Authenticity in Kurosawa

Journal of Value Inquiry

Volumn 33, Issue 2, 1999, Pages 227-237

  Bovens, Luc ^a  

^a UNIVERSITY OF COLORADO   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0033147929     PISSN: 00225363     EISSN: None     Source Type: Journal    
DOI: 10.1023/A:1004421330906     Document Type: Article

References (14)

1. Akira Kurosawa, director, Ikiru (1952).
2. Akira Kurosawa, director, Rashomon (1951) after two short-stories by Ryunosuke Akutagawa, "In a Grove" and "Rashomon" (New York; Liveright, 1952), pp. 19-44.
3. A comprehensive discussion of appraisal theories can be found in Mick Power and Tim Dalgleish, Cognition and Emotion - From Order to Disorder (East Sussex, England: Psychology Press, 1997), pp. 79-99.
4. Stanley Schachter and Jerome Singer, "Cognitive, Social and Physiological Determinants of Emotional State," in Psychological Review 69 (1962), pp. 379-399.
5. Stuart Hampshire, "Sincerity and Single-Mindedness," in Freedom of Mind (Princeton, N.J.: Princeton University Press, 1971), pp. 232-256.
6. Ibid., p. 242.
7. Ibid., p. 243.
8. Maksim Gorky, The Lower Depths (London: Eyre Methuen, 1973), p. 16.
9. Another favorite theme of Kurosawa is the conflict between the normative constraints of authenticity and rational choice. For instance, in No Regrets for Our Youth (1946) and Dersu Uzala (1974), the protagonists make costly choices for no other reason than to retain a genuine coherence in their lives.
10. Kurosawa, director, The Lower Depths (1957).
11. Kurosawa, director, Yojimbo (1961).
12. Kurosawa, director, The Seven Samurai (1954).
13. Kurosawa, director, Ran (1985).
14. I am grateful to Adrienne Chockley, James Forrester, lain Martel, Claudia Mills, Rachel Singpurwalla, Daniel Stoljar, Michael Tooley, Adam Vinueza, the editor and an anonymous referee of this journal for their comments and suggestions. This work was in part supported by a fellowship of the Alexander von Humboldt Foundation.