AbstractTōru Takemitsu (1930–96), dean of Japanese composers, wrote scores for 100 films. In many cases, he faced the task of giving presence to an unseen, suprahuman force or being. This article deploys musical semiotics and topic theory to examine a gesture I call “distorted iconism,” in which an aural resemblance is altered so as to suggest transcendence. I analyze distorted iconism in Takemitsu’s film work, looking initially at Kwaidan, Hi-Matsuri, and Woman in the Dunes. In these films, Takemitsu needed to indicate that what we see is insufficient, and used such devices as delayed sonic cues, distorted instrumental sound, and strongly marked static music to create a sacred space in which the unseen and transcendent manifests. I use these examples to set up a close investigation of Ran, in which Takemitsu effects complex layers of meaning that both enrich and subtly contradict the director’s vision.