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American Civil War
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Army of the Potomac
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Army of the Potomac
Maj. Gen. George B. McClellan took command of the Union Army of the Potomac on July 26, 1861, and the war began in earnest in 1862. The 1862 Union strategy called for simultaneous advances along four axes:
McClellan would lead the main thrust in Virginia towards Richmond.
Ohio forces would advance through Kentucky into Tennessee.
The Missouri Department would drive south along the Mississippi River.
The westernmost attack would originate from Kansas.
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American Civil War
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Army of Northern Virginia
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Army of Northern Virginia
thumb|upright=0.8|Robert E. Lee|alt=Old man with gray beard and military uniform
The primary Confederate force in the Eastern theater was the Army of Northern Virginia. The Army originated as the (Confederate) Army of the Potomac, which was organized on June 20, 1861, from all operational forces in Northern Virginia. On July 20 and 21, the Army of the Shenandoah and forces from the District of Harpers Ferry were added. Units from the Army of the Northwest were merged into the Army of the Potomac between March 14 and May 17, 1862. The Army of the Potomac was renamed Army of Northern Virginia on March 14. The Army of the Peninsula was merged into it on April 12, 1862.
When Virginia declared its secession in April 1861, Robert E. Lee chose to follow his home state, despite his desire for the country to remain intact and an offer of a senior Union command. In his four-volume biography of Lee published in 1934 and 1935, historian Douglas S. Freeman wrote that the army received its final name from Lee when he issued orders assuming command on June 1, 1862. However, Freeman wrote, Lee corresponded with Brigadier General Joseph E. Johnston, his predecessor in army command, before that date and referred to Johnston's command as the Army of Northern Virginia. Part of the confusion results from the fact that Johnston commanded the Department of Northern Virginia as of October 22, 1861, and the name Army of Northern Virginia was seen as an informal consequence of its parent department's name. Jefferson Davis and Johnston did not adopt the name, but the organization of units as of March 14 was clearly the same organization that Lee received on June 1, and is generally referred to as the Army of Northern Virginia, even if that is correct only in retrospect.
On July 4 at Harper's Ferry, Colonel Thomas J. Jackson assigned Jeb Stuart command of all cavalry companies of the Army of the Shenandoah, and Jackson eventually commanded the Army of Northern Virginia's cavalry.
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American Civil War
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Battles
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Battles
thumb|A portrait depicting the Battle of Antietam, which resulted in over 22,000 fatalities, the Civil War's deadliest one-day battle|alt=Painting of battlefield scene
In July 1861, in the first in a series of prominent battles in the war, Union Army troops commanded by Maj. Gen. Irvin McDowell attacked Confederate forces, which were under the command of Beauregard near the national capital in Washington. The Confederacy successfully repelled the attack in the First Battle of Bull Run. In the beginning of the Civil War, the Union appeared to hold the upper hand. The Union Army routed Confederate forces, then holding defensive positions, but Confederate reinforcements under Joseph E. Johnston arrived from the Shenandoah Valley by railroad, and the battle's course quickly changed. A brigade of Virginians, commanded by Thomas J. Jackson, then a relatively unknown brigadier general from Virginia Military Institute, stood its ground, leading to Jackson earning the nickname "Stonewall". Lincoln urged the Union Army to commence offensive operations against Confederate forces, which led General George B. McClellan, in the spring of 1862, to attack Virginia by way of the peninsula between the York River and James River southeast of Richmond. McClellan's army reached the gates of Richmond in the Peninsula campaign.
Also in the spring of 1862, in Shenandoah Valley, Jackson led his Valley Campaign, during which he employed rapid and unpredictable movements on interior lines. Jackson's 17,000 troops marched 646 miles (1,040 km) in 48 days, during which they won minor battles as they successfully engaged three Union armies, comprising 52,000 men, including those of Nathaniel P. Banks and John C. Fremont, preventing them from reinforcing the Union offensive against Richmond. The swiftness of Jackson's troops earned them the nickname foot cavalry. Johnston halted McClellan's advance at the Battle of Seven Pines, but he was wounded in the battle, and Robert E. Lee assumed his position of command. Lee and his senior subordinates, James Longstreet and Stonewall Jackson, defeated McClellan in the Seven Days Battles, forcing McClellan's retreat.
thumb|Union soldiers in the trenches, just prior to the Second Battle of Fredericksburg in May 1863
During the Northern Virginia Campaign, which included the Second Battle of Bull Run, Confederate forces registered another important military victory. McClellan resisted General-in-Chief Halleck's orders to send reinforcements to John Pope's Union Army of Virginia, which enabled Lee's Confederate forces to defeat twice the number of combined enemy troops.
Emboldened by Second Bull Run, Confederate forces launched their first invasion of the North in the Maryland Campaign during which Lee led 45,000 Army of Northern Virginia troops across the Potomac River into Maryland on September 5. Lincoln then restored Pope's troops to McClellan, and McClellan and Lee clashed in the Battle of Antietam near Sharpsburg, Maryland, on September 17, 1862, which proved the bloodiest single day in both the Civil War and U.S. military history. Lee's army retreated to Virginia before McClellan could destroy it, leading the Battle of Antietam to be widely viewed as a Union victory since it halted Lee's invasion of the North and provided an opportunity for Lincoln to issue the Emancipation Proclamation, which he issued as an executive order on January 1, 1863.
McClellan failed to respond in any measurable way to Lee's attempt to invade the North at Antietam led to his replacement by Maj. Gen. Ambrose Burnside. Burnside led Union Army troops in the Battle of Fredericksburg, where they were defeated on December 13, 1862. Over 12,000 Union soldiers were killed or wounded during futile attempts by Union troops to launch frontal assaults against Marye's Heights.Matteson, John, A Worse Place Than Hell: How the Civil War Battle of Fredericksburg Changed a Nation, New York: W. W. Norton, 2021. After the battle, Burnside was replaced by Maj. Gen. Joseph Hooker.
thumb|A portrait depicting Pickett's Charge on July 3, 1863, the final day of the Battle of Gettysburg, which proved the Civil War's deadliest battle but also one of its most significant, altering the course of the war in the Union's favor|alt=Cavalry charges on a battlefield
Hooker, too, proved unable to defeat Lee's army; despite having over twice the number of troops than Lee, Hooker's proved Chancellorsville Campaign ultimately prvoed ineffective, and he was soundly defeated in the Battle of Chancellorsville, which was fought between April 30 and May 6, 1863. Chancellorsville is known as Lee's "perfect battle" because his risky decision to divide his army paid off, resulting in a significant Confederate victory. During the Battle of Chancellorsville, Stonewall Jackson was shot in his left arm and right hand by friendly fire, leading to a need to amputate his arm, and he died of pneumonia. Lee famously said: "He has lost his left arm, but I have lost my right arm."
The fiercest fighting of the battle—and the second bloodiest day of the Civil War—occurred on May 3 as Lee launched multiple attacks against the Union position at Chancellorsville. That same day, John Sedgwick advanced across the Rappahannock River, defeated the small Confederate force at Marye's Heights in the Second Battle of Fredericksburg, and then moved to the west. Confederate forces succeeded in militarily delaying Union forces in the Battle of Salem Church.
Hooker was replaced by Maj. Gen. George Meade during Lee's second invasion of the North, in June. In the Battle of Gettysburg, which proved the war's bloodiest and one of its most strategically significant, Meade defeated Lee in a three-day battle between July 1 and 3, 1863. The Battle of Gettysburg took over 50,000 Union and Confederate lives, but also proved the war's turning point, altering the course of the war in the Union's favor. Pickett's Charge, launched July 3, on the final day of the Battle of Gettysburg, is considered the high-water mark of the Confederacy, representing the collapse of any credible prospect that the Confederacy could prevail in the war. At Gettysburg, Lee's Army of Northern Virginia suffered 28,000 casualties versus Meade's 23,000, and Lee was repelled in a failed attempt to invade and occupy Union territory.
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American Civil War
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Western theater
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Western theater
The Western theater refers to military operations between the Appalachian Mountains and the Mississippi River, including Alabama, Georgia, Florida, Mississippi, North Carolina, Kentucky, South Carolina, Tennessee, and parts of Louisiana.
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American Civil War
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Background
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Background
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American Civil War
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Army of the Cumberland and Army of the Tennessee
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Army of the Cumberland and Army of the Tennessee
thumb|Ulysses S. Grant, a Union army general who was later elected the nation's 18th president
The primary Union forces in this theater were the Army of the Tennessee and Army of the Cumberland, named for the two rivers, Tennessee River and Cumberland River. After Meade's inconclusive fall campaign, Lincoln turned to the Western theater for new leadership. At the same time, the Confederate stronghold of Vicksburg surrendered, giving the Union control of the Mississippi River, permanently isolating the western Confederacy, and producing the new leader Lincoln needed, Ulysses S. Grant.
The Army of Tennessee, which served as the primary Confederate force in the Western theater, was formed on November 20, 1862, when General Braxton Bragg renamed the former Army of Mississippi. While Confederate forces had successes in the Eastern theater, they were defeated many times in the West.
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American Civil War
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Battles
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Battles
The Union's key strategist and tactician in the West was Ulysses S. Grant, who led the Union to victories in battles at Fort Henry (February 6, 1862) and Fort Donelson (February 11 to 16, 1862), earning him the nickname of "Unconditional Surrender" Grant. With these victories, the Union gained control of the Tennessee and Cumberland Rivers. Nathan Bedford Forrest rallied nearly 4,000 Confederate troops and led them to escape across the Cumberland River. Nashville and central Tennessee fell to the Union, leading to attrition of local food supplies and livestock and a breakdown in social organization.
Confederate general Leonidas Polk's subsequently invaded Columbus, Kentucky, which ended Kentucky's policy of neutrality and turned it against the Confederacy. Grant used river transport and Andrew Hull Foote's gunboats of the Western Flotilla, threatening the Confederacy's "Gibraltar of the West" in Columbus, Kentucky. Although rebuffed at Belmont, Grant cut off Columbus. Confederate forces, lacking their gunboats, were forced to retreat and the Union took control of west Kentucky and opened Tennessee in March 1862.
At the Battle of Shiloh, in Shiloh, Tennessee, in April 1862, Confederates forces launched surprise attack on Union forces, pushing them back to river as night fell. Over that night, however, the Navy landed reinforcements, and Grant counterattacked. Grant and the Union ultimately won a decisive victory in the first battle with a high number of casualties in what proved to be the first in a series of such battles. Confederate forces lost Albert Sidney Johnston, considered their finest general, before Lee emerged to assume command.
thumb|The Battle of Chickamauga, the war's highest two-day loss battle
One of the early Union objectives was to capture the Mississippi River, which would permit it to cut the Confederacy in half. The Mississippi was opened to Union traffic to the southern border of Tennessee after it took Island No. 10, New Madrid, Missouri, and then Memphis, Tennessee.
In April 1862, the Union Navy captured New Orleans. "The key to the river was New Orleans, the South's largest port [and] greatest industrial center."Kennedy, p. 58. U.S. naval forces under Farragut ran past Confederate defenses south of New Orleans. Confederate forces abandoned the city, giving the Union a critical anchor in the deep South, which allowed Union forces to move up the Mississippi. Memphis fell to Union forces on June 6, 1862, allowing it to serve as a key base for further Union advances south along the Mississippi. On the Mississippi River, the Union took every fortress city with the exception of Vicksburg, Mississippi. But Confederate control of Vicksburg was sufficient in preventing the Union from controlling the entire river.
Bragg's second invasion of Kentucky in the Confederate Heartland Offensive included initial successes, including Kirby Smith's triumph in the Battle of Richmond and the capture of the Kentucky capital of Frankfort, Kentucky, on September 3, 1862. The campaign ended with a meaningless victory over Maj. Gen. Don Carlos Buell at the Battle of Perryville, and Bragg was forced to end his attempt to invade and control Kentucky. Lacking logistical support and infantry recruits, Bragg was instead forced to retreat, and ended up being narrowly defeated by Maj. Gen. William Rosecrans in the Battle of Stones River in Tennessee in what proved to be the culmination of the Stones River Campaign.
U.S. naval forces assisted Grant in the long, complex Vicksburg Campaign, which resulted in Confederate forces surrendering in the Battle of Vicksburg in July 1863, which cemented Union control of the Mississippi River in one of the war's turning points.Miller, Donald L. Vicksburg: Grant's Campaign that Broke the Confederacy. New York: Simon & Schuster, 2019. . The one clear Confederate victory in the West was the Battle of Chickamauga. After Rosecrans' successful Tullahoma Campaign, Bragg, reinforced by Lt. Gen. James Longstreet's corps, defeated Rosecrans, despite the defensive stand of Maj. Gen. George Henry Thomas. Rosecrans retreated to Chattanooga, Tennessee, where Bragg was then besieged in the Chattanooga Campaign. Grant marched to the relief of Rosecrans, where he led the defeat of Bragg in the Third Battle of Chattanooga, eventually causing Longstreet to abandon his Knoxville Campaign and driving Confederate forces out of Tennessee and opening a route to Atlanta and the heart of the Confederacy.
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American Civil War
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Trans-Mississippi theater
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Trans-Mississippi theater
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American Civil War
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Background
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Background
The Trans-Mississippi theater refers to military operations west of the Mississippi, encompassing most of Missouri, Arkansas, most of Louisiana, and the Indian Territory in present-day Oklahoma. The Trans-Mississippi District was formed by the Confederate States Army to better coordinate Ben McCulloch's command of troops in Arkansas and Louisiana, Sterling Price's Missouri State Guard, as well as the portion of Earl Van Dorn's command that included the Indian Territory and excluded the Army of the West. The Union's command was the Trans-Mississippi Division, or the Military Division of West Mississippi.
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American Civil War
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Battles
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Battles
thumb|Nathaniel Lyon secured docks and arsenal in St. Louis, leading Union Army forces to expel the Missouri Confederate forces and government.
The first battle of the Trans-Mississippi theater was the Battle of Wilson's Creek (August 1861). The Confederates were driven from Missouri early in the war as a result of the Battle of Pea Ridge.
Extensive guerrilla warfare characterized the trans-Mississippi region, as the Confederacy lacked the troops and logistics to support regular armies that could challenge Union control. Roving Confederate bands such as Quantrill's Raiders terrorized the countryside, striking military installations and civilian settlements. The "Sons of Liberty" and "Order of the American Knights" attacked pro-Union people, elected officeholders, and unarmed uniformed soldiers. These partisans could not be driven out of Missouri, until an entire regular Union infantry division was engaged. By 1864, these violent activities harmed the nationwide antiwar movement organizing against the re-election of Lincoln. Missouri not only stayed in the Union, but Lincoln took 70 percent of the vote to win re-election.
Small-scale military actions south and west of Missouri sought to control Indian Territory and New Mexico Territory for the Union. The Battle of Glorieta Pass was the decisive battle of the New Mexico Campaign. The Union repulsed Confederate incursions into New Mexico in 1862, and the exiled Arizona government withdrew into Texas. In the Indian Territory, civil war broke out within tribes. About 12,000 Indian warriors fought for the Confederacy but fewer for the Union. The most prominent Cherokee was Brigadier General Stand Watie, the last Confederate general to surrender.
After the fall of Vicksburg in July 1863, Jefferson Davis informed General Kirby Smith in Texas that he could expect no further help from east of the Mississippi. Although he lacked resources to beat Union armies, he built up a formidable arsenal at Tyler, along with his own Kirby Smithdom economy, a virtual "independent fiefdom" in Texas, including railroad construction and international smuggling. The Union, in turn, did not directly engage him. Its 1864 Red River Campaign to take Shreveport, Louisiana, failed and Texas remained in Confederate hands throughout the war.
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American Civil War
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Lower seaboard theater
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Lower seaboard theater
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American Civil War
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Background
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Background
The lower seaboard theater refers to military and naval operations that occurred near the coastal areas of the Southeast as well as the southern part of the Mississippi. Union naval activities were dictated by the Anaconda Plan.
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American Civil War
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Battles
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Battles
thumb|New Orleans captured
One of the earliest battles was fought in November 1861 at Port Royal Sound, south of Charleston. Much of the war along the South Carolina coast concentrated on capturing Charleston. In attempting to capture Charleston, the Union military tried two approaches: by land over James or Morris Islands or through the harbor. However, the Confederates were able to drive back each attack. A famous land attack was the Second Battle of Fort Wagner, in which the 54th Massachusetts Infantry took part. The Union suffered a serious defeat, losing 1,515 soldiers while the Confederates lost only 174. However, the 54th was hailed for its valor, which encouraged the general acceptance of the recruitment of African American soldiers into the Union Army, which reinforced the Union's numerical advantage.
Fort Pulaski on the Georgia coast was an early target for the Union navy. Following the capture of Port Royal, an expedition was organized with engineer troops under the command of Captain Quincy Adams Gillmore, forcing a Confederate surrender. The Union army occupied the fort for the rest of the war after repairing it.
In April 1862, a Union naval task force commanded by Commander David Dixon Porter attacked Forts Jackson and St. Philip, which guarded the river approach to New Orleans from the south. While part of the fleet bombarded the forts, other vessels forced a break in the obstructions in the river and enabled the rest of the fleet to steam upriver to the city. A Union army force commanded by Maj. Gen. Benjamin Butler landed near the forts and forced their surrender. Butler's controversial command of New Orleans earned him the nickname "Beast".
The following year, the Union Army of the Gulf commanded by Maj. Gen. Nathaniel P. Banks laid siege to Port Hudson for nearly eight weeks, the longest siege in U.S. military history. The Confederates attempted to defend with the Bayou Teche Campaign but surrendered after Vicksburg. These surrenders gave the Union control over the Mississippi.
Several small skirmishes but no major battles were fought in Florida. The biggest was the Battle of Olustee in early 1864.
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American Civil War
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Pacific coast theater
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Pacific coast theater
The Pacific coast theater refers to military operations on the Pacific Ocean and in the states and Territories west of the Continental Divide.
