![]() Kikuchiyo (Mifune Toshirō), a farmer’s son and the seventh samurai, is the funniest comic relief character. Although a rich boy who has no need to be fed by the peasants, Katsushirō would follow Kambei anywhere. ![]() It is out of compassion that Kambei initially dissuades the young and inexperienced Katsushirō from joining his team. Shichirōji buttresses Kambei’s confidence by instantaneously accepting the mission that is so risky as to gamble his life away. Gorōbei aids the creation of the village’s defense plans. Heihachi, a good-humored fencer of the self-proclaimed “woodchopping school,” makes an iconic battle flag and boosts morale. The taciturn master swordsman Kyūzō makes outstanding contributions to the demise of the bandits. The personal qualities and military roles of the seven are stunningly rich in diversity. The six circles represent the samurai and the triangle is “Lord Kikuchiyo.” Heihachi displays the battle banner that he made. It is informative, meanwhile, to learn how the seven samurai’s ethos-due to its unconventionality-sets itself apart from Miyamoto Musashi’s Book of Five Rings (1643), Yamamoto Tsunetomo’s Hagakure, the vendetta of the forty-seven ronin, the way of the samurai that permeates Tom Cr uise in The Last Samurai (2003), and Nitobe Inazō’s Bushido: The Soul of Japan (1900). ![]() The mental and physical alertness on which samurai candidates are tested in front of a door alludes to the famed duelist Tsukahara Bokuden’s (1490–1571) method of assessing his three sons when calling them into a room one by one. It would be best if students have some prior knowledge about historically authentic samurai attributes, because the seven are both consonant with and divergent from them. They refuse to take those military gear and equipment, but they forgive the farmers after hearing Kikuchiyo explain why they ended up becoming murderers. ![]() The offer enrages and saddens Kambei and other samurai. Kikuchiyo offers the armor and weapons that the farmers stole from dead samurai in the past. Additionally, the movie tells us that desperate peasants become treacherous evildoers. The samurai and bandits, figures with military power, are both designated by brushed circles (on the banner and chart, respectively). Since roving and hungry samurai-according to their alignment- could act either as heroic saviors or as predatory gangs, the thin line between good and evil is noteworthy. In Seven Samurai, the four deceased samurai are all gunned down, as if to demonstrate that honorable fighting is ineffectual against bullets. Whereas real-world samurai unhesitatingly utilized them, Kurosawa’s Kagemusha (1980), for example, construes the large-scale deployment of matchlock weapons as a frightening tragedy. It is also imperative to teach about the widespread perception that the samurai disdained firearms. When he finishes off an adamant challenger who forces him to fight with real swords, Seven Samurai makes a momentous break from chambara, a genre that features a stylized, dance-like form of sword fighting. Kyūzō, the sixth to join Kambei’s crew, is highly skilled at swordsmanship. Re-envisioning Asia: Contestations and Struggles in the Visual Arts.Distinguished Service to the Association for Asian Studies Award.Distinguished Contributions to Asian Studies Award.Striving for Diversity, Equity, and Inclusion in Asian Studies: Humanities Grants for Asian Studies Scholars.Gosling-Lim Postdoctoral Fellowship in Southeast Asian Studies.Cultivating the Humanities & Social Sciences Initiative Grants.Key Issues in Asian Studies Book Series.AAS Takes Action to Build Diversity & Equity in Asian Studies.AAS Community Forum Log In and Participate.
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