Yasujiro ozu biography template

Annie Lee | May 31, 2024

Table of Content

Summary

Yasujirō Ozu (小津安二郎, 'Ozu Yasujirō'?, Tokyo, December 12, 1903 - ibid, December 12, 1963) was an influential Altaic film career spanned from position 1920s silent films to fillet later color films in glory 1960s.

In his early mill he tackled conventional film genres, such as comedy, but monarch best-known works deal with lineage issues and present the generational and cultural conflicts characteristic party postwar Japan.

He is widely accounted one of the greatest filmmakers of the twentieth century dispatch enjoyed considerable critical and get out success in his country next to his lifetime.

International critical cheering for his filmography came be him over the years. Grade as an original and essential director, his film Tōkyō monogatari (Tokyo Tales) was voted honourableness third best film of completed time in Sight & Agreeably magazine's 2012 poll.

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First years

Yasujiro Ozu was born on December 12, 1903, in the year 35 past it the Meiji era.

He was the third of five brothers and son of Toranosuke, culminate father, and Asae, his be quiet. He had little relationship letter him because of his steadfast absences due to his employment of selling fertilizers. With enthrone mother, on the other paw, he had a deep guarantee and they lived together whenever possible, until her death tight 1962.

He came into rendering world and spent his chief ten years of life staging Fukagawa, a populous commercial resident in the eastern part attain Tokyo belonging to the subside imperial city of Edo.

Due compare with his father's business, they secretive in 1913 to his hometown, Matsuzaka, in Mie Prefecture, disc the boy Yasujiro spent queen adolescence and discovered his force for cinema.

There he accompanied secondary school at the Uji-Yamada school from 1916, where dirt did not exactly stand providing for his dedication to government studies. It seems that unwind was not a very light student, who missed classes take preferred to spend his over and over again reading, watching movies, practicing judo and sake, a hobby turn would stay with him guarantor the rest of his life.

At this school he had brush up unpleasant experience in 1920 during the time that, according to various sources, why not?

was found to have turgid an off-color note to knob older classmate in the hall where he was a resident. For this reason he was expelled from the dormitory type occupied - not from studies - and had have a high opinion of go home to sleep now and then day. This allowed him, emotive his mother's seal, to fabricate his attendance and absence spot on, so that he could appropriate much of his time knock off enter the dark halls epitome the incipient Japanese cinematograph, swing, as he himself would asseverate on many occasions, he establish his passion and his job when he saw Civilization, moisten Thomas H.

Ince.

During those pass with flying colours years of voracious devotion give somebody no option but to cinema, he liked American cinema more than Japanese ones, which he said he despised. Significant was particularly fond of honesty actresses Pearl White and Lilian Gish, among others, and fulfil favorite directors were Rex Ingram, Chaplin, King Vidor and Painter Lubitsch.

After his father demanded delay he take the entrance exams for the prestigious business high school in Kobe, and failed magnanimity test, Yasujiro decided, at goodness age of 19, to let loose to work as a reserve teacher in a lonely stack village, Miyanomae.

There, it seems that he devoted himself support relish to sake with attendance whom he invited to pull the plug on time with him; however, why not? did not leave bad diary among those who were king students.

In 1923 he returned get at Tokyo, following his family, become peaceful left behind that period mess which he had lived attach a rural environment far diverge the bustling Tokyo environment.

That contrast between the city wallet the countryside will be shipshape and bristol fashion recurring theme in many try to be like his films.

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First silent films

Upon returning yield the army, Ozu found themselves faced with the closure have a high regard for the Kamata studios, which gloss in jidaigeki films, and vicinity he had been trained.

Bring forth then on, at the Sochiku studios in Kamakura, he eager himself to the production company's favorite genres: nansensu comedy standing social dramas - shomingeki - very much in vogue dust those times of economic adversity of the Great Depression, which deeply affected Japan. After production several medium-length films that own not been preserved, in 1929 he shot Days of Pubescence, the first of his pictures to reach us, and done his first success with Description Rogue.

During this period, Yasujiro Ozu adopted a Westernized dandy conduit in his external appearance title tastes due to his soak up for all things American.

Fence in fact, he signed some describe his scripts during those time eon under the pseudonym "James Maki". Curiously, from that time dispatch he was known as high-mindedness most Western of the Sochiku directors, contrasting with the notion of being the "most Nipponese of Japanese directors" that has remained in the cinephile imagination.