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American Civil War
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Conquest of Virginia
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Conquest of Virginia
thumb|upright=0.8|left|William Tecumseh Sherman
At the beginning of 1864, Lincoln made Grant commander of all Union armies. Grant made his headquarters with the Army of the Potomac and put Maj. Gen. William Tecumseh Sherman in command of most of the western armies. Grant understood the concept of total war and believed, along with Lincoln and Sherman, that only the utter defeat of Confederate forces and their economic base would end the war. This was total war not in killing civilians, but in taking provisions and forage and destroying homes, farms, and railroads, that Grant said "would otherwise have gone to the support of secession and rebellion. This policy I believe exercised a material influence in hastening the end."
Grant devised a coordinated strategy that would strike at the entire Confederacy from multiple directions. Generals Meade and Benjamin Butler were ordered to move against Lee near Richmond, General Franz Sigel was to attack the Shenandoah Valley, General Sherman was to capture Atlanta and march to the Atlantic Ocean, Generals George Crook and William W. Averell were to operate against railroad supply lines in West Virginia, and Maj. Gen. Nathaniel P. Banks was to capture Mobile, Alabama.
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American Civil War
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Grant's Overland Campaign
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Grant's Overland Campaign
Grant's army set out on the Overland Campaign intending to draw Lee into a defense of Richmond, where they would attempt to pin down and destroy the Confederate army. The Union army first attempted to maneuver past Lee and fought several battles, notably at the Wilderness, Spotsylvania, and Cold Harbor. These resulted in heavy losses on both sides and forced Lee's Confederates to fall back repeatedly. At the Battle of Yellow Tavern, the Confederates lost Jeb Stuart.
An attempt to outflank Lee from the south failed under Butler, who was trapped inside the Bermuda Hundred river bend. Each battle resulted in setbacks for the Union that mirrored those they had suffered under prior generals, though unlike them, Grant chose to fight on rather than retreat. Grant was tenacious and kept pressing Lee's Army of Northern Virginia back to Richmond. While Lee was preparing for an attack on Richmond, Grant unexpectedly turned south to cross the James River and began the protracted Siege of Petersburg, where the two armies engaged in trench warfare for over nine months.
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American Civil War
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Sheridan's Valley Campaign
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Sheridan's Valley Campaign
thumb|upright=0.8|Philip Sheridan
To deny the Confederacy continued use of the Shenandoah Valley as a base from which to launch invasions of Maryland and the Washington area, and to threaten Lee's supply lines for his forces, Grant launched the Valley campaigns in the spring of 1864. Initial efforts led by Gen. Sigel were repelled at the Battle of New Market by Confederate Gen. John C. Breckinridge. The Battle of New Market was the Confederacy's last major victory, and included a charge by teenage VMI cadets. After relieving Sigel, and following mixed performances by his successor, Grant finally found a commander, General Philip Sheridan, aggressive enough to prevail against the army of Maj. Gen. Jubal A. Early. After a cautious start, Sheridan defeated Early in a series of battles in September and October 1864, including a decisive defeat at the Battle of Cedar Creek. Sheridan then proceeded through that winter to destroy the agricultural base of the Shenandoah Valley, a strategy similar to the tactics Sherman later employed in Georgia.
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American Civil War
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Sherman's March to the Sea
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Sherman's March to the Sea
Meanwhile, Sherman maneuvered from Chattanooga to Atlanta, defeating Confederate Generals Joseph E. Johnston and John Bell Hood. The fall of Atlanta on September 2, 1864, guaranteed the reelection of Lincoln. Hood left the Atlanta area to swing around and menace Sherman's supply lines and invade Tennessee in the Franklin–Nashville Campaign. Union Maj. Gen. John Schofield defeated Hood at the Battle of Franklin, and George H. Thomas dealt Hood a massive defeat at the Battle of Nashville, effectively destroying Hood's army.
Leaving Atlanta, and his base of supplies, Sherman's army marched, with no destination set, laying waste to about 20% of the farms in Georgia in his "March to the Sea". He reached the Atlantic at Savannah, Georgia, in December 1864. Sherman's army was followed by thousands of freed slaves; there were no major battles along the march. Sherman turned north through South Carolina and North Carolina, to approach the Confederate Virginia lines from the south, increasing the pressure on Lee's army.
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American Civil War
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The Waterloo of the Confederacy
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The Waterloo of the Confederacy
Lee's army, thinned by desertion and casualties, was now much smaller than Grant's. One last Confederate attempt to break the Union hold on Petersburg failed at the decisive Battle of Five Forks on April 1. The Union now controlled the entire perimeter surrounding Richmond–Petersburg, completely cutting it off from the Confederacy. Realizing the capital was now lost, Lee's army and the Confederate government were forced to evacuate. The Confederate capital fell on April 2–3, to the Union XXV Corps, composed of black troops. The remaining Confederate units fled west after a defeat at Sayler's Creek on April 6.
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American Civil War
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End of the war
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End of the war
Lee did not intend to surrender, but planned to regroup at Appomattox Station, where supplies were to be waiting, and then continue the war. Grant chased Lee and got in front of him, so that when Lee's army reached the village of Appomattox Court House, they were surrounded. After an initial battle, Lee decided the fight was hopeless, and surrendered his Army of Northern Virginia to Grant on April 9, 1865, during a conference at the McLean House.William Marvel (2002) Lee's Last Retreat: The Flight to Appomattox, pp. 158–181. In an untraditional gesture and as a sign of Grant's respect and anticipation of peacefully restoring Confederate states to the Union, Lee was permitted to keep his sword and horse, Traveller. His men were paroled, and a chain of Confederate surrenders began.
On April 14, 1865, Lincoln was shot by John Wilkes Booth, a Confederate sympathizer. Lincoln died early the next morning. Lincoln's vice president, Andrew Johnson, was unharmed, because his would-be assassin, George Atzerodt, lost his nerve, so Johnson was immediately sworn in as president.
Meanwhile, Confederate forces across the South surrendered, as news of Lee's surrender reached them.Unaware of the surrender of Lee, on April 16 the last major battles of the war were fought at the Battle of Columbus, Georgia, and the Battle of West Point. On April 26, the same day Sergeant Boston Corbett killed Booth at a tobacco barn, Johnston surrendered nearly 90,000 troops of the Army of Tennessee to Sherman at Bennett Place, near present-day Durham, North Carolina. It proved to be the largest surrender of Confederate forces. On May 4, all remaining Confederate forces in Alabama, Mississippi, and Louisiana east of the Mississippi, under the command of Lt. General Richard Taylor, surrendered. Confederate president Davis was captured in retreat at Irwinville, Georgia on May 10.
The final land battle was fought on May 13, 1865, at the Battle of Palmito Ranch in Texas. On May 26, 1865, Confederate Lt. Gen. Simon B. Buckner, acting for Edmund Smith, signed a military convention surrendering Confederate forces in the Trans-Mississippi Department. This date is often cited by contemporaries and historians as the effective end date of the war. On June 2, with most of his troops having already gone home, a reluctant Kirby Smith had little choice but to sign the official surrender document. On June 23, Cherokee leader and Brig. General Stand Watie became the last Confederate general to surrender his forces.. "The 58-year-old Cherokee chieftain was the last Confederate general to lay down his arms. The last Confederate-affiliated tribe to surrender was the Chickasaw nation, which capitulated on 14 July."
On June 19, 1865, Union Maj. Gen. Gordon Granger announced General Order No. 3, bringing the Emancipation Proclamation into effect in Texas and freeing the last slaves of the Confederacy.Conner, Robert C. General Gordon Granger: The Savior of Chickamauga and the Man Behind "Juneteenth". Havertown, PA: Casemate Publishers, 2013. . p. 177. The anniversary of this date is now celebrated as Juneteenth.
The naval part of the war ended more slowly. It had begun on April 11, two days after Lee's surrender, when Lincoln proclaimed that foreign nations had no further "claim or pretense" to deny equality of maritime rights and hospitalities to U.S. warships and, in effect, that rights extended to Confederate ships to use neutral ports as safe havens from U.S. warships should end. Having no response to Lincoln's proclamation, President Johnson issued a similar proclamation dated May 10, more directly stating that the war was almost at an end and insurgent cruisers still at sea, and prepared to attack U.S. ships, should not have rights to do so through use of safe foreign ports or waters. Britain finally responded on June 6, by transmitting a letter from Foreign Secretary John Russell, 1st Earl Russell, to the Lords of the Admiralty withdrawing rights to Confederate warships to enter British ports and waters. U.S. Secretary of State Seward welcomed the withdrawal of concessions to the Confederates. Finally, on October 18, Russell advised the Admiralty that the time specified in his June message had elapsed and "all measures of a restrictive nature on vessels of war of the United States in British ports, harbors, and waters, are now to be considered as at an end". Nonetheless, the final Confederate surrender was in Liverpool, England where James Iredell Waddell, the captain of CSS Shenandoah, surrendered the cruiser to British authorities on November 6.
Legally, the war did not end until August 20, 1866, when President Johnson issued a proclamation that declared "that the said insurrection is at an end and that peace, order, tranquillity, and civil authority now exist in and throughout the whole of the United States of America".
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American Civil War
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Union victory
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Union victory
thumb|upright=1.35|Map of Confederate territory losses year by year|alt=A map of the U.S. South showing shrinking territory under rebel control
The causes of the war, reasons for its outcome, and even its name are subjects of lingering contention. The North and West grew wealthy while the once-rich South became poor for a century. The national political power of the slaveowners and rich Southerners ended. Historians are less sure about the results of postwar Reconstruction, especially regarding the second-class citizenship of the freedmen and their poverty.
Historians have debated whether the Confederacy could have won the war. Most scholars, including James M. McPherson, argue Confederate victory was possible. McPherson argues that the North's advantage in population and resources made Northern victory likely, but not guaranteed. He argues that if the Confederacy had fought using unconventional tactics, it would have more easily been able to hold out long enough to exhaust the Union. Confederates did not need to invade and hold enemy territory to win, but only to fight a defensive war to convince the North the cost of winning was too high. The North needed to conquer and hold vast stretches of enemy territory and defeat Confederate armies to win. Lincoln was not a military dictator and could fight only as long as the American public supported the war. The Confederacy sought to win independence by outlasting Lincoln; however, after Atlanta fell and Lincoln defeated McClellan in the election of 1864, hope for a political victory for the South ended. Lincoln had secured the support of the Republicans, War Democrats, border states, emancipated slaves, and the neutrality of Britain and France. By defeating the Democrats and McClellan, he defeated the Copperheads, who had wanted a negotiated peace with the Confederacy.
+ Comparison of Union and Confederacy, 1860–1864 Year Union ConfederacyPopulation1860 22,100,000 (71%) 9,100,000 (29%)1864 28,800,000 (90%) 3,000,000 (10%) At the beginning of 1865, the Confederacy controlled one third of its congressional districts, which were apportioned by population. The major slave populations found in Louisiana, Mississippi, Tennessee, and Alabama were effectively under Union control by the end of 1864. Free1860 21,700,000 (98%) 5,600,000 (62%) Slave1860 490,000 (2%) 3,550,000 (38%)1864 negligible 1,900,000 Soldiers 1860–64 2,100,000 (67%) 1,064,000 (33%) Railroad miles1860 21,800 (71%) 8,800 (29%)1864 29,100 (98%) negligible Manufactures1860 90% 10%1864 98% 2% Arms production1860 97% 3%1864 98% 2% Cotton bales1860 negligible 4,500,0001864 300,000 negligible Exports1860 30% 70%1864 98% 2%
Some scholars argue the Union held an insurmountable long-term advantage over the Confederacy in industrial strength and population. Confederate actions, they argue, only delayed defeat. Historian Shelby Foote expressed this view succinctly:
A minority view among historians is that the Confederacy lost because, as E. Merton Coulter put it, "people did not will hard enough and long enough to win". However, most historians reject the argument. McPherson, after reading thousands of letters written by Confederate soldiers, found strong patriotism that continued to the end; they truly believed they were fighting for freedom and liberty. Even as the Confederacy was visibly collapsing in 1864–65, most Confederate soldiers were fighting hard. Historian Gary Gallagher cites General Sherman, who in early 1864 commented, "The devils seem to have a determination that cannot but be admired." Despite their loss of slaves and wealth, with starvation looming, Sherman continued, "yet I see no sign of let-up—some few deserters—plenty tired of war, but the masses determined to fight it out".
Also important were Lincoln's eloquence in articulating the national purpose and his skill in keeping the border states committed to the Union cause. The Emancipation Proclamation was an effective use of the president's war powers. The Confederate government failed to get Europe involved militarily. Southern leaders needed to get European powers to help break the blockade the Union had created around Southern ports. Lincoln's naval blockade was 95 percent effective at stopping trade goods; as a result, imports and exports to the South declined significantly. The abundance of European cotton and Britain's hostility to slavery, along with Lincoln's naval blockades, severely decreased any chance that Britain or France would enter the war.
Historian Don H. Doyle has argued that the Union victory had a major impact on world history. The Union victory energized popular democratic forces. A Confederate victory, on the other hand, would have meant a new birth of slavery, not of freedom. Historian Fergus Bordewich, following Doyle, argues:
Scholars have debated what the effects of the war were on political and economic power in the South. The prevailing view is that the southern planter elite retained its powerful position in the South. However, a 2017 study challenges this, noting that while some Southern elites retained their economic status, the turmoil of the 1860s created greater opportunities for economic mobility in the South, than in the North.
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American Civil War
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Casualties
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Casualties
+ Casualties according to the US National Park Service Category Union Confederate Killed in action 110,100 94,000 Disease 224,580 164,000 Wounded in action 275,154 194,026 Captured (inc those who died as POWs) 211,411 (30,192) 462,634 (31,000) Total 821,245 914,660
Exact casualty figures were collected for the Union, but Confederate records were poorly kept, or lost in the chaos of defeat. Thus, the casualty figures are imprecise and based on statistical extrapolation. Neither side kept a tally of civilian deaths due to the war. In the 19th century, the death toll had been estimated at a lower 620,000. In 2011, the death toll was recalculated based on a 1% sample of census data, yielding approximately 750,000 soldier deaths, 20 percent higher than traditionally estimated, and possibly as high as 850,000. The figure was recalculated to 698,000 soldier deaths in 2024 after examining newly available full census records. Mortality rates among men were as high as 19 percent in Louisiana, and 16.6–16.7 percent in Georgia and South Carolina respectively.
The war resulted in at least 1,030,000 casualties (3 percent of the population), including an estimated 698,000 soldier deaths—two-thirds by disease. Based on 1860 census figures, 8 percent of all white men aged 13–43 died in the war, including 6 percent in the North and 18 percent in the South. About 56,000 soldiers died in prison camps during the War. An estimated 60,000 soldiers lost limbs. As McPherson notes, the war's "cost in American lives was as great as in all of the nation's other wars combined through Vietnam".
Of the 359,528 Union Army dead, amounting to 15 percent of the over two million who served:
110,070 were killed in action (67,000) or died of wounds (43,000).
199,790 died of disease (75 percent was due to the war, the remainder would have occurred in civilian life anyway)
24,866 died in Confederate prison camps
9,058 were killed by accidents or drowning
15,741 other/unknown deaths
In addition, there were 4,523 deaths in the Navy (2,112 in battle) and 460 in the Marines (148 in battle).
After the Emancipation Proclamation authorized freed slaves to "be received into the armed service of the United States", former slaves who escaped from plantations or were liberated by the Union Army were recruited into the United States Colored Troops regiments of the Union Army, as were black men who had not been slaves. The U.S. Colored Troops made up 10 percent of the Union death toll—15 percent of Union deaths from disease and less than 3 percent of those killed in battle. Losses among African Americans were high. In the last year and a half and from all reported casualties, approximately 20 percent of all African Americans enrolled in the military died during the war. Their mortality rate was significantly higher than white soldiers. While 15 percent of U.S. Volunteers and just 9 percent of white Regular Army troops died, 21 percent of U.S. Colored Troops died.
thumb|An illustration of the war dead following the Battle of Antietam battlefield in 1862
While the figures of 360,000 army deaths for the Union and 260,000 for the Confederacy remained commonly cited, they are incomplete. In addition to many Confederate records being missing, partly as a result of Confederate widows not reporting deaths due to being ineligible for benefits, both armies only counted troops who died during their service and not the tens of thousands who died of wounds or diseases after being discharged. This often happened only days or weeks later. Francis Amasa Walker, superintendent of the 1870 census, used census and surgeon general data to estimate a minimum of 500,000 Union military deaths and 350,000 Confederate military deaths, a total of 850,000 soldiers. While Walker's estimates were originally dismissed because of the 1870 census's undercounting, it was later found that the census was only off by 6.5 percent and that the data Walker used would be roughly accurate.
Losses were far higher than during the war with Mexico, which saw roughly 13,000 American deaths, including fewer than two thousand killed in battle, between 1846 and 1848. One reason for the high number of battle deaths in the civil war was the continued use of tactics similar to those of the Napoleonic Wars, such as charging. With the advent of more accurate rifled barrels, Minié balls, and (near the end of the war for the Union) repeating firearms such as the Spencer repeating rifle and the Henry repeating rifle, soldiers were mowed down when standing in lines in the open. This led to the adoption of trench warfare, a style of fighting that defined much of World War I.
Deaths among former slaves has proven hard to estimate, due to the lack of reliable census data, though they were known to be considerable, as former slaves were set free or escaped in massive numbers in areas where the Union army did not have sufficient shelter, doctors, or food for them. Professor Jim Downs states that tens of thousands to hundreds of thousands of slaves died during the war from disease, starvation, or exposure, and that if these deaths are counted in the war's total, the death toll would exceed 1 million.Jim Downs, Sick from Freedom: African-American Illness and Suffering during the Civil War and Reconstruction, Oxford University Press, 2012.
It is estimated that during the war, of the equines killed, including horses, mules, donkeys and even confiscated children's ponies, over 32,600 of them belonged to the Union and 45,800 the Confederacy. However, other estimates place the total at 1,000,000.
