Zbog složenosti autorske ličnosti, kojom nadmoćno nadvladava složene raspone raznorodnih dramskih struktura, na zapadu je nazvan "Shakespeareom savremenog filma", dok je u domovini dobio nadimak "Imperator". Kurosawa je neosporno jedan od najsnažnijih i najoriginalnijih autora i japanske i svjetske kinematografije. Jedinstvenu temu svoga stvaralaštva Kurosawa određuje pitanjem "zašto ljudi ne mogu živjeti sretnije zajedno?"
Akira Kurosawa je bio jedan od najvažnijih i najutjecajnijih redatelja u historiji filma i tokom svoje karijere, koja je trajala 57 godina, režirao je 30 filmova.
Kurosawa se priključio japanskoj filmskoj industriji 1936. godine, nakon što je kratko vrijeme radio kao slikar. Nakon godina rada na mnogobrojnim filmovima kao pomoćni režiser i scenarist, debitovao je kao režiser 1943., za vrijeme Drugog svjetskog rata, sa popularnim akcijskim filmom Sanshiro Sugata. Nakon rata, hvaljeni Drunken Angel (1948), u kojem je Kurosawa glavnu ulogu dao tada nepoznatom glumcu Toshiru Mifuneu, učvrstio je režiserovu reputaciju kao jednog od najvažnijih mladih redatelja u Japanu. Toshiro i Kurosawa će surađivati u još 15 filmova. Njegova žena, Yōko Yaguchi, također je nastupila u jednom od njegovih filmova.
Rashomon, koji je premijerno prikazan u Tokiju u augustu 1950. godine, te u kojem je Mifune ponovo glumio, 10. je septembra 1951. postao iznenađujući pobjednik Zlatnog lava na Venecijanskom filmskom festivalu i nakon toga je prikazan u Evropi i Sjevernoj Americi. Komercijalni i kritički uspjeh tog filma po prvi put je otvorio Zapadna filmska tržišta japanskoj filmskoj industriji, što je pak dovelo do međunarodnog priznanja japanskih redatelja. Tokom 1950-ih i ranih 60-ih, Kurosawa je režirao otprilike jedan film godišnje, uključujući i veliki broj vrlo cijenjenih filmova kao što su Ikiru (1952), Seven Samurai (1954) i Yojimbo (1961). Nakon sredine 60-ih postao je mnogo manje plodan u pogledu stvaralaštva, ali njegova kasnija djela, uključujući i dva konačna epa, Kagemusha (1980) i Ran (1985), nastavila su osvajati nagrade, uključujući i Zlatnu palmu za Kagemushu, mada više u inostranstvu nego u Japanu.
1990. je primio Oscara za životno djelo.[1][2] Preminuo je u Tokiju 6. septembra 1998. od posljedica moždanog udara. Posthumno je nazvan "Azijcem vijeka" u kategoriji "Umjetnost, literatura i kultura" u časopisu AsianWeek i na CNN-u, te ga se smatra "jednim od [pet] ljudi koji su najviše doprinijeli poboljšanju Azije u posljednjih 100 godina".[3]
Најпре је студирао медицину и филозофију, које је напустио 1966. да би се преселио у Париз и посветио студијама сликарства. У том периоду постаје чест посетилац Cinematheque Française где је гледао и до 5 филмова дневно. Када је погледао више од хиљаду филмова, на крају се „навукао“ на биоскоп. 1967. се враћа у Немачку и уписује Високу школу за филм и телевизију у Минхену, док истовремено објављује филмске критике за разне часописе. Ускоро и сам почиње да режира. 1977. снима Америчког пријатеља, филм који је привукао пажњу Френсиса Форда Кополе који га је позвао у САД. Међу његове најпризнатије филмове спадају Небо над Берлином (1987), Париз, Тексас (1984), Лисабонска прича (1994) и Buena Vista Social Club (1999), као и велики број кратких арт-хаус филмова.
Вим Вендерс је седамдесетих година XX века стекао репутацију једног од водећих редитеља новог немачког филма. Осамдесетих је постао и култна фигура међународне филмске сцене. Фотографијом је почео да се бави 1983. године док је тражио локације за свој чувени филм Париз, Тексас.
Добитник је Златне палме на филмском фестивалу у Кану1984. године за филм Париз, Тексас. Награђен је почасним докторатом на универзитету у Сорбони 1989. и на Католичком универзитету у Лоувану у Белгији 2005. Додељено му је признање Леопард части на међународном филмском фестивалу у Локарну 2005. године.
Wenders has been the president of the European Film Academy in Berlin since 1996. Alongside filmmaking, he is an active photographer, emphasizing images of desolate landscapes.[1][2]
Wenders was born in Düsseldorf into a traditionally-Catholic family. His father, Heinrich Wenders, was a surgeon. The use of the Dutch name "Wim" is a shortened version of the baptismal name "Wilhelm/Willem". As a boy, he took unaccompanied trips to Amsterdam to visit the Rijksmuseum. He graduated from high school in Oberhausen in the Ruhr area. He then studied medicine (1963–64) and philosophy (1964–65) in Freiburg and Düsseldorf. However, he dropped out of university studies and moved to Paris in October 1966 to become a painter. Wenders failed his entry test at France's national film school IDHEC (now La Fémis), and instead became an engraver in the studio of Johnny Friedlander, in Montparnasse. During this time, Wenders became fascinated with cinema, and saw up to five movies a day at the local movie theater.
Set on making his obsession also his life's work, Wenders returned to Germany in 1967 to work in the Düsseldorf office of United Artists. That fall, he entered the "Hochschule für Fernsehen und Film München" (University of Television and Film Munich). Between 1967 and 1970 while at the "HFF", Wenders also worked as a film critic for FilmKritik, then the Munich daily newspaper Süddeutsche Zeitung, Twen magazine, and Der Spiegel.
