship. Brazil is expected to bring in some excellent outcomes. Depsite getting the home court benefit, it should be stated that not a lot is expected through the Turkey National group. 1 point is specific, the nation is creating quite an effort to bring within this tournament. They are the very first middle eastern nation to host a FIBA Word Championship.






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