It is estimated that 544 Confederate flags were captured during the war by the Union. The flags were sent to the War Department in Washington. The Union flags captured by the Confederates were sent to Richmond.
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American Civil War
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Emancipation
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Emancipation
thumb|upright=2|Abolition of slavery in the various states over time:
Abolishing slavery was not a Union war goal from the outset, but quickly became one. Lincoln's initial claims were that preserving the Union was the central goal. In contrast, the South fought to preserve slavery. While not all Southerners saw themselves as fighting for slavery, most officers and over a third of the rank and file in Lee's army had close family ties to slavery. To Northerners, the motivation was primarily to preserve the Union, not to abolish slavery. However, as the war dragged on, and it became clear slavery was central to the conflict, and that emancipation was (to quote the Emancipation Proclamation) "a fit and necessary war measure for suppressing [the] rebellion," Lincoln and his cabinet made ending slavery a war goal, culminating in the Emancipation Proclamation. Lincoln's decision to issue the Proclamation angered Peace Democrats ("Copperheads") and War Democrats, but energized most Republicans. By warning that free blacks would flood the North, Democrats made gains in the 1862 elections, but they did not gain control of Congress. The Republicans' counterargument that slavery was the mainstay of the enemy steadily gained support, with the Democrats losing decisively in the 1863 elections in the Northern state of Ohio, when they tried to resurrect anti-black sentiment.
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American Civil War
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Emancipation Proclamation
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Emancipation Proclamation
The Emancipation Proclamation legally freed the slaves in states "in rebellion," but, as a practical matter, slavery for the 3.5 million black people in the South effectively ended in each area when Union armies arrived. The last Confederate slaves were freed on June 19, 1865, celebrated as the modern holiday of Juneteenth. Slaves in the border states and those in some former Confederate territory occupied before the Emancipation Proclamation were freed by state action or (on December 6, 1865) by the Thirteenth Amendment.Claudia Goldin, "The economics of emancipation." The Journal of Economic History 33#1 (1973): 66–85. The Emancipation Proclamation enabled African Americans, both free blacks and escaped slaves, to join the Union Army. About 190,000 volunteered, further enhancing the numerical advantage the Union armies enjoyed over the Confederates, who did not dare emulate the equivalent manpower source for fear of undermining the legitimacy of slavery.
During the war, sentiment concerning slaves, enslavement, and emancipation in the United States was divided. Lincoln's fears of making slavery a war issue were based on a harsh reality: abolition did not enjoy wide support in the west, the territories, and the border states. In 1861, Lincoln worried that premature attempts at emancipation would mean the loss of the border states, and that "to lose Kentucky is nearly the same as to lose the whole game". Copperheads and some War Democrats opposed emancipation, although the latter eventually accepted it as part of the total war needed to save the Union.
At first, Lincoln reversed attempts at emancipation by Secretary of War Simon Cameron and Generals John C. Frémont and David Hunter, to keep the loyalty of the border states and the War Democrats. Lincoln warned the border states that a more radical type of emancipation would happen if his plan of gradual compensated emancipation and voluntary colonization was rejected.McPherson, James M., "Lincoln and the Strategy of Unconditional Surrender", in Boritt, Gabor S. (ed.). Lincoln, the War President, pp. 52–54; also in McPherson, James M., Abraham Lincoln and the Second American Revolution, pp. 83–85. But compensated emancipation occurred only in the District of Columbia, where Congress had the power to enact it. When Lincoln told his cabinet about his proposed emancipation proclamation, which would apply to the states still in rebellion on January 1, 1863, Seward advised Lincoln to wait for a Union military victory before issuing it, as to do otherwise would seem like "our last shriek on the retreat".Oates, Stephen B., Abraham Lincoln: The Man Behind the Myths, p. 106. Walter Stahr, however, writes, "There are contemporary sources, however, that suggest others were involved in the decision to delay", and Stahr quotes them.Stahr, Walter, Stanton: Lincoln's War Secretary, New York: Simon & Schuster, 2017, p. 226.
Lincoln laid the groundwork for public support in an open letter published in response to Horace Greeley's "The Prayer of Twenty Millions"; the letter stated that Lincoln's goal was to save the Union, and that, if he freed the slaves, it would be as a means to that end.Lincoln's letter was published first in the Washington National Intelligencer on August 23, 1862. Holzer, Harold, Lincoln and the Power of the Press: The War for Public Opinion, New York: Simon & Schuster, 2014, p. 401. He also had a meeting at the White House with five African American representatives on August 14, 1862. Arranging for a reporter to be present, he urged his visitors to agree to the voluntary colonization of black people. Lincoln's motive for both his letter to Greeley and his statement to the black visitors was apparently to make his forthcoming Emancipation Proclamation more palatable to racist white people.White, Jonathan W., A House Built by Slaves: African American Visitors to the Lincoln White House, Lanham, MD: Rowman & Littlefield, 2022, ch. 3. A Union victory in the Battle of Antietam on September 17, 1862, provided Lincoln with an opportunity to issue the preliminary Emancipation Proclamation, and the War Governors' Conference added support for the proclamation.Pulling, Sr. Anne Frances, Altoona: Images of America, Arcadia Publishing, 2001, 10.
Lincoln issued his preliminary Emancipation Proclamation on September 22, 1862. It stated that slaves in all states in rebellion on January 1, 1863, would be free. He issued his final Emancipation Proclamation on January 1, 1863, keeping his promise. In his letter to Albert G. Hodges, Lincoln explained his belief that "If slavery is not wrong, nothing is wrong .... And yet I have never understood that the Presidency conferred upon me an unrestricted right to act officially upon this judgment and feeling ... I claim not to have controlled events, but confess plainly that events have controlled me."Lincoln's Letter to A. G. Hodges, April 4, 1864.
Lincoln's moderate approach succeeded in inducing the border states to remain in the Union and War Democrats to support the Union. The border states, which included Kentucky, Missouri, Maryland, Delaware, and Union-controlled regions around New Orleans, Norfolk, Virginia, and elsewhere, were not covered by the Emancipation Proclamation. Nor was Tennessee, which had come under Union control. Missouri and Maryland abolished slavery on their own; Kentucky and Delaware did not. Still, the proclamation did not enjoy universal support. It caused much unrest in what were then considered western states, where racist sentiments led to a great fear of abolition. There was some concern that the proclamation would lead to the secession of western states, and its issuance prompted the stationing of Union troops in Illinois in case of rebellion.
Since the Emancipation Proclamation was based on the president's war powers, it applied only in territory held by Confederates at the time it was issued. However, the Proclamation became a symbol of the Union's growing commitment to add emancipation to the Union's definition of liberty. The Emancipation Proclamation greatly reduced the Confederacy's hope of being recognized or otherwise aided by Britain or France. By late 1864, Lincoln was playing a leading role in getting the House of Representatives to vote for the Thirteenth Amendment, which mandated the ending of chattel slavery.
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American Civil War
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Reconstruction
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Reconstruction
thumb|Through the supervision of the Freedmen's Bureau, Northern teachers traveled into the South to provide education and training for the newly freed population.
The war devastated the South and posed serious questions of how it would be reintegrated into the Union. The war destroyed much of the South's wealth, in part because wealth held in enslaved people (at least $1,000 each for a healthy adult prior to the war) was wiped off the books. All accumulated investment in Confederate bonds was forfeited; most banks and railroads were bankrupt. The income per person dropped to less than 40 percent of that of the North, and that lasted into the 20th century. Southern influence in the federal government, previously considerable, was greatly diminished until the second half of the 20th century. Reconstruction began during the war, with the Emancipation Proclamation of January 1863, and it continued until 1877.Hans L. Trefousse, Historical Dictionary of Reconstruction (Greenwood, 1991) covers all the main events and leaders. It comprised multiple complex methods to resolve the outstanding issues of the aftermath, the most important of which were the three "Reconstruction Amendments" to the Constitution: the 13th outlawing slavery (1865), the 14th guaranteeing citizenship to former slaves (1868), and the 15th prohibiting the denial of voting rights "on account of race, color, or previous condition of servitude" (1870). From the Union perspective, the goals of Reconstruction were to consolidate victory by reuniting the Union, to guarantee a "republican form of government" for the ex-Confederate states, and to permanently end slavery—and prevent semi-slavery status.Eric Foner's A Short History of Reconstruction (1990) is a brief survey—an abridgement of his Reconstruction: America's Unfinished Revolution, 1863–1877 (1988).
President Johnson, who took office in April 1865, took a lenient approach and saw the achievement of the main war goals as realized in 1865, when each ex-rebel state repudiated secession and ratified the Thirteenth Amendment. Radical Republicans demanded proof that Confederate nationalism was dead and that the slaves were truly free. They overrode Johnson's vetoes of civil rights legislation, and the House impeached him, although the Senate did not convict him. In 1868 and 1872, the Republican candidate Grant won the presidency. In 1872, the "Liberal Republicans" argued that the war goals had been achieved and Reconstruction should end. They chose Horace Greeley to head a presidential ticket in 1872 but were decisively defeated. In 1874, Democrats, primarily Southern, took control of Congress and opposed further reconstruction. The Compromise of 1877 closed with a national consensus, except on the part of former slaves, that the war had finally ended.C. Vann Woodward, Reunion and Reaction: The Compromise of 1877 and the End of Reconstruction (2nd ed. 1991). With the withdrawal of federal troops, however, whites retook control of every Southern legislature, and the Jim Crow era of disenfranchisement and legal segregation was ushered in.
The war had a demonstrable impact on American politics. Many veterans on both sides were elected to political office, including five U.S. Presidents: Ulysses Grant, Rutherford B. Hayes, James A. Garfield, Benjamin Harrison, and William McKinley.
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American Civil War
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Memory and historiography
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Memory and historiography
The war is a central event in American collective memory. There are innumerable statues, commemorations, books, and archival collections. The memory includes the home front, military affairs, the treatment of soldiers, both living and dead, in the war's aftermath, depictions of the war in literature and art, evaluations of heroes and villains, and considerations of the moral and political lessons of the war. The last theme includes moral evaluations of racism and slavery, heroism in combat and behind the lines, and issues of democracy and minority rights, as well as the notion of an "Empire of Liberty" influencing the world.
Historians have paid more attention to the causes of the war than to the war itself. Military history has largely developed outside academia, leading to a proliferation of studies by non-scholars who nevertheless are familiar with the primary sources and pay close attention to battles and campaigns and who write for the general public. Practically every major figure in the war, both North and South, has had a serious biographical study.
Even the name used for the conflict has been controversial, with many names used for it. During and immediately after the war, Northern historians often used a term like "War of the Rebellion". Writers in rebel states often referred to the "War for Southern Independence". Some Southerners have described it as the "War of Northern Aggression".
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American Civil War
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Lost Cause
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Lost Cause
The memory of the war in the white South crystallized in the myth of the "Lost Cause": that the Confederate cause was just and heroic. The myth shaped regional identity and race relations for generations. Alan T. Nolan notes that the Lost Cause was expressly a rationalization, a cover-up to vindicate the name and fame of those in rebellion. Some claims revolve around the insignificance of slavery as a cause; some appeals highlight cultural differences between North and South; the military conflict by Confederate actors is idealized; in any case, secession was said to be lawful. Nolan argues that the adoption of the Lost Cause perspective facilitated the reunification of the North and the South while excusing the "virulent racism" of the 19th century, sacrificing black American progress to white man's reunification. He also deems the Lost Cause "a caricature of the truth. This caricature wholly misrepresents and distorts the facts of the matter" in every instance. The Lost Cause myth was formalized by Charles A. Beard and Mary R. Beard, whose The Rise of American Civilization (1927) spawned "Beardian historiography". The Beards downplayed slavery, abolitionism, and issues of morality. Though this interpretation was abandoned by the Beards in the 1940s, and by historians generally by the 1950s, Beardian themes still echo among Lost Cause writers.Charles A. Beard and Mary R. Beard, The Rise of American Civilization (1927), 2:54.
The United Daughters of the Confederacy
The United Daughters of the Confederacy (UDC) is a Southern heritage organization founded in 1894 in Nashville, Tennessee, by a group of women whose stated mission was to honor Confederate veterans and preserve their memory. The organization quickly grew in influence during the late 19th and early 20th centuries and ended up playing a pivotal role in shaping the collective memory of the American Civil War.
The UDC focused on erecting Confederate monuments, funding the education of Confederate descendants, and promoting Confederate history through textbooks and public ceremonies. The group emphasized the valor of Confederate soldiers and the righteousness of the Southern cause, often omitting or downplaying the central role of slavery in the conflict.
The UDC became a major proponent of the Lost Cause ideology, a narrative that romanticized the Confederacy as a noble, states'-rights-driven effort rather than a rebellion to preserve slavery. Through speeches, publications, and curriculum influence, the UDC worked to recast the Confederacy in a sympathetic light, framing the Civil War as a struggle against Northern aggression.
This effort contributed to the widespread proliferation of Confederate symbols and a sanitized portrayal of Southern history in public spaces and schools. Critics argue that the UDC's activities perpetuated racist ideologies by fostering nostalgia for the antebellum South and minimizing the horrors of slavery.
In recent years, the role of the UDC and the Lost Cause myth has come under scrutiny amid debates over Confederate monuments and systemic racism in the United States. Many of the monuments and historical markers the UDC sponsored have been reevaluated and removed, sparking ongoing discussions about memory, heritage, and justice.
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American Civil War
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Battlefield preservation
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Battlefield preservation
thumb|Beginning in 1961, the U.S. Post Office released commemorative stamps for five famous battles, each issued on the 100th anniversary of the respective battle.
The first efforts at Civil War battlefield preservation and memorialization came during the war, with the establishment of National Cemeteries at Gettysburg, Mill Springs and Chattanooga. Soldiers began erecting markers on battlefields beginning with the First Battle of Bull Run in 1861. The oldest surviving monument is the Hazen Brigade Monument near Murfreesboro in Central Tennessee, built in the summer of 1863 by soldiers in Union Col. William B. Hazen's brigade to mark the spot where they buried their dead, following the Battle of Stones River.
In the 1890s, the government established five Civil War battlefield parks under the jurisdiction of the War Department, beginning with the creation of the Chickamauga and Chattanooga National Military Park at Fort Oglethorpe, Georgia, and the Antietam National Battlefield in Sharpsburg, Maryland, in 1890. The Shiloh National Military Park was established in 1894 in Shiloh, Tennessee, followed by the Gettysburg National Military Park in 1895, and Vicksburg National Military Park in 1899. In 1933, these five parks and other national monuments were transferred to the National Park Service.Timothy B. Smith, "The Golden Age of Battlefield Preservation" (2008; The University of Tennessee Press). Chief among modern efforts to preserve Civil War sites has been the American Battlefield Trust, with more than 130 battlefields in 24 states.Bob Zeller, "Fighting the Second Civil War: A History of Battlefield Preservation and the Emergence of the Civil War Trust", (2017: Knox Press) The five major battlefield parks operated by the National Park Service had a combined 3 million visitors in 2018, down 70% from 10 million in 1970.
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American Civil War
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Commemoration
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Commemoration
The Civil War has been commemorated in many capacities, ranging from the reenactment of battles to statues and memorial halls erected, films, stamps and coins with Civil War themes being issued, all of which helped to shape public memory. These commemorations occurred in greater numbers on the 100th and 150th anniversaries of the war.
Hollywood's take on the war has been especially influential in shaping public memory, as in such film classics as The Birth of a Nation (1915), Gone with the Wind (1939), and Lincoln (2012). Ken Burns's PBS television series The Civil War (1990) is well-remembered, though criticized for its historical inaccuracy.
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American Civil War
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Technological significance
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Technological significance
Technological innovations during the war had a great impact on 19th-century science. The war was an early example of an "industrial war", in which technological might is used to achieve military supremacy. New inventions, such as the train and telegraph, delivered soldiers, supplies and messages at a time when horses had been the fastest way to travel.William Rattle Plum, The Military Telegraph During the Civil War in the United States, Christopher H. Sterling (ed.) (New York: Arno Press, 1974) vol. 1 p. 63. It was also in this war that aerial warfare, in the form of reconnaissance balloons, was first used. It saw the first action involving steam-powered ironclad warships in naval warfare history.Sondhaus, Naval Warfare 1815–1914 p. 77. Repeating firearms such as the Henry rifle, Spencer rifle, Colt revolving rifle, Triplett & Scott carbine and others, first appeared during the Civil War; they were a revolutionary invention that would soon replace muzzle-loading and single-shot firearms. The war saw the first appearances of rapid-firing weapons and machine guns such as the Agar gun and Gatling gun.
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American Civil War
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In works of culture and art
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In works of culture and art
thumb|The Peacemakers by George Peter Alexander Healy portrays, from left to right, Sherman, Grant, Lincoln, and Porter discussing plans for the last weeks of the Civil War aboard the steamer River Queen in March 1865. It currently hangs in the Oval Office dining room.|alt=Painting of four men conferring in a ship's cabin, entitled "The Peacemakers".
The Civil War is one of the most studied events in American history, and the collection of cultural works around it is enormous. This section gives an abbreviated overview of the most notable works.
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American Civil War
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Literature
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Literature
When Lilacs Last in the Dooryard Bloom'd and O Captain! My Captain! (1865) by Walt Whitman, famous eulogies to Lincoln
Battle-Pieces and Aspects of the War (1866) poetry by Herman Melville
The Rise and Fall of the Confederate Government (1881) by Jefferson Davis
The Private History of a Campaign That Failed (1885) by Mark Twain
Texar's Revenge, or, North Against South (1887) by Jules Verne
An Occurrence at Owl Creek Bridge (1890) by Ambrose Bierce
The Red Badge of Courage (1895) by Stephen Crane
The Challenge to Sirius (1917) by Sheila Kaye-Smith
Gone with the Wind (1936) by Margaret Mitchell
North and South (1982) by John Jakes
The March: A Novel (2005) by E. L. Doctorow, fictionalized account of Sherman's March to the Sea
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American Civil War
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Film
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Film
The Birth of a Nation (1915, U.S.)
The General (1926, U.S.)
Operator 13 (1934, U.S.)
