Kurosawa said people " are worried it will lead to tighter surveillance."

黑泽光一表示，人们“担心这会导致更严格的监控”。

For me, Kurosawa is the Beethoven of movie directors.

对我来说，黑泽明是电影导演界的贝多芬。

And there is of course the great master Akira Kurosawa who even covered the subject twice.

当然还有伟大的大师黑泽明，他甚至两次谈到这个话题。

What is the world, the universe, that Kurosawa's characters live in?

黑泽明的角色所生活的世界，宇宙是怎样的？

It is no surprise then that, over the years, Kurosawa's work has inspired countless films, either directly or indirectly.

多年来，黑泽明的作品直接或间接地启发了无数电影，这也就不足为奇了。

Many of Kurosawa's characters find their main conflict in this confrontation with their own mortality.

黑泽明笔下的许多人物在面对自己的死亡时发现了他们的主要冲突。

If this is the central question that Kurosawa engages in his films, then how exactly does he do so?

如果这是黑泽明电影的核心问题，那么他究竟是如何做到的呢？

Here, we can begin to see Kurosawa's main theme emerging.

在这里，我们可以开始看到黑泽明的主要主题。

As mentioned before, Kurosawa often emphasizes the movement of the elements, rain, snow, wind and dust, fire and water.

如前所述，黑泽明经常强调元素的运动，雨、雪、风、尘、火和水。

Lies and deception often play a major role in the interpersonal conflicts of Kurosawa's films.

谎言和欺骗经常在黑泽明电影中的人际冲突中扮演重要角色。

We may become disconnected, but we are never fully detached, Kurosawa seems to say here.

黑泽明在这里似乎在说，我们可能会失去联系，但我们永远不会完全脱离。

Koichi Kurosawa, secretary-general at the National Confederation of Trade Unions said people would be happier with digitization if it made their work easier and shorter.

日本全国工会总联盟秘书长黑泽光一表示，如果数字化使人们的工作变得更容易、用时更短，人们会更喜欢数字化。

Kurosawa deliberately leaves us wondering, thereby emphasizing our fundamental lack of access to what goes on inside another human being.

黑泽明故意让我们感到疑惑，从而强调我们根本无法了解另一个人的内心。

This, I think, is what Kurosawa ultimately seeks to communicate.

我认为，这就是黑泽明最终想要传达的。

Many of Kurosawa's films feature these mentor-like figures who remind us of who we can be.

黑泽明的许多电影都以这些导师般的人物为特色，提醒我们自己可以成为什么样的人。

This temporal movement, mostly experienced through this underlying feeling of a changing world, a passing age, is present in many of Kurosawa's stories.

黑泽明的许多故事中都有这种短暂的运动，主要是通过对世界变化和年龄流逝的潜在感觉来体验的。

And out of all of Shakespeare's works, Kurosawa directly adapted Macbeth and King Lear, both stories of rulers coming to the end of their reign.

在莎士比亚的所有作品中，黑泽明直接改编了《麦克白》和《李尔王》，这两个故事都是关于统治者走向统治终结的故事。

In the source material, Akutagawa and Kurosawa use the tools of their media to give each character's testimony equal weight, transforming each witness into an unreliable narrator.

在原始资料中，芥川和黑泽利用他们的媒体工具给予每个角色的证词同等的权重，将每个证人转变为不可靠的叙述者。

Over the course of more than 50 years of filmmaking, one signature trademark that came to define Kurosawa's style was the way in which he used movement in his storytelling.

在 50 多年的电影制作过程中，黑泽明风格的一个标志性标志是他在讲故事时使用动作的方式。

" Human beings are unable to be honest with themselves about themselves." Kurosawa wrote in his memoir — " They cannot talk about themselves without embellishing."

“人类无法诚实地面对自己。黑泽明在他的回忆录中写道，“他们谈论自己时不能不加以修饰。”