We are pleased to share Mamoun’s masterclass on Ozu’s masterpiece, Tokyo Story. Mamoun has revisited this film several times, but this most recent visit at the European Film College in Ebeltoft allowed him to discuss the film with the students in detail.
Film maker and educator Mamoun Hassan recently had to postpone his live Movie Masterclass on composer Fumio Hayazaka: instead the invited audience of students at the European Film College in Denmark requested more time to work with him one to one on their final pieces!
Mamoun nevertheless intends to explore the subject in depth with a Masterclass audience at some point in the future. This will be the first Masterclass dedicated to a film score.
Mamoun is providing editing consultancy to the graduating students at the European Film College, Ebeltoft, Denmark, from April 18 – 23. The students present final projects at the end of the 8 ½ month course.
He is also doing a masterclass on Carol Reed‘s Third Man on the 19th, and another masterclass on composer Fumio Hayazaka, one of Cinema’s most original and influential figures and close collaborator with Akira Kurosawa. This is the first masterclass that focusses on a composer – a new direction for masterclasses.
“There is an intensity in this film that does not let go from beginning to end. ” Mamoun Hassan on Throne of Blood , March 19 2012
Mamoun was recently invited to introduce a screening of Akira Kurosawa’s 1957 masterpiece ‘Throne of Blood’ at the National Film Theatre, London.
The film is an interpretation of Shakespeare’s Macbeth in the warrior tradition of Japanese myth.
This is Mamoun’s introduction
“Shakespeare is a problem for film makers. He has fantastic and vivid stories and creates characters whose actions and words embody truth like no other writer’s before or since.
The problem is that, just as Mozart was accused of writing too many notes, Shakespeare writes too many words. As Hitchcock said: Cinema is not about a camera looking at actors speaking. But there is also a more fundamental dilemma: Shakespeare’s words are continually painting pictures. There is a constant stream of images, similes and metaphors.
Few directors have found a way of juggling his word pictures and the screen images. Kurosawa is one who has. He abandons Shakespeare’s words entirely but retains Shakespeare’s images in his own way. What we get is both Shakespeare’s poetry and Kurosawa’s poetry.”
National Film Theatre 19 March 2012
As part of the National Film & Television School’s Screen Arts presentation, in collaboration with the National Film Theatre, Mamoun introduces Kurosawa’s Throne of Blood, touching on Shakespeare on film.
A direct link will be posted when it is live on their website.
Mamoun previews a section from work in progress.
The chapter is entitled: ‘Encounter with Kurosawa‘
Content Copyright©Mamoun Hassan 2011