Analyzing Kurosawa Akira's Rashomon in the essay “Irreconcilable Realities”, Aaron M. Kerner writes: “The substance of the film depends on what is irreconcilable, and “ resolving” the narrative would be contrary to the central objective of the film.” In this quote, Kerner is referring to the fact that the film does not have a conclusion where the audience knows the truth about the characters in the film. Rashomon instead addresses the nature of reality and real life through the filming of this unusual mysterious story. It approaches the narrative through the eyes of different characters and shows how different points of view can have an important impact on the telling of the story. By telling the story in this way the film creates a commentary on society, but also a commentary on cinema. By demonstrating that each character can participate in the same story, but tell it differently with different outcomes, Kurosawa recognizes that cinema is also a way of telling stories. Each audience member reads the characters differently due to their different backgrounds. The audience member always participates and gives meaning to the film, but comes to different conclusions based on their personality. Therefore, the “central concern” of the film is to recognize that stories are influenced by the narrator's background. “'Solving' the narrative” Kurosawa would not only contradict the main point of the film, but destroy it completely. To resolve the story, Kurosawa would have to give the audience a definitive answer at the end of the film and instead of showing that each character created a different reality, the audience would conclude that the characters who didn't tell the truth were instead simply liars. to build their or... medium of paper... at the command of the camera. He makes the camera move and hide behind him. He is big and has all the power. Rooney is without any control, he is small and helpless. The camera moving behind Sullivan represents the audience. They know Sullivan is going to kill Rooney and they don't want to be caught between the two. Throughout the scene Sam Mendes uses camera movement and distance to show Michael Sullivan's focus and John Rooney's inevitable downfall. Works Cited Bernstein, Matthew. “The classic Hollywood western par excellence.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W. W. Norton & Company, 2nd edition, 2013. 298-318. Kerner, Aaron M.. “Irreconcilable Realities.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W. W. Norton & Company, 2nd edition, 2013. 462-83.