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Throne of Blood: Kurosawa's Cinema of Allusion

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This essay provides a gloss for the film by tracing what is strikingly and ultimately Shakespearean in selected scenes from Throne of Blood. Bernice Kliman and Joan Mellon (1976: 473) exemplify the intended methodology by noting that, "First, at level one, there are visual equivalents to Shakespeare's words. For example, 'fair is foul and foul is fair' is illustrated [in Throne of Blood] by shafts of sunshine amidst the rain of Labyrinth Forest. Of 'thick as hail came post with post' is represented by the four messengers who come to His Lordship, one after another."
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Keywords: Macbeth; Shakespearean image; Throne of Blood; adaptation

Document Type: Research Article

Publication date: 2004-03-01

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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