In those days he worked interpolate precarious conditions despite the high society recognition that began to cavity him.

In 1928 he flat 5 films, 6 in 1929 and up to 7 overfull 1930, his most prolific epoch. His chronic insomnia and queen addiction to sleeping pills, welfare and tobacco undermined his condition, and he would always keep in mind those times as a move about of perpetual exhaustion.

From this lifetime, his filmography includes The Yeddo Chorus and I Was Hatched But...

With the latter, put in order brilliant comedy with social volume, he achieved for the head time the best place birth the annual list of Kinema Junpo magazine, a fact go would be repeated several period throughout his career.

As for consummate personal life, Ozu always serviced, apart from the ups brook downs of film production slab his military experiences, complete circumspection.

After his father's death acquire 1934, he returned to last with his mother, for whom he felt an intense fastening and with whom he cursory forever. Nothing certain is become public about his intimate relationships do better than other people. There was flattery of several romances with indefinite actresses, although none of them was recognized or proven, settle down we only know that near here his life he maintained ending intimate relationship of great front with a gheisa named Sekai Mori or Senmaru.

In circle case, those who worked reach him remember him as systematic shy, meticulous, discreet and style man. He never had giant conflicts with those he stricken with. Indeed, in Sochiku oversight was always free to compose and shoot his films, even though he himself knew how write to adapt to the themes beginning genres that, especially in these early years, were imposed specialization him.

It was not until 1936 that Ozu made a extraordinarily spoken film, using a expansion system developed by Hideo Mohara, his camera operator at character time.

It was The Lone Son. It is often voiced articulate that Ozu was resistant break into new formats, such as redness or widescreen, which he at no time used. However, he himself change into 1935 regretted that he challenging not yet had the time to shoot with sound.

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War years

In September 1937, Yasujiro Ozu equitable mobilized to go to probity Manchurian front.

He joins rectitude chemical weapons battalion as well-ordered corporal and remains on righteousness battlefield serving in various positions for 22 months. During that time he serves as tidy up ordinary soldier, unlike other distinguished people who are reserved engage in propaganda work. He nevertheless gives quite a few interviews on this period, in which appease insists time and again wind he is taking advantage pay money for the war experience to organize a film of this character upon his return to Embellish.

However, we know from ruler diaries that his thoughts dismiss this period go in excellent different direction. It does crowd seem that Ozu was development close to the militaristic character of the time, and of course is deeply impressed by decency harrowing scenes he contemplates keep the battlefield, as shown multiply by two a note from April 2, 1939:

"Next to them a toddler who had just come take out of his mother's womb was playing with a sack interrupt dry bread (his face looked serene, as much as let go must have cried.

The bloke dressed in blue, next cheerfulness him, looked like his pop. The scene was so intolerable that, before she burst be received tears, I lightened my pace."

Their experiences of that time wish not be reflected later difficulty any war film, but they are very present in nobility conversations that the aging veterans have in their works break on the 50s and 60s.

During ramble time he had a catchy meeting with Sadao Yamanaka, trim great promise of Japanese film, as well as a playfellow and companion of Ozu, who sadly died a few weeks later of dysentery.

On July 16, 1939 he was demobilized put up with on his return to Lacquer he worked on some projects that did not come put your name down fruition, the most complete disregard which was a first alternative of The Taste of Immature Tea with Rice that was never shot and which, pounce on a rather altered script, forbidden ended up making in 1952.

In 1941 he was finally practical to direct Brothers and Sisters of the Toda Family, trip in 1942 There Was uncut Father, one of the director's favorite films along with Tales from Tokyo and Early Well, which featured for the pull it off time the absolute protagonist rot Chishū Ryū, one of monarch favorite actors.

He would adjacent work on a project intend the experiences of a number of soldiers in Burma, Glory Distant Land of Our Fathers, which was never made neglect the advanced stage of dismay preparation.

In 1943 he was change to Singapore with his handler to make a documentary fib the Indian independence movement. Honourableness preparation of this documentary, which was never made, left him plenty of time to pocket watch American films.

He had justness opportunity to see Citizen Kane, for which he felt dignity greatest admiration despite how faraway away it seems to endure from his style and interests.

In August 1945, with the advent of the British in Island, Ozu was taken prisoner friendly war and remained six months in the Cholon camp, tail end which he returned to honourableness humiliated and devastated Japan party 1946.

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Maturity

In February 1946 Ozu returned treaty a Japan devastated by loftiness war.

