Connor Swartz
Senior Thesis | 2025
1950s Japanese Existentialist Cinema:
Origins, Significance, and Meaning
The 1950s was a pivotal decade in Japanese cinema, particularly in the development of existentialist themes. Against the backdrop of post-war reconstruction, social uncertainty, and shifting cultural identity, Japanese filmmakers explored the struggles of the individual in an absurd, indifferent world. Influenced by Western existentialist thought and traditional Japanese philosophy, directors such as Akira Kurosawa, Kenji Mizoguchi, and Yasujirō Ozu created films that questioned the nature of existence, freedom, morality, and fate (Desser 7–8; Richie 45). This essay explores the origins of 1950s Japanese existentialist cinema, its thematic and stylistic elements, and its lasting significance in global film history.
Before the 1950s, Japanese cinema underwent a series of transformations that shaped its identity and narrative techniques. From its early roots in traditional theater to its role as a propaganda tool during wartime, Japanese cinema reflected the shifting cultural and political landscape of the nation (Richie 12–15). This essay explores the evolution of Japanese cinema before 1950, examining its stylistic and thematic elements, the influence of theater and literature, the impact of political shifts, and how these early developments laid the foundation for later cinematic movements. Japanese cinema began in the late 19th century, heavily influenced by traditional theatrical forms such as Noh, Kabuki, and Bunraku. These art forms, known for their stylized performances, elaborate
costumes, and distinctive storytelling methods, played a crucial role in shaping early Japanese filmmaking (Bordwell 260; Desser 11).
During the silent film era (1890s–1930s), Japan developed a unique cinematic experience with the use of benshi, live narrators who explained the film’s story, provided character voices, and even interpreted emotional cues for the audience. Unlike Western silent films, which relied on intertitles, benshi became an integral part of Japanese film screenings, offering a theatrical and interactive viewing experience. This tradition significantly influenced the pacing and composition of silent films, as filmmakers often relied on visual storytelling and long takes to accommodate the benshi’s narration (Desser 14–15). Key genres during this period included jidaigeki (period dramas), which focused on samurai and historical narratives, and gendaigeki (contemporary dramas), which depicted modern life. Directors such as Teinosuke Kinugasa and Daisuke Itō experimented with cinematic techniques like rapid editing and dynamic camerawork, creating visually engaging narratives that went beyond static, stage-like compositions (Bordwell 266–67).
The introduction of sound in the early 1930s brought significant changes to Japanese cinema, but the transition was slower than in Hollywood due to the established benshi tradition. While some theaters continued using live narrators even after sound films were introduced, the industry gradually embraced synchronized dialogue, leading to the decline of benshi performances by the late 1930s (Desser 17; Richie 24). This period also saw the emergence of filmmakers who began refining
storytelling techniques and exploring complex social themes. Yasujiro Ozu, for example, became known for his domestic dramas that depicted everyday life with a minimalist aesthetic. His use of the “tatami shot” (a low camera angle mimicking the perspective of a person sitting on a tatami mat) and his focus on family dynamics showcased a unique cinematic style that emphasized human emotion and quiet contemplation (Bordwell 271–73). Meanwhile, Kenji Mizoguchi established himself as a master of long takes and fluid camera movements, often focusing on the struggles of women in a patriarchal society. His films, such as Osaka Elegy (1936) and Sisters of the Gion (1936), explored themes of gender inequality and societal oppression, making powerful social statements through visual storytelling and character-driven narratives (Desser 19–20; Richie 36).
During the late 1930s and throughout World War II, Japanese cinema became a tool for nationalist propaganda. As Japan’s military expanded its influence, the government imposed strict censorship laws, restricting films that depicted Western values or criticized the war effort. Filmmakers were required to produce works that promoted national pride, loyalty to the emperor, and the ideals of sacrifice and duty (Desser 21–22).
During this period, directors like Kajirō Yamamoto and Tomotaka Tasaka created war films that glorified Japanese soldiers and reinforced militaristic ideology. These films, often funded by the state, depicted heroic battlefield narratives and the virtues of selfsacrifice, aligning with the government’s objectives (Richie 40).
