Yasujiro ozu
This presentation is the property of its rightful owner.
Sponsored Links
1 / 37

Yasujiro Ozu PowerPoint PPT Presentation


  • 60 Views
  • Uploaded on
  • Presentation posted in: General

Yasujiro Ozu. Lecture 13. Historical Context of Japanese Cinema. Growth of the Japanese film industry after the 1923 earthquake Successful Japanese film industry Early 1930s Output: 400 to 500 per year Studio industry model Vertically integrated companies Nikkatsu (cadre system)

Download Presentation

Yasujiro Ozu

An Image/Link below is provided (as is) to download presentation

Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.


- - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - -

Presentation Transcript


Yasujiro ozu

YasujiroOzu

Lecture 13


Historical context of japanese cinema

Historical Context of Japanese Cinema

  • Growth of the Japanese film industry after the 1923 earthquake

  • Successful Japanese film industry

    • Early 1930s Output: 400 to 500 per year

    • Studio industry model

      • Vertically integrated companies

        • Nikkatsu (cadre system)

        • Shochiku (cadre system)

        • Toho (producer system)

  • One of the only countries in which U.S. films did not overtake Japanese films in the local market


Japanese cinema in the 1930s

Japanese Cinema in the 1930s

  • Two kinds of film

    • 1. historical film: jidai-geki

      • Swordfights, chases, heroic deaths

    • 2. contemporary-life film: gendai-geki

      • Films about lower class life; comedies

  • Most influential filmmakers of this period: YasujiroOzu and Kenji Mizoguchi


Classical hollywood cinema on space

Classical Hollywood Cinema: on space

  • The “continuity style” of Classical Hollywood Cinema “has as its aim the subordination of spatial (and temporal) structures to the logic of the narrative, especially to the cause/effect chain” (Bordwell and Thompson, 1976)

  • Space should not distract from the action; space is a site for action (Bordwell/Thompson, 1976)

  • Space (setting) serve the a) narrative and b) to reveal character traits


How to achieve the continuity style

How to achieve the “continuity style”?

1.Certain spatial points are at the center of the dramatic action (unlike in The Cabinet of Dr. Caligari)

  • Usually main characters (sometimes objects) are spatial points

  • Camera follows these spatial points

  • Often everything else is out of focus

    2. 180-degree system

    Objective: to cut down on spatial disorientation between shots; to maintain a continuous flow; to limit spectatorial confusion; to make space legible

    Methods:

    • Match on action

    • Axis of action/180 degree rule

    • 30 degree rule

      3. Objects function as a) props that give a sense of authenticity/realism or b) to show something significant about the characters

    • Ex: Rome landmarks Bicycle Thieves; harmonica and boots in Paisá

      4. No graphic contrasts (as in Eisenstein) and no overly precise graphic matches (as in Vertov); consistent lighting levels

  • The surface of the film should not call attention to itself like in Entre’acteand Un ChienAndalouand Meshes of the Afternoon


Specific spatial points at the center of the drama counter example

Specific spatial points at the center of the drama: counter example


180 degree rule

180-degree rule


180 degree rule from bordwell thompson

180-degree rule (from Bordwell/Thompson)


180 degree rule rear window

180-degree rule (Rear Window)


180 degree rule bicycle thieves

180-degree rule (Bicycle Thieves)


Objects in the classical style buckets and sheets bicycle thieves

Objects in the Classical Style: Buckets and Sheets (Bicycle Thieves)


Objects in the classical style harmonica and boots paisan

Objects in the Classical Style: Harmonica and Boots (Paisan)


Graphic matches in editing counter example to the classical style from the crowd

Graphic Matches in Editing: counter example to the Classical Style (from The Crowd)


Graphic contrasts in editing counter example to the classical style from battleship potemkin

Graphic Contrasts in Editing: counter example to the Classical Style (from Battleship Potemkin)


Ozu s style

Ozu’s Style

  • Camera height vs. camera angle

    • Low camera height

    • Straight-on camera angle

  • Intermediate spaces (within a shot/within a scene/ between scenes) vs. establishing shots

    • “spaces between the points of narrative action” ex: landscapes, empty rooms, “actionless spaces” (Bordwell/Thompson, 1976, 46)

      • Methods

        • Focus (within a shot)

        • Cutaways (within a single scene)

        • Series of transitional shots (between scenes)

  • 360 degree shooting space

    • Multiples of 90 degrees

    • Two kinds of circular space

      • Camera circles around people and objects

      • Camera rotates on its axis at the center of the circle

  • Objects in space (sometimes symbolic, often not)

    • “hypersituated” (Bordwell/Thompson)—objects divorced from function

  • Graphic matches from shot to shot


Yasujiro ozu

Late Spring (Ozu, 1949)

Low camera height


Low camera height

Low Camera Height


Yasujiro ozu

Late Spring (Ozu, 1949)

Intermediate spaces:

spaces between points of narrative action


Traditional establishing shot

Traditional Establishing Shot


Ozu s series of actionless spaces intermediate spaces 1 transitions

Ozu’sseries of actionlessspaces: Intermediate spaces:1. TRANSITIONS


Ozu s series of actionless spaces intermediate spaces 1 transitions1

Ozu’sseries of actionlessspaces: Intermediate spaces: 1. TRANSITIONS


Yasujiro ozu

Intermediate spaces:

1. TRANSITIONS; 2.Play with FOCUS


Yasujiro ozu

Intermediate spaces:

1. TRANSITIONS; 2.Play with FOCUS; 3. The CUTAWAY


More examples intermediate space perspectiveless actionless space

More examples: Intermediate space: perspectiveless, actionless space


Yasujiro ozu

Late Spring (Ozu, 1949)

360 degree space


180 degree rule from bordwell thompson1

180-degree rule (from Bordwell/Thompson)


Late spring ozu 1949

Late Spring (Ozu, 1949)


Late spring ozu 19491

Late Spring (Ozu, 1949)


Late spring ozu 19492

Late Spring (Ozu, 1949)


Yasujiro ozu

Late Spring (Ozu, 1949)

Hypersituated objects


Hypersituated object

“Hypersituated object”

  • Bordwell/Thompson:

    “In Hollywood, any objects which are not used as props or externalisations of character traits are simply there to be minimally noticeable as part of a general verisimilitude [appearance of being real] –a background for the narrative…. But in many Ozufilm scenes, the objects in the space of the scene vie successfully with the narrative action for attention.”


Vase sequence

Vase sequence


Yasujiro ozu

Late Spring (Ozu, 1949)

Graphic matches


Graphic matches

Graphic Matches


  • Login