Wenders completed several short films before graduating from the Hochschule with a feature-length 16mm black and white film, Summer in the City.
Wenders was collaborating with artist/journalist and longtime friend Melinda Camber Porter on a documentary feature about his body of work, Wim Wenders - Visions on Film, when Porter died - the film remains incomplete.[4]
Wenders is a member of the advisory board of World Cinema Foundation. The project was founded by Martin Scorsese and aimed at finding and reconstructing world cinema films that have been long neglected. He serves as a Jury Member for the digital studio Filmaka, a platform for undiscovered filmmakers to show their work to industry professionals.[5]
Wim Wenders (2008)
In 2011 he was selected to stage the 2013 cycle of Richard Wagner's Der Ring des Nibelungen at the Bayreuth Festival,[6] a reflection of his capacity to produce imaginative tributes to great works of art.[7] The project fell through when he insisted on filming in 3-D, which the Wagner family found too costly and disruptive.[8]
While promoting his 3-D dance film, Pina, Wenders told the Documentary channel Blog in December 2011 that he has already begun work on a new 3-D documentary, this one about architecture.[9] He also has said that he will only be working in the 3-D film format from now on.[10] Wenders admired the dance choreographer Pina Bausch since 1985, but only with the advent of digital 3-D cinema did he decide that he could sufficiently capture her work on screen.[citation needed]
Alongside filmmaking, Wim Wenders works with the medium of photography and his poignant images of desolate landscapes engage themes including memory, time, loss, nostalgia and movement.[1][2] Wenders' long-running artistic project, "Pictures from the Surface of the Earth", began in the early 1980s and was subsequently pursued by the artist for the next twenty years. The initial photographic series in this body of work was titled "Written in the West" which Wenders produced when criss-crossing through the American West in preparation for his film Paris, Texas (film) (1984). This became the starting point for the artist's nomadic journey across the globe, travelling through countries including Germany, Australia, Cuba, Israel and Japan to take photographs which capture the essence of a moment, place or space.[11]
"The Space Between the Characters Can Carry the Load", Collection Ivo Wessel, Weserburg Museum for modern Art, Bremen, DE
2015
Wim Wenders: America, Villa e collezione la Panza, Varese, IT [12]
Wim Wenders: 4REAL & TRUE2. Wim Wenders. Landscapes and Photographs, Museum Kunstpalast, Düsseldorf, DE
"time capsules. by the side of the road. Wim Wenders' recent photographs", BlainSouthern, Berlin, DE
"In broad daylight even the sounds shine. Wim Wenders scouting in Portugal", curated by Anna Duque y González and Laura Schmidt Reservatório da Mãe d'Água das Amoreiras, Lisbon[13]
Pictures from the Surface of the Earth, touring exhibition: Hamburger Bahnhof, Berlin (2001), Guggenheim Museum, Bilbao (2002), Haunch of Venison, London (2003); Museum of Contemporary Art, Sydney (2003); City Art Gallery, Wellington, New Zealand; Millennium Art Museum, Beijing, China; Shanghai Museum of Art, Shanghai, China; Guangdong Museum of Art, Guangzhou, China (2004)
2000
Buena Vista Social Club, Rose Gallery, Bergamot Station, Santa Monica, California
1996
Wim Wenders: Landscape and Memory, Gallery of Contemporary Photography, Santa Monica
Wim Wenders: Photos, in conjunction with the publication, Wim Wenders: Photos, Munich Goethe Institute (1996), Goethe Institutes worldwide
1995
Wim Wenders: Landscape and Memory, Gallery of Contemporary Photography, Santa Monica, California
1993–95
Wim Wenders Photo Exhibition, in conjunction with the publication, Once, Munich: Schirmer/ Mosel (2001), touring exhibition: Palazzo delle Esposizioni, Rome (1993); Villa delle Rose, Bologna (1994); FNAC, Paris (1994); Parco, Tokyo (1994); FNAC, Berlin (1995); Villa Rufolo, Ravello (1995)
Wim Wenders (2005)
1989–94
Wim Wenders Photographs, touring exhibition: Galerie F. C Gundlach, Hamburg (1989); Galerie Marie-Louise Wirth, Zürich (1990); Hochschule für Fernsehen und Film, Munich (1991); Fahey/Klein Gallery, Los Angeles (1991); Shibuya Seibu Dept. Store, Tokyo (1992); Kiyomizu
1989–94
Temple, Kyoto (1992); Musée de l'Élysée, Lausanne (1992); Amerika Haus, Berlin (1992); Venice Biennale (1993); Louisiana Museum of Modern Art, Humlebaek (1993); Sala Parpallo Palau Dels Scala, Valencia (1994); San Telmo Museum, San Sebastian (1994)
1986–92
Written in the West, in conjunction with the publication, Written in the West, Munich: Schirmer/Mosel (1987), touring exhibition: Centre Georges Pompidou, Paris (1986); Encontros de Fotografia, Coimbra (1987); Palazzo della Triennale di Milano (1988); Film Society of Miami (1988); Goethe Institut, Stockholm (1988); Goethe Institut, Copenhagen (1988); Saint-Yrieix-La-Perche (1990); Städtische Galerie Schwarzes Kloster, Freiburg (Breisgau) (1992)
In 2012 the Wim Wenders Foundation was created in Düsseldorf creating a framework to bring together the cinematic, photographic, artistic and literary lifework of Wim Wenders in his native country and to make it permanently accessible to the general public worldwide.[17]
Вилхелм Ернст Вендерс је филмски режисер, фотограф и филмски продуцент. Најпре је студирао медицину и филозофију, које је напустио 1966. да би се преселио у Париз и посветио студијама сликарства. Википедија
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