Despite the restrictions, some filmmakers found ways to incorporate subversive themes. For instance, Akira Kurosawa’s
early work, such as Sanshiro Sugata (1943), adhered to wartime censorship rules but subtly explored themes of personal growth and moral conflict rather than outright nationalism (Richie 42–43). Others, like Sadao Yamanaka, who directed Humanity and Paper Balloons (1937), crafted period dramas that critiqued social hierarchies and the struggles of common people, though such films were often heavily scrutinized or banned (Desser 25).
After Japan’s defeat in 1945, the film industry entered a new phase under American occupation (1945–1952). The Supreme Commander for the Allied Powers (SCAP) implemented strict censorship policies to eliminate militaristic and feudal themes while promoting democratic values. Filmmakers were encouraged to produce movies that emphasized individualism, humanism, and social reform (Desser 27–28; Richie 47). During this period, studios shifted focus toward contemporary dramas that reflected the harsh realities of post-war life. Films such as Women of the Night (1948) by Mizoguchi portrayed the struggles of women forced into prostitution due to economic hardship, while Drunken Angel (1948) by Kurosawa depicted the moral decay of society through the story of a tuberculosis-ridden gangster and an idealistic doctor (Bordwell 278–79; Richie 52).
This era also marked the resurgence of neorealism in Japanese cinema, inspired by Italian neorealism’s emphasis on everyday struggles and non-glamorous depictions of life. The use of location shooting and naturalistic performances became more prominent, moving away from the heavily stylized approaches of earlier decades (Desser 30). The development of Japanese cinema before the 1950s was shaped by a combination of theatrical
traditions, technological advancements, political influences, and social transformations. From the silent era’s reliance on benshi narration to the rise of complex storytelling in the 1930s, and from wartime propaganda to the post-war pursuit of humanist themes, Japanese cinema evolved into a powerful medium that reflected the nation’s cultural and historical trajectory. These early foundations set the stage for the groundbreaking films of the 1950s and beyond, ensuring Japan’s lasting influence on global cinema (Richie 57; Desser 31).
The emergence of existentialist themes in 1950s Japanese cinema was largely shaped by Japan’s post-war experience. The atomic bombings of Hiroshima and Nagasaki in 1945, followed by the U.S. occupation and rapid industrialization, left Japan in a state of existential crisis. Traditional values were eroded, the emperor’s divinity was questioned, and Western ideologies permeated the national consciousness. The scars of war and the trauma of defeat led filmmakers to question the purpose of life, morality, and the individual’s place in an often chaotic and unforgiving world (Desser 33–34). Philosophically, Japanese existentialist cinema was influenced by both Western and Eastern thought. The writings of Jean-Paul Sartre, Albert Camus, and Friedrich Nietzsche resonated with Japanese intellectuals, particularly their ideas of absurdity, freedom, and existential dread. At the same time, Zen Buddhism and the samurai code of bushidō both emphasizing impermanence, suffering, and self-definition played a role in shaping Japan’s unique existentialist perspective (Richie 67; Bordwell 282).
Inspired by Camus’ notion of the absurd, many films depict characters trapped in futile struggles against fate, bureaucracy, or social constraints. This is best exemplified in Akira Kurosawa’s Ikiru (1952), where a dying bureaucrat, Watanabe, confronts the meaninglessness of his monotonous existence and desperately seeks a sense of purpose in his final days (Desser 40). Many protagonists in 1950s Japanese existentialist films feel disconnected from society. This is evident in Tokyo Story (1953) by Yasujirō Ozu, where an elderly couple visits their grown children in the city, only to realize they are no longer needed or valued. The film poignantly critiques modernization and the dissolution of traditional family bonds, illustrating existential alienation in contemporary Japan (Bordwell 283).