Gone with the Wind (1939, U.S.)
The Red Badge of Courage (1951, U.S.)
The Horse Soldiers (1959, U.S.)
Shenandoah (1965, U.S.)
The Good, the Bad and the Ugly (1966, Italy-Spain-FRG)
The Beguiled (1971, U.S.)
The Outlaw Josey Wales (1976, U.S.)
North and South (miniseries; 1985–1994, U.S.)
Glory (1989, U.S.)
The Civil War (1990, U.S.)
Gettysburg (1993, U.S.)
The Last Outlaw (1993, U.S.)
Cold Mountain (2003, U.S.)
Gods and Generals (2003, U.S.)
Lincoln (2012, U.S.)
Free State of Jones (2016, U.S.)
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American Civil War
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Music
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Music
"Dixie"
"Battle Cry of Freedom"
"Battle Hymn of the Republic"
"The Bonnie Blue Flag"
"John Brown's Body"
"When Johnny Comes Marching Home"
"Marching Through Georgia"
"The Night They Drove Old Dixie Down"
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American Civil War
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Video games
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Video games
North & South (1989, France)
Sid Meier's Gettysburg! (1997, U.S.)
Sid Meier's Antietam! (1999, U.S.)
American Conquest: Divided Nation (2006, U.S.)
Forge of Freedom: The American Civil War (2006, U.S.)
The History Channel: Civil War – A Nation Divided (2006, U.S.)
AGEOD's American Civil War (2007, U.S./France)
History Civil War: Secret Missions (2008, U.S.)
Call of Juarez: Bound in Blood (2009, U.S.)
Darkest of Days (2009, U.S.)
Victoria II: A House Divided (2011, U.S.)
AGEOD's American Civil War II (2013, U.S./France)
Ultimate General: Gettysburg (2014, Ukraine)
Ultimate General: Civil War (2016, Ukraine)
War of Rights (TBD, U.S.)
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American Civil War
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See also
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See also
American Civil War by state
Foreign enlistment in the American Civil War
African Americans in the American Civil War
German Americans in the American Civil War
Hispanics in the American Civil War
Irish Americans in the American Civil War
Italian Americans in the Civil War
Native Americans in the American Civil War
Cherokee
Choctaw
Outline of the American Civil War
Removal of Confederate monuments and memorials
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American Civil War
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Notes
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Notes
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American Civil War
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References
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References
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American Civil War
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Bibliography
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Bibliography
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American Civil War
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Sources referenced
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Sources referenced
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American Civil War
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Web sources
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Web sources
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American Civil War
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Further reading
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Further reading
Influential analysis of factors; an abridged version is
(originally published in Civil War History, Vol. 10, No. 3, September 1964, pp. 229–240).
Nevins, Allan. Ordeal of the Union, an 8-volume set (1947–1971). the most detailed political, economic and military narrative; by Pulitzer Prize-winner.
Ordeal of the Union: Fruits of Manifest Destiny, 1847–1852; online;
Ordeal of the Union: A House Dividing, 1852–1857;
The Emergence of Lincoln: Douglas, Buchanan, and Party Chaos, 1857–1859;
The Emergence of Lincoln: Prologue to Civil War, 1859–1861;
War for the Union: The Improvised War, 1861–1862;
War for the Union: War Becomes Revolution, 1862–1863; online;
War for the Union: The Organized War, 1863–1864;
War for the Union: The Organized War to Victory, 1864–1865
Provides short biographies and historiographical summaries.
1232 pp; 64 Topical chapters by scholars and experts; emphasis on historiography.
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American Civil War
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Soldier life: North and South
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Soldier life: North and South
Uses letters, diaries, and regimental newspapers to probe the world view of soldiers—black and white, Yankee and Rebel.
Interview with author
Two standard scholarly histories combined, originals:
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American Civil War
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External links
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External links
West Point Atlas of Civil War Battles
Civil War photos at the National Archives
View images from the Civil War Photographs Collection at the Library of Congress
"American Civil World" maps at the Persuasive Cartography, The PJ Mode Collection, Cornell University Library
Statements of each state as to why they were seceding, battlefields.org
National Park Service Civil War Places
Civil War Battlefield Places from the National Park Service
American Battlefield Trust – A non-profit land preservation and educational organization with two divisions, the Civil War Trust and the Revolutionary War Trust, dedicated to preserving America's battlefields through land acquisitions.
Civil War Era Digital Collection at Gettysburg College – This collection contains digital images of political cartoons, personal papers, pamphlets, maps, paintings and photographs from the Civil War Era held in Special Collections at Gettysburg College.
The Civil War – site with 7,000 pages, including the complete run of Harper's Weekly newspapers from the Civil War
Category:Abraham Lincoln
Category:Jefferson Davis
Category:Ulysses S. Grant
Category:Robert E. Lee
Category:Civil wars in the United States
Category:Conflicts in 1861
Category:Conflicts in 1862
Category:Conflicts in 1863
Category:Conflicts in 1864
Category:Conflicts in 1865
Category:1860s in the United States
Category:1860s conflicts
Category:Presidency of Abraham Lincoln
Category:Rebellions against the United States
Category:Separatist rebellion-based civil wars
Civil War
Category:Wars of independence
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American Civil War
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Table of Content
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Short description, Origins, Lincoln's election, Outbreak of the war, Secession crisis, Battle of Fort Sumter, Attitude of the border states, War, Mobilization, Southern Unionists, Prisoners, Women, Union Navy, Union blockade, Blockade runners, Economic impact, Diplomacy, Eastern theater, Background, Army of the Potomac, Army of Northern Virginia, Battles, Western theater, Background, Army of the Cumberland and Army of the Tennessee, Battles, Trans-Mississippi theater, Background, Battles, Lower seaboard theater, Background, Battles, Pacific coast theater, Conquest of Virginia, Grant's Overland Campaign, Sheridan's Valley Campaign, Sherman's March to the Sea, The Waterloo of the Confederacy, End of the war, Union victory, Casualties, Emancipation, Emancipation Proclamation, Reconstruction, Memory and historiography, Lost Cause, Battlefield preservation, Commemoration, Technological significance, In works of culture and art, Literature, Film, Music, Video games, See also, Notes, References, Bibliography, Sources referenced, Web sources, Further reading, Soldier life: North and South, External links
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Alp Arslan
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Short description
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Alp Arslan, born Muhammad Alp Arslan bin Dawud Chaghri, was the second sultan of the Seljuk Empire and great-grandson of Seljuk, the eponymous founder of the dynasty. He greatly expanded Seljuk territories and consolidated his power, defeating rivals to the south, east and northwest. His victory over the Byzantines at the Battle of Manzikert in 1071 ushered in the Turkoman settlement of Anatolia. "But the Battle of Manzikert opened Asia Minor to Turkmen conquest"
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Alp Arslan
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Early life
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Early life
Historical sources differ about Alp Arslan's birth date. Some 12th- and 13th-century sources give 1032/1033 as his birth year, while later sources give 1030. According to İbrahim Kafesoğlu, the most likely date is 20 January 1029 (1 Muharram 420 AH), recorded by the medieval historian Ibn al-Athir. He was the son of Chaghri and nephew of Tughril, the founding sultans of the Seljuk Empire. His grandfather was Mikail, who in turn was the son of the warlord Seljuk. He was the father of numerous children, including Malik-Shah I and Tutush I. It is unclear who the mother or mothers of his children were. He was known to have been married at least twice. His wives included the widow of his uncle Tughril, a Kara-Khanid princess known as Aka or Seferiye Khatun, and the daughter or niece of Bagrat IV of Georgia (who would later marry his vizier, Nizam al-Mulk). One of Seljuk's other sons was the Turkic chieftain Arslan Isra'il, whose son, Kutalmish, contested his nephew's succession to the sultanate. Alp Arslan's younger brothers Suleiman ibn Chaghri and Qavurt were his rivals. Kilij Arslan, the son and successor of Suleiman ibn Kutalmish (Kutalmish's son, who would later become Sultan of Rûm), was a major opponent of the Franks during the First Crusade and the Crusade of 1101.Peacock, A.C,S., Great Seljuk Empire, Edinburgh University Press, 2015, pgs. 179, 183
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Alp Arslan
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Early career
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Early career
thumb|right|Coin minted in the name of Alp Arslan with the title Shahanshah
thumb|right|A miniature depicting Alp Arslan. Rashid al-Din, Jami' al-tawarikh, 1654 Ottoman copy, Topkapi Museum.
Alp Arslan accompanied his uncle Tughril on campaigns in the south against the Fatimids while his father Chaghri remained in Khorasan. Upon Alp Arslan's return to Khorasan, he began his work in administration at his father's suggestion. While there, his father introduced him to Nizam al-Mulk, one of the most eminent statesmen in early Muslim history and Alp Arslan's future vizier.
After the death of his father, Alp Arslan succeeded him as governor of Khorasan in 1059. His uncle Tughril died in 1063 and designated his successor as Suleiman, Arslan's infant brother. Arslan and his uncle Kutalmish both contested this succession which was resolved at the battle of Damghan in 1063. Arslan defeated Kutalmish for the throne and succeeded on 27 April 1064 as sultan of the Seljuk Empire, thus becoming the sole monarch of Persia from the river Oxus to the Tigris. In 1064 he led a campaign in Georgia during which he captured the regions between Tbilisi and the Çoruh river, Akhalkalaki and Alaverdi.1018-1071 Yılları Arasında Selçuklu Bizans İlişkileri ve Ermeniler
A Toksoy. Yeni Türkiye S. 60 CI Ermeni Meselesi Özel Sayısı. 2014. Bagrat IV submitted to paying jizya to the Seljuks but the Georgians broke the agreement in 1065.Orta Çağ'da Türk-Gürcü münasebetlerini şekillendiren faktörler. İ Tellioğlu. 2009. Alp Arslan invaded Georgia again in 1068. He captured Tbilisi after a short battle and obtained the submission of Bagrat IV; however, the Georgians freed themselves from Seljuk rule around 1073–1074.Şenol, F. "Ortaçağ Gürcistanının Meşhur Şehri: Tiflis". Oğuz-Türkmen Araştırmaları Dergisi 4 (2020 ): 9-100
In consolidating his empire and subduing contending factions, Arslan was ably assisted by Nizam al-Mulk, and the two are credited with helping to stabilize the empire after the death of Tughril. With peace and security established in his dominions, Arslan convoked an assembly of the states, and in 1066, he declared his son Malik Shah I his heir and successor. With the hope of capturing Caesarea Mazaca, the capital of Cappadocia, he placed himself at the head of the Turkoman"On the other hand, he was aware of the necessity of keeping his influence over the Oğuz Turkic tribes (sometimes called Turkmens), which was essential to his military strength." cavalry, crossed the Euphrates, and entered and invaded the city. Along with Nizam al-Mulk, he then marched into Armenia and Georgia, which he conquered in 1064. After a siege of 25 days, the Seljuks captured Ani, the capital city of Armenia. An account of the sack and massacres in Ani is given by the historian Sibt ibn al-Jawzi, who quotes an eyewitness saying:
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Alp Arslan
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Byzantine struggle
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Byzantine struggle
En route to fight the Fatimids in Syria in 1068, Alp Arslan invaded the Byzantine Empire. The Emperor Romanos IV Diogenes, assuming command in person, met the invaders in Cilicia. In three arduous campaigns, the Turks were defeated in detail and driven across the Euphrates in 1070. The first two campaigns were conducted by the emperor himself, while the third was directed by Manuel Komnenos, the brother of future emperor Alexios I Komnenos. During this time, Arslan gained the allegiance of Rashid al-Dawla Mahmud, the Mirdasid emir of Aleppo.
In 1071, Romanos again took the field and advanced into Armenia with possibly 30,000 men, including a contingent of Cuman Turks as well as contingents of Franks and Normans, under Ursel de Baieul. Alp Arslan, who had moved his troops south to fight the Fatimids, quickly reversed to meet the Byzantines. Alp Arslan handed control of his army to his eunuch slave general, Taranges, and commanded him to "Win or be beheaded." Taranges prepared for the battle by setting traps and organizing ambushes. The Seljuk and Byzantine armies met on Friday, 26 August 1071 at Manzikert on the Murat River, north of Lake Van, beginning the Battle of Manzikert. The Cuman mercenaries among the Byzantine forces immediately defected to the Turkic side. Seeing this, the Western mercenaries subsequently abandoned the battlefield as well. To be exact, Romanos was betrayed by general Andronikos Doukas, son of the Caesar (Romanos's stepson), who pronounced him dead and rode off with a large part of the Byzantine forces at a critical moment. The Byzantines were wholly routed.
thumb|right|220px|Alp Arslan humiliating Emperor Romanos IV after the Battle of Manzikert. From a 15th-century illustrated French translation of Boccaccio's De Casibus Virorum IllustriumÇoban, R. V. (2020). The Manzikert Battle and Sultan Alp Arslan with European Perspective in the 15th Century in the Miniatures of Giovanni Boccaccio's "De Casibus Virorum Illustrium"s 226 and 232. French Manuscripts in Bibliothèque Nationale de France. S. Karakaya ve V. Baydar (Ed.), in 2nd International Muş Symposium Articles Book (pp. 48-64). Muş: Muş Alparslan University. Source
Emperor Romanos himself was captured in battle and presented to Alp Arslan. It is reported that upon seeing the Roman emperor, the sultan leaped from his throne, commanded Romanos to kiss the ground, and stepped on his neck. He repeatedly berated the emperor, including for spurning his emissaries and offers of peace. Romanos remained unrepentant, asserting that he had merely done what was "possible for a man, and which kings are bound to do, and I have fallen short in nothing. But God has fulfilled his will. And now, do what you wish and abandon recriminations."Carole Hillenbrand. (2007).Turkish Myth and Muslim Symbol: The Battle of Manzikert Oxford University Press Purportedly declaring Romanos "too trivial... to kill", Arslan then led him about the camp to sell the prisoner to one of his men. The Seljuk soldiers initially refused to spend any money on buying the emperor, until one man traded a dog for him. Next, wishing to test Romanos, Alp Arslan asked Romanos what he would do if their situation were reversed and Arslan was imprisoned by the Byzantines. Romanos bluntly answered "The worst!" His honesty impressed Arslan, who then decided to spare Romanos's life and instead ransom him back to his homeland. After agreeing on a ransom, Alp Arslan sent Romanos to Constantinople with a Turkish escort, carrying a banner above the disgraced emperor that read: "There is no god but Allah and Muhammad is his messenger".
The reason Alp Arslan spared Romanos was likely to avoid a two-front war. The Fatimids were launching devastating raids on the Seljuk domains during this period, Arslan may have worried that executing the Roman emperor might escalate his conflict with the Byzantines. Romanos himself had told the sultan that "killing me will not be of any use to you".
After hearing of the death of Byzantine Emperor Romanos IV Diogenes, Sultan Alp Arslan pledged: "The Byzantine nation has no God, so this day the oath of peace and friendship taken by both the Persians and Byzantines is nullified; henceforth I shall consume with the sword all those people who venerate the cross, and all the lands of the Christians shall be enslaved."
Alp Arslan and his successor Malik Shah urged Turkish tribes to invade and settle Anatolia where they would not only cease to be a problem for the Seljuk Sultanate but also extend its territory further. Alp Arslan commanded the Turks as follows:
Alp Arslan's victories changed the balance in western Asia completely in favor of the Seljuq Turks and Sunni Muslims. While the Byzantine Empire was to continue for nearly four more centuries, the victory at Manzikert signalled the beginning of Turkic ascendancy in Anatolia. The victory at Manzikert became so popular among the Turks that later every noble family in Anatolia claimed to have had an ancestor who had fought on that day. "Later, every princely family in Asia Minor was to claim an ancestor who had fought on that prestigious day."
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Alp Arslan
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State organization
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State organization
Alp Arslan's strength lay in the military realm. Domestic affairs were handled by his able vizier, Nizam al-Mulk, the founder of the administrative organization that characterized and strengthened the sultanate during the reigns of Alp Arslan and his son, Malik Shah. Military iqtas, governed by Seljuq princes, were established to provide support for the soldiery and to accommodate the nomadic Turks to the established Anatolian agricultural scene. This type of military fiefdom enabled the nomadic Turks to draw on the resources of the sedentary Persians, Turks, and other established cultures within the Seljuq realm, and allowed Alp Arslan to field a huge standing army without depending on tribute from conquest to pay his soldiers. He not only had enough food from his subjects to maintain his military, but the taxes collected from traders and merchants added to his coffers sufficiently to fund his continuous wars.
Suleiman ibn Qutalmish was the son of the contender for Arslan's throne; he was appointed governor of the north-western provinces and assigned to complete the invasion of Anatolia. An explanation for this choice can only be conjectured from Ibn al-Athir's account of the battle between Alp-Arslan and Kutalmish, in which he writes that Alp-Arslan wept for the latter's death and greatly mourned the loss of his kinsman.
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Alp Arslan
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Physical appearance and personality
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Physical appearance and personality
Contemporary descriptions portray Alp Arslan as "very awe-inspiring, dominating," a "great-formed one, elegant of stature. He had long, thin whiskers, which he used to knot up when shooting arrows. And they say his arrow never went astray.... From the top button of his hat to the end of his moustaches it was two yards".
Muslim sources show Alp Arslan as fanatically pious but just. Alp Arslan was so dedicated to the Hanafi school of Islamic jurisprudence that he always kept a qadi by his side, including in battles. His vizier, Nizam al-Mulk, described the young sultan in his Book of Government:Some authors have doubted whether the Turks, who had adopted Islam recently, completely understood such religious distinctions. Alex Mallett writes, "Whatever the case, the fact that almost all writers have good things to say about him suggests that he treated everyone more or less equally, in religious terms."
