Yasujirō Ozu (小津 安二郎) (1903-1963)
https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu
Legacy and style
Ozu is probably as well known for the technical style and innovation of his films as for the narrative content. The style of his films is most striking in his later films, a style he had not fully developed until his post-war sound films.[18] He did not conform to Hollywood conventions.[19] Rather than using the typical over-the-shoulder shots in his dialogue scenes, the camera gazes on the actors directly, which has the effect of placing the viewer in the middle of the scene.[19]
Ozu did not use typical transitions between scenes, either. In between scenes he would show shots of certain static objects as transitions, or use direct cuts, rather than fades or dissolves. Most often the static objects would be buildings, where the next indoor scene would take place. It was during these transitions that he would use music, which might begin at the end of one scene, progress through the static transition, and fade into the new scene. He rarely used non-diegetic music in any scenes other than in the transitions.[20] Ozu moved the camera less and less as his career progressed, and ceased using tracking shots altogether in his colour films.[21] However, David Bordwell argues that Ozu is one of the few directors to "create a systematic alternative to Hollywood continuity cinema, but he does so by changing only a few premises."[22]
Ozu invented the "tatami shot", in which the camera is placed at a low height, supposedly at the eye level of a person kneeling on a tatami mat.[23] Actually, Ozu's camera is often even lower than that, only one or two feet off the ground, which necessitated the use of special tripods and raised sets. He used this low height even when there were no sitting scenes, such as when his characters walked in hallways.
Ozu eschewed the traditional rules of movie storytelling, most notably eyelines. In his review of Floating Weeds, film critic Roger Ebert recounts
[Ozu] once had a young assistant who suggested that perhaps he should shoot conversations so that it seemed to the audience that the characters were looking at one another. Ozu agreed to a test. They shot a scene both ways, and compared them. "You see?" Ozu said. "No difference!"[24]
Ozu was also an innovator in Japanese narrative structure through his use of ellipses, or the decision not to depict major events in the story.[25] In An Autumn Afternoon (1962), for example, a wedding is merely mentioned in one scene, and the next sequence references this wedding (which has already occurred); the wedding itself is never shown. This is typical of Ozu's films, which eschew melodrama by eliding moments that would often be used in Hollywood in attempts to stir an excessive emotional reaction from audiences.[25]
Ozu became recognized internationally when his films were shown abroad.[26] Influential monographs by Donald Richie,[8] Paul Schrader,[27] and David Bordwell[28] have ensured a wide appreciation of Ozu's style, aesthetics, and themes by the English speaking audience.