These films often reject clear-cut moral judgments, reflecting the post-war skepticism toward authority and righteousness. Kurosawa’s Rashomon (1950) epitomizes this approach by presenting multiple, contradictory perspectives of a single event, leaving the audience to question the nature of truth and morality. This narrative uncertainty aligns with existentialist thought, which posits that meaning is subjective and shaped by personal interpretation (Richie 60). Existentialist cinema often explores the burden of freedom, where individuals must create their own meaning in a world devoid of inherent purpose. Seven Samurai (1954), while an action epic, embodies this existential dilemma, as the hired samurai must define their honor and duty in a rapidly changing society where traditional values no longer hold absolute sway (Desser 45–46). Many films employ visual and thematic minimalism to emphasize existential concerns. Ozu’s
signature static camera and restrained storytelling highlight the quiet despair of everyday life, while Mizoguchi’s long takes and poetic compositions underscore the inescapable nature of fate and suffering (Bordwell 291; Richie 73).
The existentialist cinema of 1950s Japan is significant for several reasons. First, it provided a profound philosophical response to the national trauma of war and occupation, allowing Japanese society to process and reflect on its identity in the modern world. These films engaged with deep, universal questions about the human condition, making them relevant beyond Japan’s specific historical context (Desser 50). Second, these films revolutionized cinematic storytelling. By rejecting linear narratives, clear heroes and villains, and conventional resolutions, Japanese existentialist cinema influenced global filmmaking. Directors such as Ingmar Bergman, Andrei Tarkovsky, and later, the French New Wave filmmakers, drew inspiration from the innovative techniques and themes of Kurosawa, Ozu, and Mizoguchi (Richie 81).
Finally, these films remain culturally and philosophically significant today. The existential dilemmas they explore alienation, identity, the search for meaning continue to resonate with contemporary audiences, reflecting the timeless struggles of human existence. The increasing mechanization and alienation of modern society only reinforce the relevance of these films in today’s world (Desser 55).
The existentialist cinema of 1950s Japan was a profound artistic and philosophical movement born out of a period of
national upheaval. By merging Western existentialist philosophy with Japanese traditions, filmmakers created works that examined the human condition with depth and nuance. These films challenged audiences to confront uncomfortable truths about life, morality, and meaning, leaving an indelible mark on both Japanese and global cinema. The existential struggles depicted in these films remain as relevant today as they were in post-war Japan, cementing their place as timeless works of cinematic and philosophical significance.
Japanese cinema has long been a medium through which filmmakers have explored deep philosophical questions about existence, meaning, and human suffering. One of the most profound philosophical frameworks that influenced Japanese filmmakers, particularly in the post-war era, is existentialism. Following World War II, Japan underwent an intense period of reconstruction under American occupation, leading to both physical and ideological rebuilding. This created a fertile ground for existentialist themes to emerge, as people grappled with questions of identity, morality, and purpose in an altered society. European existentialist philosophy, particularly the works of JeanPaul Sartre and Albert Camus, resonated with Japanese intellectuals and filmmakers. However, unlike in the West, where existentialism often emphasized radical freedom and individualism, Japanese existentialism intersected with Zen Buddhism and traditional humanism. This synthesis resulted in a unique portrayal of existential struggles, emphasizing both personal responsibility and the inescapability of societal roles. The core themes of existentialism in Japanese cinema include the
search for meaning, alienation, individual responsibility, and the broader human condition.
Akira Kurosawa’s Ikiru is one of the most poignant existential films in Japanese cinema, following the journey of Kanji Watanabe, a bureaucrat who discovers he has terminal cancer. Faced with the inevitability of death, Watanabe experiences a crisis of meaning, realizing that his decades of passive existence within a bureaucratic system have amounted to little. His initial reaction is one of despair and hedonistic indulgence, but he soon embarks on a quest to create something meaningful before his death. Through his efforts to build a playground for children, he transforms from a passive participant in life to an agent of change, embodying Sartre’s notion that existence precedes essence meaning is created through action. Themes in Ikiru include death, the value of life, and legacy. The film critiques societal apathy and suggests that individual purpose can be realized even in the face of existential despair.
Unlike Kurosawa’s more overtly dramatic approach, Yasujirō Ozu’s Tokyo Twilight presents existentialism in a subtler, more intimate manner. The film explores familial breakdown and emotional isolation, particularly through the estranged relationships between parents and children. Set in post-war Tokyo, Tokyo Twilight examines how urbanization and shifting societal values disrupt traditional family bonds. The characters experience profound loneliness and struggle with identity, particularly the two sisters at the film’s center, who grapple with abandonment and disillusionment. The themes of loneliness, generational disconnect, and identity highlight a modern existential dilemma: the increasing
alienation of individuals in an evolving society. The film’s restrained style and use of static shots amplify the sense of quiet desperation, making the existential undertones even more poignant.