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Alp Arslan
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Death
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Death
After Manzikert, the dominion of Alp Arslan extended over much of western Asia. He soon prepared to march for the conquest of Turkestan, the original seat of his ancestors. With a powerful army, he advanced to the banks of the Oxus. Before he could pass the river safely, however, it was necessary to subdue certain fortresses, one of which was for several days vigorously defended by the rebel, Yusuf al-Kharezmi or Yusuf al-Harani. Perhaps over-eager to press on against his Qarakhanid enemy, Alp Arslan gained the governor's submission by promising the rebel 'perpetual ownership of his lands'. When he was produced a captive in the royal tent, the sultan, instead of praising his valor, severely reproached his obstinate folly: and the insolent replies of the rebel provoked a sentence, that he should be fastened to four stakes, and left to expire in that painful situation. At this command, the desperate Yusuf al-Kharezmi, drawing a dagger, rushed headlong towards the throne: the guards raised their battle-axes; their zeal was checked by Alp Arslan, the most skilful archer of the age: he drew his bow, but his foot slipped, the arrow glanced aside, and he received in his breast the dagger of Yusuf al-Kharezmi, who was instantly cut in pieces.
The wound was mortal; and the Turkish sultan bequeathed a dying admonition to the pride of kings. "In my youth," said Alp Arslan, "I was advised by a sage to humble before God; to distrust my own strength; and never to despise the most contemptible foe. I have neglected these lessons; and my neglect has been deservedly punished. Yesterday, as from an eminence I beheld the numbers, the discipline, and the spirit, of my armies, the earth seemed to tremble under my feet; and I said in my heart, Surely thou art the king of the world, the greatest and most invincible of warriors. These armies are no longer mine; and, in the confidence of my personal strength, I now fall by the hand of an assassin. Four days later on 24 November 1072, Alp Arslan died and was buried at Merv, having designated his 18-year-old son Malik Shah as his successor.David Nicolle, Manzikert 1071: The breaking of Byzantium.
Edward Gibbon, The history of the decline and fall of the Roman Empire.
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Alp Arslan
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Family
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Family
One of his wives was Safariyya Khatun. She had a daughter, Sifri Khatun, who in 1071–72, married Abbasid Caliph Al-Muqtadi. Safariyya died in Isfahan in 1073–74. Another of his wives was Akka Khatun. She had been formerly the wife of Sultan Tughril. Alp Arslan married her after Tughril's death in 1063. Another of his wives was Shah Khatun. She was the daughter of Qadir Khan Yusuf, and had been formerly married to Ghaznavid Mas'ud I.
Another wife was Ummu Hifchaq also known as Ummu Qipchaq. Another of his wives was the daughter of King of Tashir Kiurike I, who was married to the sister of the Georgian king Bagrat IV. Alp Arslan divorced her, and married her to Nizam al-Mulk. His sons were Malik-Shah I, Tutush I, Arslan Shah, Tekish, Toghan-Shah, Ayaz and Buibars. One of his daughters married the son of Kurd Surkhab, son of Bard in 1068.
Another daughter, Zulaikha Khatun, was married to a Muslim, son of Quraish in 1086–87. Another daughter, Aisha Khatun, married Shams al-Mulk Nasr, son of Ibrahim Khan Tamghach. Another daughter was married to Mas'ud III of Ghazni and was his first wife. Another daughter was Sara Khatun. Son of Alp Arslan's sister, Dev Ali Beg (Devle Beg) was a royal military general who played a key role in the conquest of Kayseri and gave his name to Develi district of Kayseri. His tribal family later became known as "Develioğlu" (meaning "son of Develi").
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Alp Arslan
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Legacy
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Legacy
Alp Arslan's conquest of Anatolia from the Byzantines is also seen as one of the pivotal precursors to the launch of the Crusades.
From 2002 to July 2008 under Turkmen calendar reform, the month of August was named after Alp Arslan.
The 2nd Training Motorized Rifle Division of the Turkmen Ground Forces is named in his honor.
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Alp Arslan
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Notes
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Notes
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Alp Arslan
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References
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References
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Alp Arslan
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Sources
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Sources
Çoban, R. V. (2020). The Manzikert Battle and Sultan Alp Arslan with European Perspective in the 15st Century in the Miniatures of Giovanni Boccaccio's "De Casibus Virorum Illustrium"s 226 and 232. French Manuscripts in Bibliothèque Nationale de France. S. Karakaya ve V. Baydar (Ed.), in 2nd International Muş Symposium Articles Book (pp. 48–64). Muş: Muş Alparslan University. Source
Category:11th-century births
Category:Year of birth unknown
Category:11th-century murdered monarchs
Category:1072 deaths
Category:Seljuk rulers
Category:Byzantine–Seljuk wars
Category:Deaths by stabbing
Category:Shahanshahs
Category:11th-century monarchs in Asia
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Alp Arslan
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Table of Content
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Short description, Early life, Early career, Byzantine struggle, State organization, Physical appearance and personality, Death, Family, Legacy, Notes, References, Sources
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American Film Institute
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short description
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The American Film Institute (AFI) is an American nonprofit film organization that educates filmmakers and honors the heritage of the motion picture arts in the United States. AFI is supported by private funding and public membership fees.
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American Film Institute
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Leadership
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Leadership
thumb|left|The historic Spanish Colonial Revival style AFI campus in Los Angeles, in the Los Feliz district of L.A.
The institute is composed of leaders from the film, entertainment, business, and academic communities. The board of trustees is chaired by Kathleen Kennedy and the board of directors chaired by Robert A. Daly guide the organization, which is led by President and CEO, film historian Bob Gazzale. Prior leaders were founding director George Stevens Jr. (from the organization's inception in 1967 until 1980) and Jean Picker Firstenberg (from 1980 to 2007).
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American Film Institute
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History
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History
The American Film Institute was founded by a 1965 presidential mandate announced in the Rose Garden of the White House by Lyndon B. Johnson—to establish a national arts organization to preserve the legacy of American film heritage, educate the next generation of filmmakers, and honor the artists and their work. Two years later, in 1967, AFI was established, supported by the National Endowment for the Arts, the Motion Picture Association of America and the Ford Foundation.
The original 22-member Board of Trustees included actor Gregory Peck as chairman and actor Sidney Poitier as vice-chairman, as well as director Francis Ford Coppola, film historian Arthur Schlesinger, Jr., lobbyist Jack Valenti, and other representatives from the arts and academia.
The institute established a training program for filmmakers known then as the Center for Advanced Film Studies. Also created in the early years were a repertory film exhibition program at the Kennedy Center for the Performing Arts and the AFI Catalog of Feature Films — a scholarly source for American film history. The institute moved to its current eight-acre Hollywood campus in 1981. The film training program grew into the AFI Conservatory, an accredited graduate school.
AFI moved its presentation of first-run and auteur films from the Kennedy Center to the historic AFI Silver Theatre and Cultural Center, which hosts the AFI DOCS film festival, making AFI the largest nonprofit film exhibitor in the world. AFI educates audiences and recognizes artistic excellence through its awards programs and 10 Top 10 Lists.
In 2017, then-aspiring filmmaker Ilana Bar-Din Giannini claimed that the AFI expelled her after she accused Dezso Magyar of sexually harassing her in the early 1980s.
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American Film Institute
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List of programs in brief
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List of programs in brief
AFI educational and cultural programs include:
American Film Institute Awards – an honor celebrating the creative ensembles of the most outstanding motion picture and television programs of the year
AFI Catalog of Feature Films and AFI Archive – the written history of all feature films during the first 100 years of the art form – accessible free online
AFI Conservatory – a film school led by master filmmakers in a graduate-level program
AFI Directing Workshop for Women – a production-based training program committed to increasing the number of women working professionally in screen directing
AFI Life Achievement Award – a tradition since 1973, a high honor for a career in film
AFI 100 Years... series – television events and movie reference lists
AFI's two film festivals – AFI Fest in Los Angeles and AFI Docs in Washington, D.C., and Silver Spring, Maryland
AFI Silver Theatre and Cultural Center – a historic theater with year-round art house, first-run and classic film programming in Silver Spring, Maryland
American Film – a magazine launched in October 1975 that explores the art of new and historic film classics, now a blog on AFI.com
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American Film Institute
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AFI Conservatory
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AFI Conservatory
thumb|AFI Conservatory Fellows filming on the AFI campus.
In 1969, the institute established the AFI Conservatory for Advanced Film Studies at Greystone, the Doheny Mansion in Beverly Hills, California. The first class included filmmakers Terrence Malick, Caleb Deschanel, and Paul Schrader. That program grew into the AFI Conservatory, an accredited graduate film school located in the hills above Hollywood, California, providing training in six filmmaking disciplines: cinematography, directing, editing, producing, production design, and screenwriting. Mirroring a professional production environment, Fellows collaborate to make more films than any other graduate level program. Admission to AFI Conservatory is highly selective, with a maximum of 140 graduates per year.
In 2013, Emmy and Oscar-winning director, producer, and screenwriter James L. Brooks (As Good as It Gets, Broadcast News, Terms of Endearment) joined as the artistic director of the AFI Conservatory where he provides leadership for the film program. Brooks' artistic role at the AFI Conservatory has a rich legacy that includes Daniel Petrie, Jr., Robert Wise, and Frank Pierson. Award-winning director Bob Mandel served as dean of the AFI Conservatory for nine years. Jan Schuette took over as dean in 2014 and served until 2017. Film producer Richard Gladstein was dean from 2017 until 2019, when Susan Ruskin was appointed.
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American Film Institute
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Notable alumni
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Notable alumni
AFI Conservatory's alumni have careers in film, television and on the web. They have been recognized with all of the major industry awards—Academy Award, Emmy Award, guild awards, and the Tony Award.
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American Film Institute
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AFI Film Festivals
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AFI Film Festivals
AFI operates two film festivals: in Los Angeles, and AFI Docs (formally known as Silverdocs) in Silver Spring, Maryland, and Washington, D.C.
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American Film Institute
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American Film Institute Festival
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American Film Institute Festival
Commonly shortened to AFI Fest, it is the American Film Institute’s annual celebration of artistic excellence. It is a showcase for the best festival films of the year as selected by AFI and an opportunity for master filmmakers and emerging artists to come together with audiences. It is the only festival of its stature that is free to the public. The Academy of Motion Picture Arts and Sciences recognizes AFI Fest as a qualifying festival for the Short Films category for the annual Academy Awards.
The festival was first announced in January 1987 to take the place of Filmex in March 1987 with Ken Wlaschin, former Filmex artistic director, named as director of the new festival. The first festival was funded with a grant of $200,000 from the Interface Group and was to feature 80 films in a non-competitive format with a mix of independent American and foreign films. Its primary venue was the Los Feliz Theater.
The festival has paid tribute to numerous influential filmmakers and artists over the years, including Agnès Varda, Pedro Almodóvar and David Lynch as guest artistic directors, and has screened scores of films that have gone on to win Oscar nominations and awards.
The movies selected by AFI are assigned to different sections for the festival; these include Galas/Red Carpet Premieres, Special Screenings, Documentaries, Discovery, and Short Film Competition.
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American Film Institute
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Red Carpet Premieres
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Red Carpet Premieres
Formerly named Galas, it is AFI Fest’s section for the most highly anticipated films at the festival, presenting selected feature-length movies from world-class filmmakers and artisans. Although it is a very restrictive selection, usually presenting between three and seven movies at most, many films selected by AFI for this section eventually also earn an Academy Award Best Picture nomination. Examples include Bradley Cooper's Maestro (2023), Steven Spielberg's The Fabelmans (2022), Will Smith's King Richard (2021), Jane Campion's The Power of the Dog (2021), Anthony Hopkins's The Father (2020), Noah Baumbach's Marriage Story (2019), Peter Farrelly's Green Book (2018), Luca Guadagnino's Call Me by Your Name (2017), Damien Chazelle's La La Land (2016), and Adam McKay's The Big Short (2015).
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American Film Institute
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AFI Docs
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AFI Docs
Held annually in June, AFI Docs (formerly Silverdocs) is a documentary festival in Washington, D.C. The festival attracts over 27,000 documentary enthusiasts.
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American Film Institute
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AFI programs
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AFI programs
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American Film Institute
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AFI Catalog of Feature Films
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AFI Catalog of Feature Films
The AFI Catalog, started in 1968, is a web-based filmographic database. A research tool for film historians, the catalog consists of entries on more than 60,000 feature films and 17,000 short films produced from 1893 to 2011, as well as AFI Awards Outstanding Movies of the Year from 2000 through 2010. Early print copies of this catalog may also be found at local libraries.American Film Institute. (1971). Catalog of Motion Pictures Produced in the United States: Feature Films. Berkeley: University of California Press.
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American Film Institute
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AFI Life Achievement Award
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AFI Life Achievement Award
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American Film Institute
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AFI Awards
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AFI Awards
Created in 2000, the AFI Awards honor the ten outstanding films ("Movies of the Year") and ten outstanding television programs ("TV Programs of the Year"). The awards are a non-competitive acknowledgment of excellence.
The awards are announced in December, and a private luncheon for award honorees takes place the following January.
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American Film Institute
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AFI Maya Deren Award
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AFI Maya Deren Award
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American Film Institute
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AFI 100 Years... series
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AFI 100 Years... series
The AFI 100 Years... series, which ran from 1998 to 2008 and created jury-selected lists of America's best movies in categories such as Musicals, Laughs and Thrills, prompted new generations to experience classic American films. The juries consisted of over 1,500 artists, scholars, critics, and historians. Citizen Kane was voted the greatest American film twice.
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American Film Institute
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AFI Silver Theatre and Cultural Center
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AFI Silver Theatre and Cultural Center
The AFI Silver Theatre and Cultural Center is a moving image exhibition, education and cultural center located in Silver Spring, Maryland. Anchored by the restoration of noted architect John Eberson's historic 1938 Silver Theatre, it features 32,000 square feet of new construction housing two stadium theatres, office and meeting space, and reception and exhibit areas.
The AFI Silver Theatre and Cultural Center presents film and video programming, augmented by filmmaker interviews, panels, discussions, and musical performances.
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American Film Institute
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The AFI Directing Workshop for Women
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The AFI Directing Workshop for Women
The Directing Workshop for Women is a training program committed to educating and mentoring participants in an effort to increase the number of women working professionally in screen directing. In this tuition-free program, each participant is required to complete a short film by the end of the year-long program.
Alumnae of the program include Maya Angelou, Anne Bancroft, Dyan Cannon, Ellen Burstyn, Jennifer Getzinger, Lesli Linka Glatter, Lily Tomlin, Susan Oliver and Nancy Malone.
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American Film Institute
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AFI Directors Series
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AFI Directors Series
AFI released a set of hour-long programs reviewing the career of acclaimed directors. The Directors Series content was copyrighted in 1997 by Media Entertainment Inc and The American Film Institute, and the VHS and DVDs were released between 1999 and 2001 on Winstar TV and Video.
Directors featured included:
John McTiernan (WHE73067)
Ron Howard (WHE73068)
Sydney Pollack (WHE73071)
Norman Jewison (WHE73076)
Lawrence Kasdan (WHE73088)
Terry Gilliam (WHE73089)
Spike Lee (WHE73090)
Barry Levinson (WHE73093)
Miloš Forman (WHE73094)
Martin Scorsese (WHE73098)
Barbra Streisand (WHE73099)
David Cronenberg (WHE73101)
Robert Zemeckis (WHE73131)
Robert Altman
John Frankenheimer
Adrian Lyne
Garry Marshall
William Friedkin
Clint Eastwood
David Zucker, Jim Abrahams and Jerry Zucker
Roger Corman
Michael Mann
James Cameron
Rob Reiner
Joel Schumacher
Steven Spielberg
Wes Craven
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American Film Institute
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See also
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See also
British Film Institute – the British equivalent to AFI
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American Film Institute
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References
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References
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American Film Institute
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External links
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External links
American Film Institute on Internet Archive
AFI Los Angeles Film Festival – history and information (archived July 17, 2009)
Category:Arts organizations based in Los Angeles
Category:Cinema of Southern California
Category:Culture of Hollywood, Los Angeles
Category:Los Feliz, Los Angeles
Category:Organizations based in Los Angeles
Category:1967 establishments in California
Category:Educational organizations established in 1967
Category:FIAF-affiliated institutions
Category:Arts organizations established in 1967
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American Film Institute
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Table of Content
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short description, Leadership, History, List of programs in brief, AFI Conservatory, Notable alumni, AFI Film Festivals, American Film Institute Festival, Red Carpet Premieres, AFI Docs, AFI programs, AFI Catalog of Feature Films, AFI Life Achievement Award, AFI Awards, AFI Maya Deren Award, AFI 100 Years... series, AFI Silver Theatre and Cultural Center, The AFI Directing Workshop for Women, AFI Directors Series, See also, References, External links
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Akira Kurosawa
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Short description
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was a Japanese filmmaker who directed 30 feature films in a career spanning seven decades. He is widely regarded as one of the greatest and most influential filmmakers in the history of cinema. Kurosawa displayed a bold, dynamic style strongly influenced by Western cinema yet distinct from it. He was involved with all aspects of film production.
Kurosawa entered the Japanese film industry in 1936, following a brief stint as a painter. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film Sanshiro Sugata (1943). After the war, the critically acclaimed Drunken Angel (1948), in which Kurosawa cast the then little-known actor Toshiro Mifune in a starring role, cemented the director's reputation as one of the most important young filmmakers in Japan. The two men would go on to collaborate on another fifteen films.
Rashomon (1950), which premiered in Tokyo, became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, including (1952), Seven Samurai (1954), Throne of Blood (1957), The Hidden Fortress (1958), Yojimbo (1961), High and Low (1963) and Red Beard (1965). After the 1960s he became much less prolific; even so, his later work – including two of his final films, Kagemusha (1980) and Ran (1985) – continued to receive great acclaim.
In 1990, he accepted the Academy Award for Lifetime Achievement. Posthumously, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited there as being among the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many retrospectives, critical studies and biographies in both print and video, and by releases in many consumer media. Kurosawa told the critic Donald Richie: "I suppose all of my films have a common theme. If I think about it, though, the only theme I can think of is really a question: Why can't people be happier together?"
