{"product_id":"dodes-ka-den-どですかでん-1970-original-japanese-stb-tatekan-first-release-theatrical-poster-artwork-by-akira-kurosawa","title":"“DODES’KA-DEN \/ どですかでん” (1970) – ORIGINAL JAPANESE STB \/ TATEKAN FIRST-RELEASE THEATRICAL POSTER – ARTWORK BY AKIRA KUROSAWA P142","description":"\u003ch3\u003e\u003cspan\u003e“DODES’KA-DEN \/ どですかでん” (1970) – ORIGINAL JAPANESE STB \/ TATEKAN FIRST-RELEASE THEATRICAL POSTER – ARTWORK BY AKIRA KUROSAWA\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExtremely Rare Two-Panel STB Printing | Original Japanese Release Campaign | Original Artwork by Akira Kurosawa | Kurosawa’s First Colour Film | c. 51 × 145 cm (20 × 57 in) | Excellent Condition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexceptional original Japanese STB \/ Tatekan theatrical poster produced for the first release of Akira Kurosawa’s \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDodes’ka-den\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, featuring the director’s own extraordinary illustrated artwork.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is one of the most personal Japanese film posters of its period. Kurosawa did not merely direct the film represented here: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehe created the artwork himself\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, transforming its inhabitants, colours and imaginary landscapes into a dense, expressionistic composition that feels like an extension of the film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt almost five feet tall, the rare STB format gives the image an extraordinary physical presence. A broad yellow path runs through the centre, flanked by a crowded procession of painted figures. The title \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「どですかでん」\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appears repeatedly along the route, beginning in smaller pink lettering and gradually becoming larger before changing to vivid blue. At the bottom, the director’s name—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「監督・黒澤明」\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, “Directed by Akira Kurosawa”—is given monumental prominence above his printed Roman-script signature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is far more than a conventional photographic movie poster. It is a significant piece of original Japanese graphic art, created by one of cinema’s greatest visual storytellers for his own first colour feature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal STB examples of this design are \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eextremely rare\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, particularly with both panels present and in such strong condition. The far more commonly encountered B2 poster is already highly desirable; this original two-sheet Tatekan printing is substantially more imposing and much more difficult to source.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster survives in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent condition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with exceptionally rich colour, a remarkably clean principal image and only light age-appropriate handling wear. The two original sections remain unbacked and have not been permanently joined.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eDate and Original Japanese Theatrical Release\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eDodes’ka-den\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e received an advance opening at Tokyo’s Chiyoda Theatre on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e31 October 1970\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, followed by its wider Japanese release on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e21 January 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The poster belongs to the original campaign prepared in 1970, as confirmed by the printed Toho copyright line at the lower edge. The film was produced by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYonki no Kai \/ the Club of the Four Knights\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and distributed domestically by Toho. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe original credits printed along the foot of the poster read:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e〈カラー作品〉\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“A Colour Production”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e原作・山本周五郎「季節のない街」新潮社版\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Based on Shūgorō Yamamoto’s \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eA City Without Seasons\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Shinchosha edition”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e製作・四騎の会\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Produced by Yonki no Kai \/ the Club of the Four Knights”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e配給・東宝株式会社\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Distributed by Toho Co., Ltd.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe lower-left corner carries the period \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eEirin approval mark and number 70531\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, while the lower-right copyright line identifies the sheet as printed in Japan by Toho in 1970.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is therefore an authentic poster from the film’s original Japanese theatrical campaign—not a later retrospective issue, commemorative art print or reproduction.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Film and Its Place in Kurosawa’s Career\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eKurosawa’s first colour film—and one of the most radical visual departures of his career.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBased on Shūgorō Yamamoto’s novel \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eA City Without Seasons\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDodes’ka-den\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e presents a mosaic of interconnected lives within an impoverished settlement on the outskirts of Tokyo. Its characters endure hardship, isolation and disappointment, yet continue to create fantasies, routines and private worlds through which life remains bearable.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the centre of the film is Roku-chan, who imagines himself operating a trolley through the settlement. As he follows his daily route, he voices the rhythmic sound:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「どですかでん」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe phrase has no straightforward literal translation. It is an invented onomatopoeic expression suggesting the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eclickety-clack or rumbling rhythm of a moving tram\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The poster turns that sound into its central graphic device, repeating it down the imaginary yellow route as though the words themselves are approaching the viewer. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe film marked Kurosawa’s first complete feature in colour and allowed him to use highly artificial, emotionally expressive hues rather than naturalistic ones. Landscapes, costumes, faces and buildings were deliberately transformed through paint and colour, creating a world poised between physical deprivation and interior fantasy. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt was also the first and ultimately only production of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYonki no Kai\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the company founded by Kurosawa together with three other major Japanese directors: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKeisuke Kinoshita, Kon Ichikawa and Masaki Kobayashi\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The group hoped to create an independent structure through which ambitious films could continue to be produced during a period of severe contraction within the Japanese studio system. