Yasujiro Ozu Film Analysis

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Monotonous Perfection: A Closer Look into Ozu’s Early Films
Because of the reinvention or the addition to the form of non-linear narrative in a film, Yasujiro Ozu is considered one of the Japanese greatest director. The first impression his films give is that his subjects are the Japanese Family and the stoic construction of the patriarchal figure of the father as a pillar of the Japanese identity. However, I wonder what one can discover if Ozu’s early works are paralleled and scrutinized with different perspectives. Yasujiro Ozu´s films are rooted in the genre of daily lives called by film scholars “shomin-geki”, and thus, it gives a monotonous feeling, but according to Catherine Russell who wrote for Cineaste, the seeming monotony and “passing
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Bingham points out many rules or/and norms of classical Hollywood OZu rebelled (perhaps unknowingly). One of them being the “180 degree rule” which goes against the use of “360-degree shooting space” common in North American films, and, “pillow” or also known as the “intermediate” shots which were mostly used as transitions. In both films, since they are part of his earlier works, they lack the iconic style that goes against the commonness in Hollywood in its Golden Era; like for example, Bingham pins down Ozu’s sense of spatiality in the following words: “the pace of a scene as circular rather than semi-circular and [cut] generally on 90 and 18-degrees” (47). The “predominantly static camera” is what in my opinion, makes Ozu’s films −in this essay Late Spring and Tokyo Chorus−incredibly monotonous with the help of the always -looking perfect mise-e-scene. The tatami shot: “ the crucial point is that one is presented with a rigorous, consisten perspective and view of the world, which [Bingham] takes (perhaps tentatively, and indeed not necessarily consciously on Ozu’s part) to be a system that works to some extent in almost diametric opposition to the mimetic, perspectivalist theory of classical cinema advocated by V.I. Pudovkin, in which the viewer, …show more content…
Direct comment, symbolic scenes −these are alien to a director of Ozu’s sensitivity precisely because they contitue an unfair comment on character −unfair because they the kind of comment which attempts to sump up something as complicated as a character with something as simple as a symbol. (Richie

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