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Akira Kurosawa
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Biography
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Biography
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Akira Kurosawa
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Childhood to war years (1910–1945)
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Childhood to war years (1910–1945)
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Akira Kurosawa
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Childhood and youth (1910–1935)
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Childhood and youth (1910–1935)
Kurosawa was born on March 23, 1910, in Ōimachi in the Ōmori district of Tokyo. His father Isamu (1864–1948), a member of a samurai family from Akita Prefecture, worked as the director of the Army's Physical Education Institute's lower secondary school, while his mother Shima (1870–1952) came from a merchant's family living in Osaka. Akira was the eighth and youngest child of the moderately wealthy family, with two of his siblings already grown up at the time of his birth and one deceased, leaving Kurosawa to grow up with three sisters and a brother.
In addition to promoting physical exercise, Isamu Kurosawa was open to Western traditions and considered theatre and motion pictures to have educational merit. He encouraged his children to watch films; young Akira viewed his first movies at the age of six. An important formative influence was his elementary school teacher Mr. Tachikawa, whose progressive educational practices ignited in his young pupil first a love of drawing and then an interest in education in general. During this time, Akira also studied calligraphy and Kendo swordsmanship.
Another major childhood influence was Heigo Kurosawa (1906–1933), Akira's older brother by four years. In the aftermath of the Great Kantō earthquake and the subsequent Kantō Massacre of 1923, Heigo took the thirteen-year-old Akira to view the devastation. When Akira wanted to look away from the corpses of humans and animals scattered everywhere, Heigo forbade him to do so, encouraging Akira instead to face his fears by confronting them directly. Some commentators have suggested that this incident would influence Kurosawa's later artistic career, as the director was seldom hesitant to confront unpleasant truths in his work.
Heigo was academically gifted, but soon after failing to secure a place in Tokyo's foremost high school, he began to detach himself from the rest of the family, preferring to concentrate on his interest in foreign literature. In the late 1920s, Heigo became a benshi (silent film narrator) for Tokyo theaters showing foreign films and quickly made a name for himself. Akira, who at this point planned to become a painter, moved in with him, and the two brothers became inseparable. With Heigo's guidance, Akira devoured not only films but also theater and circus performances, while exhibiting his paintings and working for the left-wing Proletarian Artists' League. However, he was never able to make a living with his art, and, as he began to perceive most of the proletarian movement as "putting unfulfilled political ideals directly onto the canvas", he lost his enthusiasm for painting.
With the increasing production of talking pictures in the early 1930s, film narrators like Heigo began to lose work, and Akira moved back in with his parents. In July 1933, Heigo died by suicide. Kurosawa has commented on the lasting sense of loss he felt at his brother's death and the chapter of Something Like an Autobiography that describes it—written nearly half a century after the event—is titled, "A Story I Don't Want to Tell". Only four months later, Kurosawa's eldest brother also died, leaving Akira, at age 23, the only one of the Kurosawa brothers still living, together with his three surviving sisters.
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Akira Kurosawa
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Director in training (1935–1941)
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Director in training (1935–1941)
In 1935, the new film studio Photo Chemical Laboratories, known as P.C.L. (which later became the major studio Toho), advertised for assistant directors. Although he had demonstrated no previous interest in film as a profession, Kurosawa submitted the required essay, which asked applicants to discuss the fundamental deficiencies of Japanese films and find ways to overcome them. His half-mocking view was that if the deficiencies were fundamental, there was no way to correct them. Kurosawa's essay earned him a call to take the follow-up exams, and director Kajirō Yamamoto, who was among the examiners, took a liking to Kurosawa and insisted that the studio hire him. The 25-year-old Kurosawa joined P.C.L. in February 1936.
During his five years as an assistant director, Kurosawa worked under numerous directors, but by far the most important figure in his development was Yamamoto. Of his 24 films as A.D., he worked on 17 under Yamamoto, many of them comedies featuring the popular actor Ken'ichi Enomoto, known as "Enoken". Yamamoto nurtured Kurosawa's talent, promoting him directly from third assistant director to chief assistant director after a year. Kurosawa's responsibilities increased, and he worked at tasks ranging from stage construction and film development to location scouting, script polishing, rehearsals, lighting, dubbing, editing, and second-unit directing. In the last of Kurosawa's films as an assistant director for Yamamoto, Horse (1941), Kurosawa took over most of the production, as his mentor was occupied with the shooting of another film.
Yamamoto advised Kurosawa that a good director needed to master screenwriting. Kurosawa soon realized that the potential earnings from his scripts were much higher than what he was paid as an assistant director. He later wrote or co-wrote all his films and frequently penned screenplays for other directors such as Satsuo Yamamoto's film, A Triumph of Wings (Tsubasa no gaika, 1942). This outside scriptwriting would serve Kurosawa as a lucrative sideline lasting well into the 1960s, long after he became famous.
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Akira Kurosawa
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Wartime films and marriage (1942–1945)
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Wartime films and marriage (1942–1945)
In the two years following the release of Horse in 1941, Kurosawa searched for a story he could use to launch his directing career. Towards the end of 1942, about a year after the Japanese attack on Pearl Harbor, novelist Tsuneo Tomita published his Musashi Miyamoto-inspired judo novel, Sanshiro Sugata, the advertisements for which intrigued Kurosawa. He bought the book on its publication day, devoured it in one sitting, and immediately asked Toho to secure the film rights. Kurosawa's initial instinct proved correct as, within a few days, three other major Japanese studios also offered to buy the rights. Toho prevailed, and Kurosawa began pre-production on his debut work as director.
Shooting of Sanshiro Sugata began on location in Yokohama in December 1942. Production proceeded smoothly, but getting the completed film past the censors was an entirely different matter. The censorship office considered the work to be objectionably "British-American" by the standards of wartime Japan, and it was only through the intervention of director Yasujirō Ozu, who championed the film, that Sanshiro Sugata was finally accepted for release on March 25, 1943. (Kurosawa had just turned 33.) The movie became both a critical and commercial success. Nevertheless, the censorship office would later decide to cut out some 18 minutes of footage, much of which is now considered lost.
He next turned to the subject of wartime female factory workers in The Most Beautiful, a propaganda film which he shot in a semi-documentary style in early 1944. To elicit realistic performances from his actresses, the director had them live in a real factory during the shoot, eat the factory food and call each other by their character names. He would use similar methods with his performers throughout his career.
thumb|right|Filming of The Men Who Tread on the Tiger's Tail, 1945
During production, the actress playing the leader of the factory workers, Yōko Yaguchi, was chosen by her colleagues to present their demands to the director. She and Kurosawa were constantly at odds, and it was through these arguments that the two paradoxically became close. They married on May 21, 1945, with Yaguchi two months pregnant (she never resumed her acting career), and the couple would remain together until her death in 1985. They had two children, both surviving Kurosawa : a son, Hisao, born December 20, 1945, who served as producer on some of his father's last projects, and Kazuko, a daughter, born April 29, 1954, who became a costume designer.
Shortly before his marriage, Kurosawa was pressured by the studio against his will to direct a sequel to his debut film. The often blatantly propagandistic Sanshiro Sugata Part II, which premiered in May 1945, is generally considered one of his weakest pictures.
Kurosawa decided to write the script for a film that would be both censor-friendly and less expensive to produce. The Men Who Tread on the Tiger's Tail, based on the Kabuki play Kanjinchō and starring the comedian Enoken, with whom Kurosawa had often worked during his assistant director days, was completed in September 1945. By this time, Japan had surrendered and the occupation of Japan had begun. The new American censors interpreted the values allegedly promoted in the picture as overly "feudal" and banned the work. It was not released until 1952, the year another Kurosawa film, , was also released. Ironically, while in production, the film had already been savaged by Japanese wartime censors as too Western and "democratic" (they particularly disliked the comic porter played by Enoken), so the movie most probably would not have seen the light of day even if the war had continued beyond its completion.
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Akira Kurosawa
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Early postwar years to ''Red Beard'' (1946–1965)
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Early postwar years to Red Beard (1946–1965)
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Akira Kurosawa
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First postwar works (1946–1950)
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First postwar works (1946–1950)
After the war, Kurosawa, influenced by the democratic ideals of the Occupation, sought to make films that would establish a new respect towards the individual and the self. The first such film, No Regrets for Our Youth (1946), inspired by both the 1933 Takigawa incident and the Hotsumi Ozaki wartime spy case, criticized Japan's prewar regime for its political oppression. Atypically for the director, the heroic central character is a woman, Yukie (Setsuko Hara), who, born into upper-middle-class privilege, comes to question her values in a time of political crisis. The original script had to be extensively rewritten and, because of its controversial theme and gender of its protagonist, the completed work divided critics. Nevertheless, it managed to win the approval of audiences, who turned variations on the film's title into a postwar catchphrase.; ; ;
His next film, One Wonderful Sunday, premiered in July 1947 to mixed reviews. It is a relatively uncomplicated and sentimental love story dealing with an impoverished postwar couple trying to enjoy, within the devastation of postwar Tokyo, their one weekly day off. The movie bears the influence of Frank Capra, D. W. Griffith and F. W. Murnau, each of whom was among Kurosawa's favorite directors.; Another film released in 1947 with Kurosawa's involvement was the action-adventure thriller, Snow Trail, directed by Senkichi Taniguchi from Kurosawa's screenplay. It marked the debut of the intense young actor Toshiro Mifune. It was Kurosawa who, with his mentor Yamamoto, had intervened to persuade Toho to sign Mifune, during an audition in which the young man greatly impressed Kurosawa, but managed to alienate most of the other judges.
thumb|left|upright|Takashi Shimura played a dedicated doctor helping an ailing gangster in Drunken Angel. Shimura performed in over 20 of Kurosawa's films.|alt=Publicity still of Shimura cleanly shaven and wearing glasses.
Drunken Angel is often considered the director's first major work. Although the script, like all of Kurosawa's occupation-era works, had to go through rewrites due to American censorship, Kurosawa felt that this was the first film in which he was able to express himself freely. A gritty story of a doctor who tries to save a gangster (yakuza) with tuberculosis, it was also the first time that Kurosawa directed Mifune, who went on to play major roles in all but one of the director's next 16 films (the exception being ). While Mifune was not cast as the protagonist in Drunken Angel, his explosive performance as the gangster so dominates the drama that he shifted the focus from the title character, the alcoholic doctor played by Takashi Shimura, who had already appeared in several Kurosawa movies. However, Kurosawa did not want to smother the young actor's immense vitality, and Mifune's rebellious character electrified audiences in much the way that Marlon Brando's defiant stance would startle American film audiences a few years later. The film premiered in Tokyo in April 1948 to rave reviews and was chosen by the prestigious Kinema Junpo critics poll as the best film of its year, the first of three Kurosawa movies to be so honored.
After the completion of Drunken Angel, Toho became embroiled in a months-long labor strike, in which the Toho union occupied the grounds of the studio. When Toho management ceased paying workers' salaries, Kurosawa formed a touring acting troupe to raise funds, directing Anton Chekhov's The Proposal, and an adaptation of Drunken Angel starring Mifune and Shimura. Disillusioned by the division and violence between employees at Toho, the underhanded tactics of Toho leadership, and the breaking of the occupation by police and military standoff, Kurosawa left Toho, later recalling "I had come to understand that the studio I had thought was my home actually belonged to strangers".
Kurosawa, with producer Sōjirō Motoki and fellow directors and friends Kajiro Yamamoto, Mikio Naruse and Senkichi Taniguchi, formed a new independent production unit called Film Art Association (Eiga Geijutsu Kyōkai). For this organization's debut work, and first film for Daiei studios, Kurosawa turned to a contemporary play by Kazuo Kikuta and, together with Taniguchi, adapted it for the screen. The Quiet Duel starred Toshiro Mifune as an idealistic young doctor struggling with syphilis, a deliberate attempt by Kurosawa to break the actor away from being typecast as gangsters. Released in March 1949, it was a box office success, but is generally considered one of the director's lesser achievements.
thumb|upright=0.8|Toshiro Mifune, a frequent lead in Kurosawa's films, in 1954
His second film of 1949, also produced by Film Art Association and released by Shintoho, was Stray Dog. It is a detective movie (perhaps the first important Japanese film in that genre) that explores the mood of Japan during its painful postwar recovery through the story of a young detective, played by Mifune, and his fixation on the recovery of his handgun, which was stolen by a penniless war veteran who proceeds to use it to rob and murder. Adapted from an unpublished novel by Kurosawa in the style of a favorite writer of his, Georges Simenon, it was the director's first collaboration with screenwriter Ryuzo Kikushima, who would later help to script eight other Kurosawa films. A famous, virtually wordless sequence, lasting over eight minutes, shows the detective, disguised as an impoverished veteran, wandering the streets in search of the gun thief; it employed actual documentary footage of war-ravaged Tokyo neighborhoods shot by Kurosawa's friend, Ishirō Honda, the future director of Godzilla. The film is considered a precursor to the contemporary police procedural and buddy cop film genres.
Scandal, released by Shochiku in April 1950, was inspired by the director's personal experiences with (and anger towards) Japanese yellow journalism. The work is an ambitious mixture of courtroom drama and social problem film about free speech and personal responsibility, but even Kurosawa regarded the finished product as dramatically unfocused and unsatisfactory, and almost all critics agree.;
; ; However, it would be Kurosawa's second film of 1950 that would ultimately win him (and Japanese cinema) a whole new international audience.
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Akira Kurosawa
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International recognition (1950–1958)
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International recognition (1950–1958)
After finishing Scandal, Kurosawa was approached by Daiei studios to make another film for them. Kurosawa picked a script by an aspiring young screenwriter, Shinobu Hashimoto, who would eventually work on nine of his films. Their first joint effort was based on Ryūnosuke Akutagawa's experimental short story "In a Grove", which recounts the murder of a samurai and the rape of his wife from various different and conflicting points of view. Kurosawa saw potential in the script and, with Hashimoto's help, polished and expanded it and then pitched it to Daiei, who were happy to accept the project due to its low budget.
The shooting of Rashomon began on July 7, 1950, and, after extensive location work in the primeval forest of Nara, wrapped on August 17. Just one week was spent in hurried post-production, hampered by a studio fire, and the finished film premiered at Tokyo's Imperial Theatre on August 25, expanding nationwide the following day. The movie was met by lukewarm reviews, with many critics puzzled by its unique theme and treatment, but it was nevertheless a moderate financial success for Daiei.
thumb|upright|Fyodor Dostoevsky wrote The Idiot, which Kurosawa adapted into a Japanese film of the same name in 1951. Perov's portrait from the 1800s
Kurosawa's next film, for Shochiku, was The Idiot, an adaptation of the novel by the director's favorite writer, Fyodor Dostoevsky. The story is relocated from Russia to Hokkaido, but otherwise adheres closely to the original, a fact seen by many critics as detrimental to the work. A studio-mandated edit shortened it from Kurosawa's original cut of 265 minutes to just 166 minutes, making the resulting narrative exceedingly difficult to follow. The severely edited film version is widely considered to be one of the director's least successful works and the original full-length version no longer exists. Contemporary reviews of the much shortened edited version were very negative, but the film was a moderate success at the box office, largely because of the popularity of one of its stars, Setsuko Hara.
Meanwhile, unbeknownst to Kurosawa, Rashomon had been entered in the Venice Film Festival, due to the efforts of Giuliana Stramigioli, a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it. On September 10, 1951, Rashomon was awarded the festival's highest prize, the Golden Lion, shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition.
After Daiei briefly exhibited a subtitled print of the film in Los Angeles, RKO purchased distribution rights to Rashomon in the United States. The company was taking a considerable gamble. It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse's comedy, Wife! Be Like a Rose!, in 1937: a critical and box-office flop. However, Rashomons commercial run, greatly helped by strong reviews from critics and even the columnist Ed Sullivan, earned $35,000 in its first three weeks at a single New York theatre, an almost unheard-of sum at the time.
This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for Italian neorealist cinema. By the end of 1952 Rashomon was released in Japan, the United States, and most of Europe. Among the Japanese film-makers whose work, as a result, began to win festival prizes and commercial release in the West were Kenji Mizoguchi (The Life of Oharu, Ugetsu, Sansho the Bailiff) and, somewhat later, Yasujirō Ozu (Tokyo Story, An Autumn Afternoon)—artists highly respected in Japan but, before this period, almost totally unknown in the West. Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese film-makers ranging from Kon Ichikawa, Masaki Kobayashi, Nagisa Oshima and Shohei Imamura to Juzo Itami, Takeshi Kitano and Takashi Miike.
His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho (which would go on to produce his next 11 films), set to work on his next project, . Based on Leo Tolstoy's The Death of Ivan Ilyich, the movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death. For the screenplay, Kurosawa brought in Hashimoto as well as writer Hideo Oguni, who would go on to co-write twelve Kurosawa films. Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of Brecht, to both the bureaucratic world of its hero and the U.S. cultural colonization of Japan. (American pop songs figure prominently in the film.) Because of this strategy, the filmmakers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses. opened in October 1952 to rave reviews—it won Kurosawa his second Kinema Junpo "Best Film" award—and enormous box office success. It remains the most acclaimed of all the artist's films set in the modern era.
In December 1952, Kurosawa took his screenwriters, Shinobu Hashimoto and Hideo Oguni, for a forty-five-day secluded residence at an inn to create the screenplay for his next movie, Seven Samurai. The ensemble work was Kurosawa's first proper samurai film, the genre for which he would become most famous. The simple story, about a poor farming village in Sengoku period Japan that hires a group of samurai to defend it against an impending attack by bandits, was given a full epic treatment, with a huge cast (largely consisting of veterans of previous Kurosawa productions) and meticulously detailed action, stretching out to almost three-and-a-half hours of screen time.