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough initially met with a difficult domestic reception, the film received significant international recognition and was nominated as Japan’s entry for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBest Foreign Language Film at the 44th Academy Awards\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eToday, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDodes’ka-den\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e occupies an essential place in Kurosawa’s career. It announced the visionary use of colour that would later reach immense scale in \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eKagemusha\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eRan\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDreams\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, but here that visual power is concentrated within a smaller, more intimate community.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan\u003eKurosawa’s Own Artwork\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe extraordinary importance of this poster begins with its authorship. The artwork was painted by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAkira Kurosawa himself\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, making the poster a direct visual statement from the film’s director rather than an interpretation commissioned from an unrelated advertising artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition possesses the immediacy of a sketchbook drawing while remaining carefully structured. Figures are built from thick black lines, rapidly applied colour and deliberately distorted proportions. Perspective changes from one area to another, while characters appear to emerge from separate memories, scenes or emotional states.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe apparently spontaneous quality of the drawing should not be mistaken for crude execution. Kurosawa controls the image through its powerful central axis, repeated typography and distribution of colour.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Central Yellow Route\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eA vast field of brilliant yellow runs from the top of the poster almost to its lower edge.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt may be read simultaneously as a road, a shaft of light, an imaginary tram route and a psychological space separating the surrounding inhabitants. Its narrowing shape creates an exaggerated sense of distance, beginning beneath the wheel-like sun at the horizon and widening dramatically towards the viewer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eYellow dominates the design but is never passive. It gives the poster its light, its visual direction and its overwhelming sense of artificiality. Against it, the magenta and blue title lettering appears exceptionally vivid.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Repeated Title\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eRather than presenting the film’s title once in a conventional title block, Kurosawa repeats:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「どですかでん」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003edown the entire length of the central path.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe earliest repetitions are small and relatively compressed. As the words move down the poster, they grow larger, more widely spaced and visually louder. The typography therefore imitates the rhythm and increasing volume of an approaching trolley.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSome repetitions are divided into irregular groups:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eどで すか でん\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eどで・すか でん\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis shifting spacing gives the lettering a spoken, percussive quality. The title ceases to function merely as language and becomes sound, movement and rhythm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe transition from hot pink in the upper section to intense blue in the lower section creates another visual break, almost as though the sound has entered a different emotional register.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Wheel-Like Sun\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eAt the upper centre is a large circular form rendered in green, pink, yellow, orange and blue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt resembles several things at once: a sun, a flower, a wheel, a target or the front of an imaginary vehicle. Its radial spokes echo the movement suggested by the title and establish the point from which the central yellow route appears to begin.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe surrounding horizon is no less artificial. Roughly drawn houses, coloured embankments and areas of turquoise and pink transform the settlement into an imagined landscape rather than a literal location.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Procession of Characters\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe residents of the film crowd both sides of the central route.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSome appear full-length; others are reduced to tightly framed heads. Their faces are presented in contrasting combinations of orange, pink, yellow, blue, green and black, with expression communicated through sharply economical lines.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is no conventional hierarchy. Large figures do not necessarily represent major characters, while smaller portraits can carry equal emotional force. The poster instead suggests a community of interconnected but intensely private lives.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe figures never quite occupy the same physical space. Each appears caught within an individual vignette, memory or psychological enclosure. That fragmentation closely reflects the film’s structure as a series of overlapping stories rather than one continuous central narrative.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Solitary Figure and Shadow\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eA small figure stands within the lower part of the yellow route, separated from the surrounding crowd.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeneath him is a dark, elongated double that reads as a shadow, reflection or second self. The two forms are linked but not perfectly identical, reinforcing the film’s continuing movement between material reality and sustaining fantasy.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlaced on the composition’s central axis, the figure gives the immense yellow field a human scale while also emphasising solitude.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003e“Directed by Akira Kurosawa”\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eNear the foot of the poster, the largest conventional text reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「監督・黒澤明」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Directed by Akira Kurosawa”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe choice is striking. The director’s name is given greater formal prominence than any single presentation of the film’s title, which has already dissolved into the repeated rhythm of the imaginary trolley.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eImmediately beneath the Japanese lettering is Kurosawa’s Roman-script signature:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAkira Kurosawa\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eprinted signature incorporated into the original poster artwork\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, not an autograph applied by hand.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether, the painted imagery, monumental director credit and printed signature make the poster feel almost like a personal exhibition work bearing Kurosawa’s name.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Colour\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe palette is extraordinary: lemon yellow, turquoise blue, deep green, crimson, coral, magenta, orange, black and areas of exposed white paper.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe colours frequently ignore natural appearances. Faces become red, yellow or blue; clothing and buildings are reduced to expressive areas of pigment; and the central route glows with an almost impossible intensity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is particularly appropriate for the campaign of Kurosawa’s first colour feature. The poster does not merely advertise that the film is in colour—it makes colour its entire subject.