Inspiration and Creation Conditions for Kurosawa's "Dodes'ka-Den"

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The film Dodes Ka Den by Akira Kurosawa
Dodes'ka-Den is a curious outlier in Akira Kurosawa's oeuvre since they shot it in 1970, a year of severe individual and career upheaval for the director (Kurosawa para 1). Filmmaking had been coming for him after several high-profile ventures failed to live up to expectations. As Kurosawa splatters colors on the screen like an action painter slathering Bennies on a canvas, the film's sense of liberation is immediately apparent. The aim of the paper is to discuss the conditions under which it was formed, film inspiration its reception and influence and social cultural context of the whole film.
Film inspiration
By seeing the life of a mentally impaired young guy named Yoshitaka Zuxhi, the film was motivated to depict his existence. A big part of his fascination with the city is its streetcars, and eventually, he begins to believe he is one. Dodes'ka-den" is what a streetcar sounds like to him. Every day, he makes regular trips, stopping at imagined stations in the trash and repeating the gibberish words dodes'ka-den." They have their issues to deal with, tolerating and even caring for him. Kurosawa shows off his ability to convey numerous storylines simultaneously, keeping them all alive and moving and enabling them to remark on one another. Locals like a father and son living in an outdated automobile, an old, impoverished artist who is mostly content, a warring couple, and an unhappy youngster rapidly become familiar. Greek chorus/harpy ladies by the water faucet remark on everything around them.
Conditions under which it was formed
Akira Kurosawa had a more sophisticated and self-aware sense of visual impact; thus, his decision to move from black and white to color could not possibly have been a whim. Dodes'ka-kaleidoscope Den's color palette serves a chronological and philosophical purpose significantly more than if Kurosawa had only directed the Japanese half of Tora's color debut (Kurosawa para 1). Taking place in a junkyard, Dodes'ka-Den presents a ludicrous and dramatic portrayal of extreme poverty and post-Hiroshima hopelessness. These folks are not just daydreaming; they are experiencing hallucinations, as evidenced by the film's bright, Skittle-like colors, which contrast starkly with the deplorable conditions in which they live. The movie was slipping into and out of a klieg light hallucination; the enormous junkyard set where much of the film takes place is depicted with verisimilitude and scenic confinement.
While other children toss rocks at him and his friends, an injured young boy clings to his belief that he is in charge of a streetcar that traverses the junkyard. A pair of color-coordinated drinking buddies swaps color-coordinated wives and houses; while his son begs for restaurant kitchen scraps, the homeless man builds a townhouse in his mind. There is a brief glimpse of the "real world" outside the junkyard, but it simply adds to the depravity of their situation. Washerwomen's gossip group isn't personally opposed to husband swapping, but they wish the couples were not so "open about it."
Social cultural context
Historical Japanese cuisine ways are depicted in the video, which focuses on rice...