an effect created through an optical printer: a line or bar appears to move across the screen, wiping away the end of a scene and revealing the first image of the next. As a transitional device, it is used as a substitute for the straight cut or the dissolve; in his mature work, the wipe became Kurosawa's signature. In the film's soundtrack, Kurosawa favored the sound-image counterpoint, in which the music or sound effects appeared to comment ironically on the image rather than emphasizing it. Teruyo Nogami's memoir gives several such examples from Drunken Angel and Stray Dog. Kurosawa was also involved with several of Japan's outstanding contemporary composers, including Fumio Hayasaka and Tōru Takemitsu. Kurosawa employed a number of recurring themes in his films: the master-disciple relationship between a usually older mentor and one or more novices, which often involves spiritual as well as technical mastery and self-mastery; the heroic champion, the exceptional individual who emerges from the mass of people to produce something or right some wrong; the depiction of extremes of weather as both dramatic devices and symbols of human passion; and the recurrence of cycles of savage violence within history. According to Stephen Prince, the last theme, which he calls, "the countertradition to the committed, heroic mode of Kurosawa's cinema," began with Throne of Blood (1957), and recurred in the films of the 1980s. Legacy and cultural impact Reputation among filmmakers Many filmmakers have been influenced by Kurosawa's work. Ingmar Bergman called his own film The Virgin Spring a "touristic... lousy imitation of Kurosawa", and added, "At that time my admiration for the Japanese cinema was at its height. I was almost a samurai myself!" Federico Fellini considered Kurosawa to be "the greatest living example of all that an author of the cinema should be". Steven Spielberg cited Kurosawa's cinematic vision as being important to shaping his own cinematic vision. Satyajit Ray, who was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival in 1992, had said earlier of Rashomon: Roman Polanski considered Kurosawa to be among the three film-makers he favored most, along with Fellini and Orson Welles, and picked Seven Samurai, Throne of Blood and The Hidden Fortress for praise. Bernardo Bertolucci considered Kurosawa's influence to be seminal: "Kurosawa's movies and La Dolce Vita of Fellini are the things that pushed me, sucked me into