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe uneven painted edges, visible drawing marks and areas that resemble pastel, crayon or rapidly worked pigment are intentional elements reproduced from Kurosawa’s original artwork. They are not abrasions, fading or printing defects.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe STB \/ Tatekan Format and Why It Is So Rare\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSTB\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, also known as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTatekan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e or \u003c\/span\u003e\u003cem\u003e\u003cspan\u003etate kanban\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e—literally a “standing signboard”—is one of the most distinctive formats used in vintage Japanese cinema advertising.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn STB is normally composed of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etwo separate sections designed to be positioned one above the other\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, often with a slight overlap. Together they measure approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e51 × 145 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, or around \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e20 × 57 inches\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The unusually tall format was intended for vertical signboards and freestanding displays in and around Japanese cinemas.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe present poster retains both of its original sections. When assembled, they create one continuous composition almost five feet tall.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe format is particularly effective for this design. The long yellow route becomes genuinely architectural, drawing the eye through nearly the full height of the display. The repeated title acquires an accumulating rhythm that would be greatly reduced in a smaller format, while the portraits along the sides appear as a procession of almost life-size presences.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSTB posters are substantially less commonly encountered than standard Japanese B2 sheets. Their large size made them more vulnerable to handling damage, while their use on standing display boards meant that many were mounted, taped, exposed to light or discarded after relatively brief theatrical campaigns.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is also the practical challenge of preserving both original panels together. Many surviving STBs are incomplete, permanently joined, backed or damaged at the area where the sections originally overlapped.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis example remains as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003etwo separate, original and unbacked sheets\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, allowing the complete design to be preserved without permanent alteration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors of Kurosawa, Japanese cinema or twentieth-century graphic art, the combination of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal artwork by the director, first-release provenance and rare STB scale\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is exceptional.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eAkira Kurosawa as a Visual Artist\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eAlthough internationally celebrated as a filmmaker, Kurosawa possessed a profound and enduring relationship with painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis films were conceived visually, and colour became increasingly important throughout the later stages of his career. His painted image boards and preparatory works demonstrate that he did not regard drawing merely as a technical step towards filming. It was another complete form of visual expression.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDuring the production of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDodes’ka-den\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Kurosawa embraced the possibilities of colour with unusual freedom. According to script supervisor Teruyo Nogami, he approached the opportunity with the enthusiasm of a painter, personally working with colour on the set and encouraging the production team to enter into that spirit.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster represents that sensibility in concentrated form.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts rough contours, altered perspective and fierce palette are not attempts to imitate photographic realism. They communicate emotional truth through colour and shape. Characters are differentiated through rhythm, posture and colour as much as through recognisable likeness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe result sits naturally between several categories: film advertising, illustration, original director artwork and Japanese postwar graphic design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is difficult to imagine a poster more closely connected to the visual imagination of the filmmaker whose work it promotes.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent, with exceptionally strong colour and outstanding display appeal. Original two-panel, single-sided and unbacked STB poster.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth original sections survive and together form the complete continuous design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe principal artwork remains remarkably clean. The central yellow field retains tremendous brightness, while the pink, blue, turquoise, red, orange and green passages remain rich and highly saturated.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review the photographs of the full poster, individual panels and reverses carefully, as they show the exact example offered for sale.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eAuthenticity\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAuthenticity:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Original Japanese first-release theatrical poster for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDodes’ka-den\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, printed for the film’s original 1970–71 release campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eArtwork:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Original illustrated design by Akira Kurosawa.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFormat:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Rare two-panel Japanese STB \/ Tatekan, approximately 51 × 145 cm when assembled.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal printed details:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Toho logo, Yonki no Kai production credit, Toho distribution credit, Shūgorō Yamamoto source credit, Eirin approval mark and number 70531, 1970 Toho copyright line and Kurosawa’s printed Roman-script signature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePresentation:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Excellent condition; original, single-sided and unbacked. The two panels remain separate and have not been permanently joined.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eNot a modern reproduction, later retrospective poster, commercial art print or hand-signed edition.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAn exceptionally rare original STB from one of the most visually important turning points in Kurosawa’s career—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ea monumental theatrical poster in which the director, painter and graphic artist are one and the same\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57424913138042,"sku":null,"price":1375.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-standing-in-front-of-gallery-wall_49.jpg?v=1792277512","url":"https:\/\/japanposter.co.uk\/products\/dodes-ka-den-%e3%81%a9%e3%81%a7%e3%81%99%e3%81%8b%e3%81%a7%e3%82%93-1970-original-japanese-stb-tatekan-first-release-theatrical-poster-artwork-by-akira-kurosawa","provider":"Japan Poster Shop","version":"1.0","type":"link"}