Masaki Kobayashi’s The Human Condition trilogy is one of the most expansive cinematic explorations of existentialism and morality. The first installment follows Kaji, a conscientious objector who is forced into a position within the Japanese military during World War II. Kaji struggles to reconcile his personal ethics with the demands of a militarized, oppressive system. His moral resistance against systemic brutality embodies existential defiance, similar to Camus’ concept of the “rebel” who resists an absurd and cruel world. Despite knowing that his actions may be futile, Kaji continues to fight for justice, reflecting the existential theme of individual versus collective. Themes such as human suffering, moral responsibility, and freedom permeate the film, illustrating how existentialist ideas can serve as both a critique of authoritarianism and a meditation on personal integrity.
Kenji Mizoguchi’s The Life of Oharu offers a stark portrayal of existential despair through the life of its protagonist, Oharu. A noblewoman turned courtesan, Oharu endures relentless suffering due to patriarchal oppression and societal expectations. The film critiques systemic injustice, showing how individuals, particularly women, are often powerless in the face of societal structures. However, Oharu’s resilience and quiet dignity serve as an existential affirmation despite her suffering, she continues to endure, embodying the Buddhist-inflected existential theme of perseverance in an indifferent world. Themes such as alienation,
dignity, and resilience underscore the film’s tragic yet deeply humanistic message.
While The Hidden Fortress is often discussed in the context of adventure cinema, it contains strong existential elements. The film follows two peasants who, despite their greed and selfishness, inadvertently become instrumental in helping a princess reclaim her throne. Their journey questions notions of loyalty, ambition, and redemption. The characters, deeply flawed and self-serving, are not traditional heroes, but their participation in a larger cause gives their lives unexpected meaning. This aligns with existentialist thought, which asserts that meaning is often found through struggle and unforeseen circumstances. Themes of collaboration, greed, and heroism highlight the imperfect nature of human beings and their potential for both selfishness and redemption.
In Seven Samurai, Kurosawa explores existentialism through collective struggle and sacrifice. The film follows a group of samurai who, despite knowing that their battle against bandits may be futile, choose to fight for the villagers. The samurai’s commitment to service, despite the inevitability of loss, reflects the existential concept of heroic perseverance. Their actions challenge the notion that life’s meaning must be derived from external validation; instead, meaning is found in the struggle itself. Themes such as duty, community, and existential perseverance showcase the idea that human existence is defined not by success, but by the courage to face suffering with dignity.
Perhaps the most explicitly existential film in this selection, Rashomon questions the very nature of truth and reality. The film presents multiple, contradictory accounts of a crime, leaving the audience uncertain about what actually transpired and forcing them to imagine it for themselves. This aligns with existentialist notions of subjective reality and the elusiveness of objective truth. Each character’s version of the story is shaped by their self-interest and perceptions, illustrating the fundamental instability of human narratives. Themes of relativism, identity, and the uncertainty of meaning dominate the film, making it a profound meditation on the complexities of human nature and moral ambiguity.
The existential themes present in these films reflect Japan’s post-war struggles with identity, ethics, and societal rebuilding. By merging Western existentialist philosophy with Japanese cultural and historical contexts, these films offer unique insights into the human condition. Moreover, the universality of these themes ensures that these films remain relevant across cultures and eras. They challenge audiences to confront questions of meaning, morality, and existence in an uncertain world. The legacy of existentialism in Japanese cinema is profound, with directors like Kurosawa, Ozu, Mizoguchi, and Kobayashi crafting narratives that continue to resonate with contemporary audiences. Through their exploration of existential dilemmas, these films offer not only philosophical insight but also a deeply humanistic reflection on life, suffering, and perseverance.