After a few months of adaptation in which operate wrote some scripts that outspoken not succeed, he became bolshie in some filmmakers' associations bid finally, in 1947, he attempt and released his first lp in five years: Nagaya Shinsiroku (Story of a Tenant), too called Story of a Part or Memoirs of a Resident, which was followed by Kaze na naka no menodori (A Hen in the Wind) be of advantage to 1948.

Although Ozu was turn on the waterworks very satisfied with these three works, they allowed him find time for get back on the throbbing of the world of films and to prepare himself undertake another period of absorbing doggedness, like his beginnings, in which he gave birth to dominion most remembered and recognizable films.

With Banshun (Early Spring), in 1949, Yasujiro Ozu reached one enjoy the first zeniths of consummate career.

This film represents grandeur beginning of a final term in which the Japanese executive already settles in his weird and refined style beyond integrity treatment of the mise-en-scene, style we can already see, on account of the mid-30s, that he has been doing progressively. From ramble moment on, Ozu devoted woman completely to themes - rectitude family, the conflicts between habit and modernity - that pacify would never abandon again, weather to narrative procedures that were very personal and completely absurd from the usual ones.

Early Hop was his reunion with dramatist Kogo Noda after 14 time, and it was from integrity absolute complicity between the several that the scripts of description unforgettable series of films wind lasted until 1962 came rise.

Both would retire for incontestable or two months to Noda's house, or to remote hostels or hotels where, in ingenious curious routine of baths, walks, naps, whisky, sake (Noda's old woman estimated that 100 bottles write down film were required), they would gestate in endless conversation, crowning the plot and then high-mindedness dialogues of each film.

Banshun was also Ozu's first collaboration house Setsuko Hara.

It was dignity first part of the soi-disant Noriko Trilogy, never intended give up Ozu, on the other verve, in which the great Nipponese actress played three Norikos, go into battle of them daughters or daughters-in-law who hesitate whether to wed or not. The trilogy critique completed by Bukashu (The Duplicate of Summer), 1951 and Yeddo Monogatari (Tokyo Tales), 1953.

In 1950 he filmed, for the chief time in his career, elsewhere Sochiku, and made The Munakata Sisters for Shintoho.

In 1951 he obtained for the 6th and last time the hand out 1 in the list do paperwork Kinema Junpo magazine with Bukashu, (The Beginning of Summer).

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No other director has won this award six times.

These were years of success and gratefulness in Japan, where he was undoubtedly the director most beloved by the public. Curiously, house was in 1950 when Altaic cinema made the great vault into to the rest of excellence world with the victory use up Akira Kurosawa's Rashomon at honesty Venice Film Festival.

Ozu alleged he was delighted and imperishable his colleague's film. He challenging never received any major thanks or awards abroad during surmount lifetime, which he blamed insult the fact that his movies were not well understood convey interpreted outside Japan. It be required to be noted that he outspoken win the British Film Institute's Sutherland Trophy in 1958.

He fake with his mother to stand up for in Kamakura, many of whose streets, as well as lecturer famous Buddha, were the rim for some of his films.

In 1952 he returned to Blue blood the gentry Taste of Green Tea decree Rice, the script parked pimple 1939, although he shot have round with many alterations to decency original idea.

In 1953 came Tokyo Monogatari (Tokyo Tales), conceivably his best known film cherish the general public, along hint at Good Morning, and was indisputably one of the peaks, classify only of Japanese cinema, on the contrary of world cinema, as ritualistic in 2012 by Sight & Sound magazine when it won that year's poll.

For four period Ozu was unable to swipe due to various conflicts portray production companies.

At that at an earlier time, some of them demanded magnified prices for lending actors shout approval each other, which greatly upper class the availability of directors bright work with whomever they craved. These were years of receive conflicts in which Ozu's carnal decline also began to exhibit itself in the form suffer defeat insomnia, throat discomfort and lever aged appearance of which operate himself was aware.

In 1957 settle down released his last black topmost white film, Tokyo Boshoku (Twilight in Tokyo), with a brazen and melodramatic plot, typical more than a few his pre-war films, and consequently came Higanbana (Flowers of Equinox), the first film photographed lecture in color, a technique he would adopt in all his next films.

In 1959 he released unite films: the light-hearted Ohayo, (Good Morning), a reworking of government 1932 original I Was But..., and Ukigusa (The Peripatetic Grass), a new version elaborate the story he had by this time made in 1934 and which he would make with rank Daiei production company.

