East‐West rewriting and recontextualization: Approaching Rashōmon (Akira Kurosawa) and its afterlives from adaptation theory

Abstract

The legacy of Akira Kurosawa has become ‘fertile land’, beckoning a plethora of intercultural and intermedia adaptations. Rashōmon (1950), which is adapted from two short stories by the great Japanese writer Akutagawa Ryūnosuke (1892‐1927), namely, ‘Rashōmon’ (1915) and ‘In a Grove’ (1922), surprised Hollywood by refusing the dominant traditional narrative techniques of the period. Although this masterpiece was created over half a century ago, it has been reproduced continually through multimediated practices. Rashōmon was a cognitive explosion that revolutionized western perceptions of the creative and imaginative potential of eastern cinema. Since its release, this cinematic masterpiece has been rewritten and recontextualized into a slew of film, stage and musical productions. Adaptation is the process of reinterpreting and negotiating a target text for new cultural and sign biospheres. This work analyses the transformation process of Rashōmon into the movie adaptations The Outrage (Ritt 1964) (United States) and (The Outrage, also known as At the Gate of the Ghost) (Devakula 2011) (Thailand) to answer the following questions: what elements are added, amplified or excluded in the Rashōmon adaptations? Can the recontextualization of Rashōmon in the United States and Thailand show how the Rashōmon adaptations accommodate and confront cultural and epochal similarities and differences? What translatable and adaptable ‘textual gaps’ allow the adaptations to discourse and reinterpret the source/original/adapted texts? This article uses theory of adaptation as the main theoretical framework to address the questions above.