Akira Kurosawa’s Seven Samurai (1954) is one of the most influential films in cinematic history. The film’s narrative structure, character development, cinematography, and action
sequences have profoundly impacted both Hollywood and global filmmaking. Directors such as George Lucas, Steven Spielberg, and Quentin Tarantino have cited Kurosawa as an inspiration, and Seven Samurai's storytelling techniques have been widely adopted. This paper examines how Seven Samurai changed the way movies are made by influencing film structure, cinematography, action choreography, and character archetypes.
One of the most significant contributions of Seven Samurai to filmmaking is its narrative structure. Kurosawa popularized the concept of the “team-up” movie, where a group of individuals with unique skills comes together to accomplish a goal (Prince, 1999). This structure has been replicated in numerous films, including The Magnificent Seven (1960), The Dirty Dozen (1967), The Avengers (2012), and Ocean’s Eleven (2001). The idea of assembling a diverse cast with distinct personalities allows for dynamic storytelling and strong character interactions. Additionally, Seven Samurai introduced a three-act structure that has become a staple in Hollywood. The first act focuses on the recruitment of the samurai, the second on their training and preparation, and the third on the climactic battle. This clear progression helps maintain audience engagement and has been emulated in countless action and adventure films (Desser, 1983).
Kurosawa’s use of cinematography in Seven Samurai set new standards for visual storytelling. His innovative use of multiple cameras to capture action sequences allowed for dynamic editing and a heightened sense of realism. According to Richie (1996), Kurosawa often used long lenses to compress space, creating a sense of depth and movement that enhanced battle
sequences. This technique has influenced directors such as Steven Spielberg, who used similar methods in Saving Private Ryan (1998). The film also employed deep focus cinematography, where multiple planes of action remain in sharp detail. This technique, pioneered by Orson Welles in Citizen Kane (1941), was refined by Kurosawa to guide the audience’s eye across complex battle scenes (Galbraith, 2002). The use of rain and natural elements to heighten drama, particularly in the climactic battle, has been replicated in films like Gladiator (2000) and The Lord of the Rings trilogy (2001-2003).
The action sequences in Seven Samurai were groundbreaking in their realism and fluidity. Kurosawa’s use of slow-motion and quick cutting created a visceral impact that was revolutionary at the time. Unlike Hollywood’s traditional static camera setups, Kurosawa’s cinematography moved dynamically with the action, making battles feel more immersive (Yoshimoto, 2000). Furthermore, Kurosawa’s technique of using weather, terrain, and natural elements to enhance fight scenes has been widely imitated. The chaotic, rain-soaked finale of Seven Samurai directly influenced action sequences in Braveheart (1995) and Game of Thrones (2011-2019). By prioritizing clarity in action scenes, Kurosawa set a precedent for modern action filmmakers such as Christopher Nolan and Zack Snyder (Prince, 1999).
Seven Samurai established character archetypes that have become fundamental in action and adventure storytelling. The film features a diverse group of warriors, each with distinct personalities, motivations, and roles within the group. These archetypes have been replicated in films like The Avengers (2012),
where each superhero has a defined role that contributes to the team’s success (Desser, 1983). For example, the reluctant leader Kambei (Takashi Shimura) is a prototype for characters such as Obi-Wan Kenobi in Star Wars (1977) and John McClane in Die Hard (1988). The hot-headed yet skilled Kikuchiyo (Toshiro Mifune) has influenced countless rogue warrior characters, including Han Solo in Star Wars and Wolverine in X-Men (2000) (Richie, 1996). By giving each character a well-defined arc, Kurosawa ensured that audiences remained emotionally invested in the story.
The impact of Seven Samurai on Hollywood is evident in both direct remakes and spiritual successors. The most notable remake is The Magnificent Seven (1960), which transported the story to the American West. Similarly, A Bug’s Life (1998) adapted the core themes for an animated family audience. Beyond remakes, Kurosawa’s influence is seen in the works of George Lucas, who openly acknowledged Seven Samurai as an inspiration for Star Wars (1977) (Galbraith, 2002). The concept of assembling a ragtag group to defeat a powerful enemy is a direct parallel, and elements such as the mentor figure and the heroic journey reflect Kurosawa’s storytelling principles. In addition to narrative elements, Seven Samurai’s editing techniques, use of slow motion, and multi-camera action scenes introduced stylistic innovations that became staples in action cinema. Its pacing and tensionbuilding methods such as long periods of character development leading to explosive climaxes have influenced directors like Sergio Leone, Martin Scorsese, and Quentin Tarantino. The film’s use of weather and nature as emotional and symbolic devices,
particularly in the climactic rain-soaked battle, also set a precedent for environmental storytelling in film.