Three months were spent in pre-production and a month in rehearsals. Shooting took up 148 days spread over almost a year, interrupted by production and financing troubles and Kurosawa's health problems. The film finally opened in April 1954, half a year behind its original release date and about three times over budget, making it at the time the most expensive Japanese film ever made. (However, by Hollywood standards, it was a quite modestly budgeted production, even for that time.) The film received positive critical reaction and became a big hit, quickly making back the money invested in it and providing the studio with a product that they could (and did) market internationally—though with extensive edits. Over time—and with the theatrical and home video releases of the uncut version—its reputation has steadily grown. It is now regarded by some commentators as the greatest Japanese film ever made, and in 1999 a poll of Japanese film critics also voted it the best Japanese film ever made. In the most recent (2022) version of the widely respected British Film Institute (BFI) Sight & Sound "Greatest Films of All Time" poll, Seven Samurai placed 20th among all films from all countries in the critics' and tied at 14th in the directors' polls, receiving a place in the Top Ten lists of 48 critics and 22 directors.
In 1954, nuclear tests in the Pacific were causing radioactive rainstorms in Japan and one particular incident in March had exposed a Japanese fishing boat to nuclear fallout, with disastrous results. It is in this anxious atmosphere that Kurosawa's next film, I Live in Fear, was conceived. The story concerned an elderly factory owner (Toshiro Mifune) so terrified of the prospect of a nuclear attack that he becomes determined to move his entire extended family (both legal and extra-marital) to what he imagines is the safety of a farm in Brazil. Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator, and close friend Fumio Hayasaka died (of tuberculosis) at the age of 41. The film's score was finished by Hayasaka's student, Masaru Sato, who would go on to score all of Kurosawa's next eight films. I Live in Fear opened in November 1955 to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run. Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate.
Kurosawa's next project, Throne of Blood, an adaptation of William Shakespeare's Macbeth—set, like Seven Samurai, in the Sengoku Era—represented an ambitious transposition of the English work into a Japanese context. Kurosawa instructed his leading actress, Isuzu Yamada, to regard the work as if it were a cinematic version of a Japanese rather than a European literary classic. Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the Noh theater. It was filmed in 1956 and released in January 1957 to a slightly less negative domestic response than had been the case with the director's previous film. Abroad, Throne of Blood, regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations.
Another adaptation of a classic European theatrical work followed almost immediately, with production of The Lower Depths, based on a play by Maxim Gorky, taking place in May and June 1957. In contrast to the Shakespearean sweep of Throne of Blood, The Lower Depths was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives. Though faithful to the play, this adaptation of Russian material to a completely Japanese setting—in this case, the late Edo period—unlike his earlier The Idiot, was regarded as artistically successful. The film premiered in September 1957, receiving a mixed response similar to that of Throne of Blood. However, some critics rank it among the director's most underrated works.
Kurosawa's three next movies after Seven Samurai had not managed to capture Japanese audiences in the way that that film had. The mood of the director's work had been growing increasingly pessimistic and dark even as Japan entered a boom period of high-speed growth and rising standards of living. Out of step with the prevailing mood of the era, Kurosawa's films questioned the possibility of redemption through personal responsibility, particularly in Throne of Blood and The Lower Depths. He recognized this and deliberately aimed for a more light-hearted and entertaining film for his next production while switching to the new widescreen format that had been gaining popularity in Japan. The resulting film, The Hidden Fortress, is an action-adventure comedy-drama about a medieval princess, her loyal general, and two peasants who all need to travel through enemy lines in order to reach their home region. Released in December 1958, The Hidden Fortress became an enormous box-office success in Japan and was warmly received by critics both in Japan and abroad. Today, the film is considered one of Kurosawa's most lightweight efforts, though it remains popular, not least because it is one of several major influences on George Lucas's 1977 space opera, Star Wars.
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Akira Kurosawa
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Birth of a company and ''Red Beard'' (1959–1965)
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Birth of a company and Red Beard (1959–1965)
Starting with Rashomon, Kurosawa's productions had become increasingly large in scope and so had the director's budgets. Toho, concerned about this development, suggested that he might help finance his own works, therefore making the studio's potential losses smaller, while in turn allowing himself more artistic freedom as co-producer. Kurosawa agreed, and the Kurosawa Production Company was established in April 1959, with Toho as the majority shareholder.
Despite risking his own money, Kurosawa chose a story that was more directly critical of the Japanese business and political elites than any previous work. The Bad Sleep Well, based on a script by Kurosawa's nephew Mike Inoue, is a revenge drama about a young man who is able to infiltrate the hierarchy of a corrupt Japanese company with the intention of exposing the men responsible for his father's death. Its theme proved topical: while the film was in production, the massive Anpo protests were held against the new U.S.–Japan Security treaty, which was seen by many Japanese, particularly the young, as threatening the country's democracy by giving too much power to corporations and politicians. The film opened in September 1960 to positive critical reaction and modest box office success. The 25-minute opening sequence depicting a corporate wedding reception is widely regarded as one of Kurosawa's most skillfully executed set pieces, but the remainder of the film is often perceived as disappointing by comparison. The movie has also been criticized for employing the conventional Kurosawan hero to combat a social evil that cannot be resolved through the actions of individuals, however courageous or cunning.
Yojimbo (The Bodyguard), Kurosawa Production's second film, centers on a masterless samurai, Sanjuro, who strolls into a 19th-century town ruled by two opposing violent factions and provokes them into destroying each other. The director used this work to play with many genre conventions, particularly the Western, while at the same time offering an unprecedentedly (for the Japanese screen) graphic portrayal of violence. Some commentators have seen the Sanjuro character in this film as a fantasy figure who magically reverses the historical triumph of the corrupt merchant class over the samurai class. Featuring Tatsuya Nakadai in his first major role in a Kurosawa movie, and with innovative photography by Kazuo Miyagawa (who shot Rashomon) and Takao Saito, the film premiered in April 1961 and was a critically and commercially successful venture, earning more than any previous Kurosawa film. The movie and its blackly comic tone were also widely imitated abroad. Sergio Leone's A Fistful of Dollars was a virtual (unauthorized) scene-by-scene remake with Toho filing a lawsuit on Kurosawa's behalf and prevailing.
thumb|upright|left|Kurosawa based his 1963 crime film High and Low on Ed McBain's novel King's Ransom. Image of McBain c. 1953
Following the success of Yojimbo, Kurosawa found himself under pressure from Toho to create a sequel. Kurosawa turned to a script he had written before Yojimbo, reworking it to include the hero of his previous film. Sanjuro was the first of three Kurosawa films to be adapted from the work of the writer Shūgorō Yamamoto (the others would be Red Beard and Dodeskaden). It is lighter in tone and closer to a conventional period film than Yojimbo, though its story of a power struggle within a samurai clan is portrayed with strongly comic undertones. The film opened on January 1, 1962, quickly surpassing Yojimbos box office success and garnering positive reviews.
Kurosawa had meanwhile instructed Toho to purchase the film rights to King's Ransom, a novel about a kidnapping written by American author and screenwriter Evan Hunter, under his pseudonym of Ed McBain, as one of his 87th Precinct series of crime books. The director intended to create a work condemning kidnapping, which he considered one of the very worst crimes. The suspense film, titled High and Low, was shot during the latter half of 1962 and released in March 1963. It broke Kurosawa's box office record (the third film in a row to do so), became the highest grossing Japanese film of the year and won glowing reviews. However, his triumph was somewhat tarnished when, ironically, the film was blamed for a wave of kidnappings which occurred in Japan about this time (he himself received kidnapping threats directed at his young daughter, Kazuko). High and Low is considered by many commentators to be among the director's strongest works.
Kurosawa quickly moved on to his next project, Red Beard. Based on a short story collection by Shūgorō Yamamoto and incorporating elements from Dostoevsky's novel The Insulted and Injured, it is a period film, set in a mid-nineteenth century clinic for the poor, in which Kurosawa's humanist themes receive perhaps their fullest statement. A conceited and materialistic, foreign-trained young doctor, Yasumoto, is forced to become an intern at the clinic under the stern tutelage of Doctor Niide, known as "Akahige" ("Red Beard"), played by Mifune. Although he resists Red Beard initially, Yasumoto comes to admire his wisdom and courage and to perceive the patients at the clinic, whom he at first despised, as worthy of compassion and dignity.
Yūzō Kayama, who plays Yasumoto, was an extremely popular film and music star at the time, particularly for his "Young Guy" (Wakadaishō) series of musical comedies, so signing him to appear in the film virtually guaranteed Kurosawa strong box-office. The shoot, the filmmaker's longest ever, lasted well over a year (after five months of pre-production) and wrapped in spring 1965, leaving the director, his crew and his actors exhausted. Red Beard premiered in April 1965, becoming the year's highest-grossing Japanese production and the third (and last) Kurosawa film to top the prestigious Kinema Jumpo yearly critics poll. It remains one of Kurosawa's best-known and most-loved works in his native country. Outside Japan, critics have been much more divided. Most commentators concede its technical merits and some praise it as among Kurosawa's best, while others insist that it lacks complexity and genuine narrative power, with still others claiming that it represents a retreat from the artist's previous commitment to social and political change.
The film marked something of an end of an era for its creator. The director himself recognized this at the time of its release, telling critic Donald Richie that a cycle of some kind had just come to an end and that his future films and production methods would be different. His prediction proved quite accurate. Beginning in the late 1950s, television began increasingly to dominate the leisure time of the formerly large and loyal Japanese cinema audience. And as film company revenues dropped, so did their appetite for risk—particularly the risk represented by Kurosawa's costly production methods.
Red Beard also marked the midway point, chronologically, in the artist's career. During his previous twenty-nine years in the film industry (which includes his five years as assistant director), he had directed twenty-three films, while during the remaining twenty-eight years, for many complex reasons, he would complete only seven more. Also, for reasons never adequately explained, Red Beard would be his final film starring Toshiro Mifune. Yū Fujiki, an actor who worked on The Lower Depths, observed, regarding the closeness of the two men on the set, "Mr. Kurosawa's heart was in Mr. Mifune's body." Donald Richie has described the rapport between them as a unique "symbiosis".
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Akira Kurosawa
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Hollywood ambitions to last films (1966–1998)
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Hollywood ambitions to last films (1966–1998)
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Akira Kurosawa
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Hollywood detour (1966–1968)
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Hollywood detour (1966–1968)
When Kurosawa's exclusive contract with Toho came to an end in 1966, the 56-year-old director was seriously contemplating change. Observing the troubled state of the domestic film industry and having already received dozens of offers from abroad, the idea of working outside Japan appealed to him as never before.
For his first foreign project, Kurosawa chose a story based on a Life magazine article. The Embassy Pictures action thriller, to be filmed in English and called simply Runaway Train, would have been his first in color. But the language barrier proved a major problem, and the English version of the screenplay was not even finished by the time filming was to begin in autumn 1966. The shoot, which required snow, was moved to autumn 1967, then canceled in 1968. Almost two decades later, another foreign director working in Hollywood, Andrei Konchalovsky, finally made Runaway Train (1985), though from a new script loosely based on Kurosawa's.
The director meanwhile had become involved in a much more ambitious Hollywood project. Tora! Tora! Tora!, produced by 20th Century Fox and Kurosawa Production, would be a portrayal of the Japanese attack on Pearl Harbor from both the American and the Japanese points of view, with Kurosawa helming the Japanese half and an Anglophonic film-maker directing the American half. He spent several months working on the script with Ryuzo Kikushima and Hideo Oguni, but very soon the project began to unravel. The director of the American sequences turned out not to be David Lean, as originally planned, but American Richard Fleischer. The budget was also cut, and the screen time allocated for the Japanese segment would now be no longer than 90 minutes—a major problem, considering that Kurosawa's script ran over four hours. After numerous revisions with the direct involvement of Darryl Zanuck, a more or less finalized cut screenplay was agreed upon in May 1968.
Shooting began in early December, but Kurosawa would last only a little over three weeks as director. He struggled to work with an unfamiliar crew and the requirements of a Hollywood production, while his working methods puzzled his American producers, who ultimately concluded that the director must be mentally ill. Kurosawa was examined at Kyoto University Hospital by a neuropsychologist, Dr. Murakami, whose diagnosis was forwarded to Darryl Zanuck and Richard Zanuck at Fox studios indicating a diagnosis of neurasthenia stating that, "He is suffering from disturbance of sleep, agitated with feelings of anxiety and in manic excitement caused by the above mentioned illness. It is necessary for him to have rest and medical treatment for more than two months."Hiroshi Tasogawa. All the Emperor's Men, Hardcover: 337 pp Publisher: Applause; 1 edition (2012). . p. 255. On Christmas Eve 1968, the Americans announced that Kurosawa had left the production due to "fatigue", effectively firing him. He was ultimately replaced, for the film's Japanese sequences, with two directors, Kinji Fukasaku and Toshio Masuda.
Tora! Tora! Tora!, finally released to unenthusiastic reviews in September 1970, was, as Donald Richie put it, an "almost unmitigated tragedy" in Kurosawa's career. He had spent years of his life on a logistically nightmarish project to which he ultimately did not contribute a foot of film shot by himself. (He had his name removed from the credits, though the script used for the Japanese half was still his and his co-writers'.) He became estranged from his longtime collaborator, writer Ryuzo Kikushima, and never worked with him again. The project had inadvertently exposed corruption in his own production company (a situation reminiscent of his own movie, The Bad Sleep Well). His very sanity had been called into question. Worst of all, the Japanese film industry—and perhaps Kurosawa himself—began to suspect that he would never make another film.
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Akira Kurosawa
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A difficult decade (1969–1977)
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A difficult decade (1969–1977)
Knowing that his reputation was at stake following the much publicised Tora! Tora! Tora! debacle, Kurosawa moved quickly to a new project to prove he was still viable. To his aid came friends and famed directors Keisuke Kinoshita, Masaki Kobayashi and Kon Ichikawa, who together with Kurosawa established in July 1969 a production company called the Club of the Four Knights (Yonki no kai). Although the plan was for the four directors to create a film each, it has been suggested that the real motivation for the other three directors was to make it easier for Kurosawa to successfully complete a film and therefore find his way back into the business.
The first project proposed and worked on was a period film to be called Dora-heita, but when this was deemed too expensive, attention shifted to Dodesukaden, an adaptation of yet another Shūgorō Yamamoto work, again about the poor and destitute. The film was shot quickly (by Kurosawa's standards) in about nine weeks, with Kurosawa determined to show he was still capable of working quickly and efficiently within a limited budget. For his first work in color, the dynamic editing and complex compositions of his earlier pictures were set aside, with the artist focusing on the creation of a bold, almost surreal palette of primary colors, in order to reveal the toxic environment in which the characters live. It was released in Japan in October 1970, but though a minor critical success, it was greeted with audience indifference. The picture lost money and caused the Club of the Four Knights to dissolve. Initial reception abroad was somewhat more favorable, but Dodesukaden has since been typically considered an interesting experiment not comparable to the director's best work.
After struggling through the production of Dodesukaden, Kurosawa turned to television work the following year for the only time in his career with Song of the Horse, a documentary about thoroughbred race horses. It featured a voice-over narrated by a fictional man and a child (voiced by the same actors as the beggar and his son in Dodesukaden). It is the only documentary in Kurosawa's filmography; the small crew included his frequent collaborator Masaru Sato, who composed the music. Song of the Horse is also unique in Kurosawa's oeuvre in that it includes an editor's credit, suggesting that it is the only Kurosawa film that he did not cut himself.
Unable to secure funding for further work and allegedly having health problems, Kurosawa apparently reached the breaking point: on December 22, 1971, he slit his wrists and throat multiple times. The suicide attempt proved unsuccessful and the director's health recovered fairly quickly, with Kurosawa now taking refuge in domestic life, uncertain if he would ever direct another film.
In early 1973, the Soviet studio Mosfilm approached the film-maker to ask if he would be interested in working with them. Kurosawa proposed an adaptation of Russian explorer Vladimir Arsenyev's autobiographical work Dersu Uzala. The book, about a Goldi hunter who lives in harmony with nature until destroyed by encroaching civilization, was one that he had wanted to make since the 1930s. In December 1973, the 63-year-old Kurosawa set off for the Soviet Union with four of his closest aides, beginning a year-and-a-half stay in the country. Shooting began in May 1974 in Siberia, with filming in exceedingly harsh natural conditions proving very difficult and demanding. The picture wrapped in April 1975, with a thoroughly exhausted and homesick Kurosawa returning to Japan and his family in June. Dersu Uzala had its world premiere in Japan on August 2, 1975, and did well at the box office. While critical reception in Japan was muted, the film was better reviewed abroad, winning the Golden Prize at the 9th Moscow International Film Festival, as well as an Academy Award for Best Foreign Language Film. Today, critics remain divided over the film: some see it as an example of Kurosawa's alleged artistic decline, while others count it among his finest works.
Although proposals for television projects were submitted to him, he had no interest in working outside the film world. Nevertheless, the hard-drinking director did agree to appear in a series of television ads for Suntory whiskey, which aired in 1976. While fearing that he might never be able to make another film, the director nevertheless continued working on various projects, writing scripts and creating detailed illustrations, intending to leave behind a visual record of his plans in case he would never be able to film his stories.
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Akira Kurosawa
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Two epics (1978–1986)
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Two epics (1978–1986)
In 1977, George Lucas released Star Wars, a wildly successful science fiction film influenced by Kurosawa's The Hidden Fortress. Lucas, like many other New Hollywood directors, revered Kurosawa and considered him a role model and was shocked to discover that the Japanese film-maker was unable to secure financing for any new work. The two met in San Francisco in July 1978 to discuss the project Kurosawa considered most financially viable: , the epic story of a thief hired as the double of a medieval Japanese lord of a great clan. Lucas, enthralled by the screenplay and Kurosawa's illustrations, leveraged his influence over 20th Century Fox to coerce the studio that had fired Kurosawa just ten years earlier to produce , then recruited fellow fan Francis Ford Coppola as co-producer.
