Yuwen Hsiung presents in her paper, "Kurosawa's Throne of Blood and East Asia's Macbeth," a comparative study between Kurosawa's film Throne of Blood and a contemporary Taiwanese play, Kingdom of Desire, both of which are adaptations of Shakespeare's Macbeth. Stepping from Eastern cultural background, both show similar orientation towards the original play, for instance the sizing down of the number of witches and the decreasing of Macbeth's heroic status. Gilles Deleuze's theory of movement image provides an insightful look into Kurosawa's filmology, which emphasizes the interrelatedness of every individual under the same condition. The idea of collectivity could be examined in two ways, diachronically and synchronically: Kingdom of Desire, although it resembles Throne of Blood in terms of plot, brings our attention back to individuality by focusing on the transformation of the protagonist. Macbeth, the character, would never appeal to the traditional Chinese theater; however, it is made accessible in Chinese culture by centering on individual responsibility towards one's own action.
"Kurosawa's Throne of Blood and East Asia's Macbeth."
CLCWeb: Comparative Literature and Culture
This text has been double-blind peer reviewed by 2+1 experts in the field.
The above text, published by Purdue University Press ©Purdue University, has been downloaded 5468 times as of 07/27/14. Note: the download counts of the journal's material are since Issue 9.1 (March 2007), since the journal's format in pdf (instead of in html 1999-2007).
CLCWeb: Comparative Literature and Culture is published by Purdue University Press ©Purdue University in open access. Please support the journal: Click here for more information and to make your donation online.