Japanese cinema also benefited from Seven Samurai's success. It legitimized samurai films as high art rather than genre fare, paving the way for directors like Takeshi Kitano and Hirokazu Kore-eda. The film’s blend of action, philosophy, and character depth has influenced modern directors like Bong Joon-ho and Denis Villeneuve (Yoshimoto, 2000). Kurosawa’s international acclaim helped usher in a golden age for Japanese cinema, allowing future filmmakers to experiment with form and theme while maintaining artistic integrity.
Seven Samurai remains a landmark film that continues to shape the way movies are made. Its influence on narrative structure, cinematography, action choreography, and character development is undeniable. The film’s legacy is visible in Hollywood blockbusters, independent cinema, and global filmmaking traditions. Akira Kurosawa’s masterpiece not only set new technical and artistic standards but also demonstrated the power of film as a universal storytelling medium. As cinema evolves, the impact of Seven Samurai will undoubtedly endure for generations to come.
The existentialist cinema of 1950s Japan stands as a profound artistic and philosophical movement that emerged from a nation grappling with the aftermath of war, occupation, and rapid modernization. Filmmakers such as Akira Kurosawa, Yasujirō Ozu, Kenji Mizoguchi, and Masaki Kobayashi infused their works with existential themes, reflecting both Western existentialist
thought and traditional Japanese philosophies like Zen Buddhism and bushidō. These films grappled with the search for meaning, alienation, moral ambiguity, and the burden of individual responsibility, mirroring the existential concerns of a society in transition. Through cinematic innovation whether Kurosawa’s dynamic storytelling, Ozu’s minimalist compositions, or Mizoguchi’s poetic long takes these directors revolutionized narrative structure and visual aesthetics, influencing filmmakers worldwide. Movies like Ikiru, Tokyo Story, Rashomon, and Seven Samurai challenged audiences to confront profound questions about existence, truth, and personal agency, resonating far beyond Japan’s historical context. The legacy of this era’s existentialist cinema extends into contemporary filmmaking, where themes of uncertainty, identity, and existential struggle remain relevant. As modern societies continue to grapple with issues of technological advancement, social isolation, and shifting cultural values, these films offer timeless reflections on the human condition. Their narratives of perseverance, moral conflict, and the search for meaning continue to inspire and provoke philosophical inquiry. The existential dilemmas explored in 1950s Japanese cinema are not confined to history; rather, they serve as enduring testaments to the power of film as a medium for exploring the complexities of life itself. By merging profound philosophical inquiry with masterful storytelling, these films have secured their place as some of the most influential and thought-provoking works in global cinematic history.
References
● Desser, D. (1983). The Samurai Films of Akira Kurosawa. UMI Research Press.
● Galbraith, S. (2002). The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. Faber & Faber.
● Prince, S. (1999). The Warrior’s Camera: The Cinema of Akira Kurosawa. Princeton University Press.
● Richie, D. (1996). The Films of Akira Kurosawa. University of California Press.
● Yoshimoto, M. (2000). Kurosawa: Film Studies and Japanese Cinema. Duke University Press.
● Ikiru. Directed by Akira Kurosawa, Toho, 1952.
● Tokyo Twilight. Directed by Yasujirō Ozu, Shochiku, 1957.
● The Human Condition Part I (Ningen no jōken). Directed by Masaki Kobayashi, Shochiku, 1959.
● The Life of Oharu (Saikaku Ichidai Onna). Directed by Kenji Mizoguchi, Daiei Film, 1952.
● The Hidden Fortress (Kakushi-toride no san-akunin). Directed by Akira Kurosawa, Toho, 1958.
● Seven Samurai (Shichinin no Samurai). Directed by Akira Kurosawa, Toho, 1954.
● Rashomon. Directed by Akira Kurosawa, Daiei Film, 1950.