Production began the following April, with Kurosawa in high spirits. Shooting lasted from June 1979 through March 1980 and was plagued with problems, not the least of which was the firing of the original lead actor, Shintaro Katsu—known for portraying the popular character Zatoichi—due to an incident in which the actor insisted, against the director's wishes, on videotaping his own performance. (He was replaced by Tatsuya Nakadai, in his first of two consecutive leading roles in a Kurosawa movie.) The film was completed only a few weeks behind schedule and opened in Tokyo in April 1980. It quickly became a massive hit in Japan. The film was also a critical and box office success abroad, winning the coveted at the 1980 Cannes Film Festival in May, though some critics, then and now, have faulted the film for its alleged coldness. Kurosawa spent much of the rest of the year in Europe and America promoting , collecting awards and accolades and exhibiting as art the drawings he had made to serve as storyboards for the film.
thumb|Sidney Lumet (pictured) successfully requested that Kurosawa be nominated as Best Director for his film at the 58th Academy Awards; the award was won by Sydney Pollack.
The international success of allowed Kurosawa to proceed with his next project, , another epic in a similar vein. The script, partly based on Shakespeare's King Lear, depicted a ruthless, bloodthirsty daimyō (warlord), played by Tatsuya Nakadai, who, after foolishly banishing his one loyal son, surrenders his kingdom to his other two sons, who then betray him, thus plunging the entire kingdom into war. As Japanese studios still felt wary about producing another film that would rank among the most expensive ever made in the country, international help was again needed. This time it came from French producer Serge Silberman, who had produced Luis Buñuel's final movies. Filming did not begin until December 1983 and lasted more than a year.
In January 1985, production of was halted as Kurosawa's 64-year-old wife Yōko fell ill. She died on February 1. Kurosawa returned to finish his film and premiered at the Tokyo Film Festival on May 31, with a wide release the next day. The film was a moderate financial success in Japan, but a larger one abroad and, as he had done with , Kurosawa embarked on a trip to Europe and America, where he attended the film's premieres in September and October.
won several awards in Japan, but was not quite as honored there as many of the director's best films of the 1950s and 1960s had been. The film world was surprised, however, when Japan passed over the selection of in favor of another film as its official entry to compete for an Oscar nomination in the Best Foreign Film category, which was ultimately rejected for competition at the 58th Academy Awards. Both the producer and Kurosawa himself attributed the failure to even submit for competition to a misunderstanding: because of the academy's arcane rules, no one was sure whether qualified as a Japanese film, a French film (due to its financing), or both, so it was not submitted at all. In response to what at least appeared to be a blatant snub by his own countrymen, the director Sidney Lumet led a successful campaign to have Kurosawa receive an Oscar nomination for Best Director that year (Sydney Pollack ultimately won the award for directing Out of Africa). s costume designer, Emi Wada, won the movie's only Oscar.
and , particularly the latter, are often considered to be among Kurosawa's finest works. After s release, Kurosawa would point to it as his best film, a major change of attitude for the director who, when asked which of his works was his best, had always previously answered "my next one".
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Akira Kurosawa
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Final works and last years (1987–1998)
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Final works and last years (1987–1998)
For his next movie, Kurosawa chose a subject very different from any that he had ever filmed before. While some of his previous pictures (for example, Drunken Angel and ) had included brief dream sequences, Dreams was to be entirely based upon the director's own dreams. Significantly, for the first time in over forty years, Kurosawa, for this deeply personal project, wrote the screenplay alone. Although its estimated budget was lower than the films immediately preceding it, Japanese studios were still unwilling to back one of his productions, so Kurosawa turned to another famous American fan, Steven Spielberg, who convinced Warner Bros. to buy the international rights to the completed film. This made it easier for Kurosawa's son, Hisao, as co-producer and soon-to-be head of Kurosawa Production, to negotiate a loan in Japan that would cover the film's production costs. Shooting took more than eight months to complete, and Dreams premiered at Cannes in May 1990 to a polite but muted reception, similar to the reaction the picture would generate elsewhere in the world. In 1990, he accepted the Academy Award for Lifetime Achievement. In his acceptance speech, he famously said "I'm a little worried because I don't feel that I understand cinema yet." At the time, Bob Thomas of The Daily Spectrum noted that Kurosawa was "considered by many critics as the greatest living filmmaker."
thumb|upright|Steven Spielberg helped finance the production of several of Kurosawa's final films. Spielberg at his masterclass at the Cinémathèque Française in 2012
Kurosawa now turned to a more conventional story with Rhapsody in August—the director's first film fully produced in Japan since Dodeskaden over twenty years before—which explored the scars of the nuclear bombing which destroyed Nagasaki at the very end of World War II. It was adapted from a Kiyoko Murata novel, but the film's references to the Nagasaki bombing came from the director rather than from the book. This was his only movie to include a role for an American movie star: Richard Gere, who plays a small role as the nephew of the elderly heroine. Shooting took place in early 1991, with the film opening on May 25 that year to a largely negative critical reaction, especially in the United States, where the director was accused of promulgating naïvely anti-American sentiments, though Kurosawa rejected these accusations.
Kurosawa wasted no time moving onto his next project: Madadayo, or Not Yet. Based on autobiographical essays by Hyakken Uchida, the film follows the life of a Japanese professor of German through the Second World War and beyond. The narrative centers on yearly birthday celebrations with his former students, during which the protagonist declares his unwillingness to die just yet—a theme that was becoming increasingly relevant for the film's 81-year-old creator. Filming began in February 1992 and wrapped by the end of September. Its release on April 17, 1993, was greeted by an even more disappointed reaction than had been the case with his two preceding works.
Kurosawa nevertheless continued to work. He wrote the original screenplays The Sea Is Watching in 1993 and After the Rain in 1995. While putting finishing touches on the latter work in 1995, Kurosawa slipped and broke the base of his spine. Following the accident, he would use a wheelchair for the rest of his life, putting an end to any hopes of him directing another film. His longtime wish—to die on the set while shooting a movie—was never to be fulfilled.
After his accident, Kurosawa's health began to deteriorate. While his mind remained sharp and lively, his body was giving up, and for the last half-year of his life the director was largely confined to bed, listening to music and watching television at home. On September 6, 1998, Kurosawa died of a stroke in Setagaya, Tokyo, at the age of 88. At the time of his death, Kurosawa had two children, his son Hisao Kurosawa (who married Hiroko Hayashi) and his daughter Kazuko Kurosawa (who married Harayuki Kato), along with several grandchildren. One of Kazuko Kurosawa's children, Takayuki Kato, became a supporting actor in two films posthumously developed from screenplays written by Kurosawa, Takashi Koizumi's After the Rain (1999) and Kei Kumai's The Sea Is Watching (2002).
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Akira Kurosawa
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Filmography
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Filmography
Although Kurosawa is primarily known as a filmmaker, he also worked in theater and television and wrote books. A detailed list, including his complete filmography, can be found in the list of works by Akira Kurosawa.
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Akira Kurosawa
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Style, themes and techniques
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Style, themes and techniques
thumb|left|upright|Throne of Blood cast and crew photo taken in 1956, showing (from left to right) Shinjin Akiike, Fumio Yanoguchi, Kuichiro Kishida, Samaji Nonagase, Takao Saito, Toshiro Mifune (in the jeep), Minoru Chiaki, Takashi Shimura, Teruyo Nogami, Yoshirō Muraki, Akira Kurosawa, Hiroshi Nezu, Asakazu Nakai, and Sōjirō Motoki|alt=cast and crew of Throne of Blood
Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet distinct from it; he was involved with all aspects of film production. He was a gifted screenwriter and worked closely with his co-writers from the film's development onward to ensure a high-quality script, which he considered the firm foundation of a good film. He frequently served as editor of his own films. His team, known as the , which included the cinematographer Asakazu Nakai, the production assistant Teruyo Nogami and the actor Takashi Shimura, was notable for its loyalty and dependability.
Kurosawa's style is marked by a number of devices and techniques. In his films of the 1940s and 1950s, he frequently employs the "axial cut", in which the camera moves toward or away from the subject through a series of matched jump cuts rather than tracking shots or dissolves. Another stylistic trait is "cut on motion", which displays the motion on the screen in two or more shots instead of one uninterrupted one. A form of cinematic punctuation strongly identified with Kurosawa is the wipe, 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.
thumb|upright=0.8|alt=Kurosawa kamon|Kurosawa's kamon, used by several of his characters as their mon-tsuki
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.
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Akira Kurosawa
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Legacy and cultural impact
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Legacy and cultural impact
Kurosawa is often cited as one of the greatest filmmakers of all time. In 1999, he was named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, cited as "one of the [five] people who contributed most to the betterment of Asia in the past 100 years". Kurosawa was ranked third in the directors' poll and fifth in the critics' poll in Sight & Sound'''s 2002 list of the greatest directors of all time. In commemoration of the 100th anniversary of Kurosawa's birth in 2010, a project called AK100 was launched in 2008. The AK100 Project aims to "expose young people who are the representatives of the next generation, and all people everywhere, to the light and spirit of Akira Kurosawa and the wonderful world he created".
Reputation among filmmakers
thumb|right|upright=0.8|Ingmar Bergman, shown here in a bust located in Kielce, Poland, was an admirer of Kurosawa's work.
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 shaping his own. 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: Ray described him as "one of the giants of cinema."
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 being a film director." Andrei Tarkovsky cited Kurosawa as one of his favorites and named Seven Samurai as one of his ten favorite films. Sidney Lumet called Kurosawa the "Beethoven of movie directors". Werner Herzog reflected on film-makers with whom he feels kinship and the movies that he admires:
According to an assistant, Stanley Kubrick considered Kurosawa to be "one of the great film directors" and spoke of him "consistently and admiringly", to the point that a letter from him "meant more than any Oscar" and caused him to agonize for months over drafting a reply. Robert Altman claimed that, upon first seeing Rashomon, he was so impressed by the sequence of frames of the sun that he began to shoot the same sequences in his work the very next day. George Lucas cited The Hidden Fortress as the main inspiration for Star Wars. He also cited other films of Kurosawa as his favorites including Seven Samurai, Yojimbo, and . He also said, "I had never seen anything that powerful or cinematographic. The emotions were so strong that it didn't matter that I did not understand the culture or the traditions. From that moment on, Kurosawa's films have served as one of my strongest sources of creative inspiration." Wes Anderson's animated film Isle of Dogs is partially inspired by Kurosawa's filming techniques. At the 64th Sydney Film Festival, there was a retrospective of Akira Kurosawa where films of his were screened to remember the great legacy he has created from his work. Zack Snyder cited him as one of his influences for his Netflix film Rebel Moon.
Criticism
thumb|left|Jacques Rivette, a prominent critic of the French New Wave who assessed Mizoguchi's work to be more wholly Japanese in comparison to Kurosawa's
Kenji Mizoguchi, the acclaimed director of Ugetsu (1953) and Sansho the Bailiff (1954), was eleven years Kurosawa's senior. After the mid-1950s, some critics of the French New Wave began to favor Mizoguchi over Kurosawa. New Wave critic and film-maker Jacques Rivette, in particular, thought Mizoguchi to be the only Japanese director whose work was at once entirely Japanese and truly universal; Kurosawa, by contrast, was thought to be more influenced by Western cinema and culture, a view that has been disputed.
In Japan, some critics and filmmakers considered Kurosawa to be elitist. They viewed him to center his effort and attention on exceptional or heroic characters. In her DVD commentary on Seven Samurai, Joan Mellen argued that certain shots of the samurai characters Kambei and Kyuzo, which show Kurosawa to have accorded higher status or validity to them, constitutes evidence for this point of view. These Japanese critics argued that Kurosawa was not sufficiently progressive because the peasants were unable to find leaders from within their ranks. In an interview with Mellen, Kurosawa defended himself, saying,
From the early 1950s, Kurosawa was also charged with catering to Western tastes due to his popularity in Europe and America. In the 1970s, the politically engaged, left-wing director Nagisa Ōshima, who was noted for his critical reaction to Kurosawa's work, accused Kurosawa of pandering to Western beliefs and ideologies. Author Audie Block, however, assessed Kurosawa to have never played up to a non-Japanese viewing public and to have denounced those directors who did.
Posthumous screenplays
Following Kurosawa's death, several posthumous works based on his unfilmed screenplays have been produced. After the Rain, directed by Takashi Koizumi, was released in 1999, and The Sea Is Watching, directed by Kei Kumai, premiered in 2002. A script created by the Yonki no Kai ("Club of the Four Knights") (Kurosawa, Keisuke Kinoshita, Masaki Kobayashi, and Kon Ichikawa), around the time that Dodeskaden was made, finally was filmed and released (in 2000) as Dora-heita, by the only surviving founding member of the club, Kon Ichikawa. Huayi Brothers Media and CKF Pictures in China announced in 2017 plans to produce a film of Kurosawa's posthumous screenplay of The Masque of the Red Death by Edgar Allan Poe for 2020, to be entitled The Mask of the Black Death. Patrick Frater writing for Variety magazine in May 2017 stated that another two unfinished films by Kurosawa were planned, with Silvering Spear to start filming in 2018.
Kurosawa Production Company
In September 2011, it was reported that remake rights to most of Kurosawa's movies and unproduced screenplays were assigned by the Akira Kurosawa 100 Project to the L.A.-based company Splendent. Splendent's chief Sakiko Yamada, stated that he aimed to "help contemporary film-makers introduce a new generation of moviegoers to these unforgettable stories".
Kurosawa Production Co., established in 1959, continues to oversee many of the aspects of Kurosawa's legacy. The director's son, Hisao Kurosawa, is the current head of the company. Its American subsidiary, Kurosawa Enterprises, is located in Los Angeles. Rights to Kurosawa's works were then held by Kurosawa Production and the film studios under which he worked, most notably Toho. These rights were then assigned to the Akira Kurosawa 100 Project before being reassigned in 2011 to the L.A. based company Splendent. Kurosawa Production works closely with the Akira Kurosawa Foundation, established in December 2003 and also run by Hisao Kurosawa. The foundation organizes an annual short film competition and spearheads Kurosawa-related projects, including a recently shelved one to build a memorial museum for the director.
Film studios
In 1981, the Kurosawa Film Studio was opened in Yokohama; two additional locations have since been launched in Japan. A large collection of archive material, including scanned screenplays, photos and news articles, has been made available through the Akira Kurosawa Digital Archive, a Japanese proprietary website maintained by Ryukoku University Digital Archives Research Center in collaboration with Kurosawa Production.
Anaheim University Akira Kurosawa School of Film
Anaheim University in collaboration with Kurosawa Production and the Kurosawa family established the Anaheim University Akira Kurosawa School of Film in spring 2009. The Anaheim University Akira Kurosawa School of Film offers an Online Master of Fine Arts (MFA) in Digital Filmmaking supported by many of the world's greatest filmmakers.
Kurosawa Restaurant Group
thumb|Teppanyaki Kurosawa restaurant is tucked away down a small side street in Tsukiji, Tokyo.
Kurosawa was known to be a connoisseur of Japanese cuisine and as such, the Kurosawa family foundation established the Kurosawa Restaurant Group after his passing in 1999, opening four restaurants in the Tokyo area bearing the family name. Nagatacho Kurosawa specializing in Shabu-shabu, Teppanyaki Kurosawa in Tsukiji specializing in Teppanyaki, Keyaki Kurosawa in Nishi-Azabu specializing in soba, and Udon Kurosawa specializing in udon in Roppongi. All four locations were designed to evoke the Meiji era machiya of Kurosawa's youth and feature memorabilia of Kurosawa's career. As of 2023, only the Tsukiji location is currently still operating. A number of entrepreneurs around the world have also opened restaurants and businesses in honor of Kurosawa without any connection to Akira or the estate.
Awards and honours
Two film awards have also been named in Kurosawa's honour. The Akira Kurosawa Award for Lifetime Achievement in Film Directing is awarded during the San Francisco International Film Festival, while the Akira Kurosawa Award is given during the Tokyo International Film Festival.
Kurosawa has also been given a number of state honours, including being named as an officer of the French Légion d'honneur in 1984 and a Knight Grand Cross of the Order of Merit of the Italian Republic in 1986, and he was the first filmmaker to receive the Order of Culture from his native Japan in 1985. Posthumously, he was recognized with the Junior Third Court Rank, which would be the modern equivalent of a noble title under the Kazoku aristocracy.
Documentaries
A significant number of short and full-length documentaries concerning the life and work of Kurosawa were made both during his artistic heyday and after his death. AK, by French video essay director Chris Marker, was filmed while Kurosawa was working on ; however, the documentary is more concerned about Kurosawa's distant yet polite personality than on the making of the film. Other documentaries concerning Kurosawa's life and works produced posthumously include:
Kurosawa: The Last Emperor (Alex Cox, 1999)
A Message from Akira Kurosawa: For Beautiful Movies (Hisao Kurosawa, 2000)
Kurosawa (Adam Low, 2001)
Akira Kurosawa: It Is Wonderful to Create (Toho Masterworks, 2002)
Akira Kurosawa: The Epic and the Intimate (2010)
Kurosawa's Way (Catherine Cadou, 2011)
Notes
References
Sources
Further reading
Buchanan, Judith (2005). Shakespeare on Film. Pearson Longman. .
Burch, Nöel (1979). To the Distant Observer: Form and Meaning in the Japanese Cinema. University of California Press. .
Cowie, Peter (2010). Akira Kurosawa: Master of Cinema. Rizzoli Publications. .
Davies, Anthony (1990). Filming Shakespeare's Plays: The Adaptions of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. Cambridge University Press. .
Desser, David (1983). The Samurai Films of Akira Kurosawa (Studies in Cinema No. 23). UMI Research Press. .
Leonard, Kendra Preston (2009). Shakespeare, Madness, and Music: Scoring Insanity in Cinematic Adaptations. Plymouth: The Scarecrow Press. .
Sorensen, Lars-Martin (2009). Censorship of Japanese Films During the U.S. Occupation of Japan: The Cases of Yasujiro Ozu and Akira Kurosawa. Edwin Mellen Press. .
Wild, Peter. (2014) Akira Kurosawa'' Reaktion Books
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Akira Kurosawa
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External links
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External links
Akira Kurosawa at The Criterion Collection
Akira Kurosawa: News, Information and Discussion
Senses of Cinema: Great Directors Critical Database
Akira Kurosawa at Japanese celebrity's grave guide
Several trailers
Anaheim University Akira Kurosawa School of Film
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