{"product_id":"rashomon-羅生門-ultra-rare-original-japanese-b2-re-release-poster-1962-japanese-re-release-approx-20-3-28-7-in-51-5-72-8-cm-p272-copy","title":"“RASHOMON \/ 羅生門”, VINTAGE JAPANESE B2 SPECIAL-SCREENING POSTER 1972, “DAIEI CLASSIC FILM SCREENING”, Unusual Heavier-Stock Example, B2 Size (c. 51.5 × 72.8 cm) K21","description":"\u003cp\u003e\u003cspan\u003eA striking \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003evintage Japanese B2 special-screening poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAkira Kurosawa’s \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eRashomon \/ 羅生門\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, one of the most important and influential works in world cinema. Its bold red title and powerful monochrome imagery give this design an immediate visual presence, combining dramatic composition with the clarity of Japanese typography. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePromoted under the heading \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「大映名画鑑賞会」—“Daiei Classic Film Screening”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this example preserves blank spaces for a screening date, an announcement of an accompanying documentary and a small credit associated with a Japanese film-record series. This example was not used at the time which explains its fantastic condition and state of preservation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePrinted in 1972\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, for a special-screening context indicated by its printed notices. It is a later exhibition poster for the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1950 film\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than a first-release sheet or the 1962 re-release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis particular example is distinguished by its \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enoticeably heavier paper and warm cream-to-tan appearance\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Japan Poster Shop has previously handled several copies of the 1962 design on thinner, whiter paper; \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethis is the first heavier-stock example we have handled\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe restricted palette is especially effective on this sheet. Vivid red lettering contrasts with dense black imagery and generous areas of open paper, creating a composition that is both forceful and balanced. It will make a superb framed display, with particular appeal to collectors of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKurosawa, Japanese film graphics and vintage cinema ephemera\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe defining quality of this poster is the contrast between \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eenormous red title characters and intricately detailed black imagery\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese title \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e羅生門\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e spans the upper portion of the sheet in large, irregular block lettering. Its angular forms establish an immediate focal point, while the surrounding open paper gives each character room to register.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBelow, a sword-bearing figure dominates the composition. The diagonal blade cuts across the image, introducing movement against the largely upright arrangement of the figures. A second figure at the lower right creates a contrasting direction of gaze and gesture, concentrating the drama within a tightly structured composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFine stippled textures describe skin, hair and clothing, while heavier black passages establish shadow and depth. The result is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ea graphic monochrome treatment of the film’s publicity imagery\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than a conventional full-colour montage. No individual artist attribution is claimed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe warm appearance of this particular sheet complements the red-and-black palette. It gives the design a cohesive visual character without diminishing the strength of the title or the clarity of the central image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the foot, the director’s name appears in red, with the principal cast credits below in black. The dark lower border completes the arrangement, visually anchoring the image above it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eB2 scale\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the design offers both immediate impact and considerable close-viewing detail. Its restricted colour scheme would sit particularly well alongside \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003emid-century furniture, natural wood and understated interiors\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eRashomon: A Landmark of World Cinema\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eRashomon\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e reshaped the possibilities of cinematic storytelling through its presentation of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efour conflicting accounts of the same violent incident\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Rather than supplying a straightforward explanation, the film asks viewers to confront the influence of self-interest, pride, deception and perception on the stories people tell. Its ingenious use of flashbacks makes uncertainty part of the film’s structure. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts influence extends beyond filmmaking. The expression \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“the Rashomon effect”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e has become shorthand for contradictory accounts of the same event, including discussions of the reliability of eyewitness testimony. Film scholar Stephen Prince describes this broader cultural influence in his Criterion essay on the film.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe film’s international recognition was equally significant. It won the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGolden Lion at the Venice Film Festival in 1951\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, followed by the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHonorary Foreign Language Film Award at the 1952 Academy Awards\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. These honours became central to its subsequent Japanese publicity, as the awards wording on this poster demonstrates. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, this sheet represents the film’s continuing exhibition life: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ea masterpiece being presented to audiences again, with its international reputation firmly established\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eJapanese Typography and Screening Copy\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe prominent heading reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e大映名画鑑賞会\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Daiei Classic Film Screening.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMore literally, this describes an organised screening for the appreciation of Daiei’s celebrated films. It identifies the purpose of the poster as a screening announcement, rather than simply naming the original producing studio.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eImmediately beneath it:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e月 日（ ）\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Month \/ Day \/ [Day of the week].”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese spaces remain blank, allowing the sheet to be adapted for a particular screening date.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe awards copy at the right reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e日本最初の\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eベニス国際映画祭グランプリ\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eアカデミー外国映画賞\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e受賞作品\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA natural translation is:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e“Japan’s first winner of the Venice International Film Festival Grand Prix and the Academy foreign-film award.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is the poster’s own retrospective promotional wording. The Academy honour it references was the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehonorary foreign-language film award of the period\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than today’s competitive International Feature Film category.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBelow the awards text:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e同時上映\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e大映斗争の記録\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e“Also screening: A Record of the Daiei Struggle.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe small red credit over the lower-right image reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e日本文芸映画名作全集\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Japanese Literary Film Masterpieces Collection.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe smaller line identifies \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Columbia\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as the releasing company associated with that series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the bottom, the poster credits \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAkira Kurosawa as director\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, followed by the printed names of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eToshirō Mifune and Machiko Kyō\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe 1972 Screening Context\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe accompanying-film announcement is a fantastic piece of provenance and history of this poster. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「大映斗争の記録」\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e matches the subtitle of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e『映画の灯は消さない―大映斗争の記録―』\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1972 documentary produced by the Daiei Workers’ Union\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The Kobe Planet Film Archive places the documentary within the workers’ struggle following Daiei’s 1971 collapse and describes independent screenings organised during that period. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis makes the poster interesting for more than its imagery alone: it connects the renewed exhibition of a celebrated Daiei film with a significant moment in the studio’s later history.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eThe Nippon Columbia Connection\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cspan\u003eThe small red \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJapanese Literary Film Masterpieces Collection\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e credit is another useful identifying detail.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Ehime Prefectural Library catalogues the series’ third volume under \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNippon Columbia \/ Daiei Records\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, dated \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNovember 1971\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. A surviving record label identifies the volume’s \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eRashomon\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e soundtrack side and also carries the date \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e’71.11\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis provides a documented record-series context for the Columbia wording. \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+.\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOn the verso - two local archival tape reinforcement of tiny tears along the bottom edge. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe warm paper tone is visible throughout. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster retains excellent visual impact and will display beautifully framed. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eIt is offered as a vintage sheet with very minor age and handling, rather than as a mint example.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThis is the exact poster shown in the photographs.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The full front and reverse views form part of the condition description.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA striking Japanese B2: bold red-and-black graphics, unusual heavier paper and a distinctive connection to the continuing screening history of one of world cinema’s most influential films.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57419123818874,"sku":null,"price":495.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-10-1505_14_43PM.jpg?v=1792097063","url":"https:\/\/japanposter.co.uk\/products\/rashomon-%e7%be%85%e7%94%9f%e9%96%80-ultra-rare-original-japanese-b2-re-release-poster-1962-japanese-re-release-approx-20-3-28-7-in-51-5-72-8-cm-p272-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}