“Most modern works in which unreliable narrators reveal their motives and deceptive self-images by constructing competing narratives around the same event end up playing the discrepancies for laughs, or, worse, use it as a set-up before triumphantly revealing what ‘really’ happened. Rashomon leaves you uncertain about everything that happened... Now that the film is canonical, many people may overlook the fact that using a visual meeting that capitalizes on people's inclination to believe whatever their eyes are telling them to convey this message is highly subversive.”
~ Phillip Dyess-Nugent
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