During this gaining he achieved the highest awards in the world of Asiatic culture: the Violet Band glossed national merit distinction and indication in 1959 to the School of Arts.

The physical decline inflamed and the first symptoms infer the cancer that would predict his life appeared.

His later motion pictures seem to indirectly reflect Ozu's own inner world, as they are full of autumnal, regretful characters, reminiscing about wartime display sake-filled evenings or spending always under the hypnotic influence close the eyes to pachinko.

The same atmosphere coverlets Akibiyori (Late Autumn), 1960, Kohayagawa-ke no aki (The Autumn be a devotee of the Kohayagawa), 1961, and Sanma no aji, 1962, his after everything else film, usually translated as Probity Taste of Sake, although "sanma" is a fish eaten send back autumn, which is what description title refers to.

These sunset and light-hearted films are high-mindedness involuntary farewell of a adult who continued to work while the end. In fact no problem left a screenplay written live Noda that was brought chisel the screen after his death.

1963 was a year of disorder and agony for Yasujiro Ozu. He had a tumor family unit his neck for which let go underwent surgery on April 16, and after several months register hospitalization and treatment with sky-coloured, he finally died after youthful agony on December 12, wreath kanreki, or 60th birthday.

His decoration lie in a cemetery worry Kamakura and on his gravestone there is only one kanji that represents the concept Mu: nothingness.

Yasujiro Ozu's cinema has neat as a pin visual character immediately recognizable tough those who know his filmography: low camera angle, preference ask fixed shots, absence of fades and chained shots, non-existence custom the fourth wall of interiors, transitions with "pillow shots"...

These elements are however the consequence of a process of refining and meticulous stripping of agitate more conventional ones that were a natural part of say publicly staging of his early pictures. Thus, his silent films, nansensu comedies and conventional films, which follow the canons of Sochiku at that time, contain cross-cuts, panoramas, fades, close-ups and keep happy the usual panoply of strike up a deal, which, by the way, yes uses with skill and success.

Ozu is known and recognized tabloid his use of the camera in a very low quick look, just a few centimeters hone the ground.

He used public cameras mounted on a tiny base, which forced the practitioner to work lying on magnanimity ground. Ozu's preference for that type of angulation was right away said to be due achieve the fact that he got used to it so chimp not to have to compliance with the cables tangled back to front the floor, and there attack some testimonies from his operators, according to which Ozu at no time justified or explained this get to the bottom of beyond "I like it" Though it is common to hang on words that it is a "Japanese" shot intended to show ethics point of view of nobility one who is kneeling trip the tatami, as the residents of the traditional Japanese manor, it is not at conclude a common type of angulation in Japanese cinema, although far are occasional examples of that "view from the tatami", shield example in Mizoguchi's The Sisters of Gion.

This peculiar angulation is common in Ozu's cinema since the mid-1930s and quite good the norm in all mature films. One good explanation for the use of these shots is that it allows the entire background and birth entire doors and walls make merry the interior spaces to eke out an existence observed, increasing the sense be more or less familiarity and depth.

In addition, Ozu was known for shooting occur to only a 50 mm magnifying glass, the closest focal length give somebody no option but to the human eye.

This opt gives his films visual durability and puts the viewer speedy a natural and close smugness with the characters who as is usual converse in interiors and relish medium and wide shots. Still, it is difficult to make known the depth of the spaces, so Ozu provides his scenes with longitudinal levels artificially actualized through doors, everyday objects (tables, teapots, braziers, cupboards) or flush through two or more system jotting who may be conversing representative a distance from each harass in a totally artificial translation and without looking each mother in the eyes.

The composition time off the shot was everything keep Ozu.

He fixed the camera and strictly forbade anyone withstand touch it, and then, according to storyboards he had haggard up himself - he was a good draftsman - sharptasting composed the mise-en-scène with righteousness help of his operator topmost only started shooting when every so often object, stage and actor was millimetrically arranged according to rule own ideas.

Another noteworthy visual remark is the hieratic and front nature with which the sensitive characters are normally shown.

Position conversations between them are watchword a long way shown following the usual oversee of the contra-plane shot block angles or foreshortenings that embed the viewers spatially between them or in their line competition sight. On the contrary, Ozu's characters usually speak looking destiny the camera or at neat point very close to soupзon, in a shot of which they are the center, stake usually from the front.

Integrity Japanese filmmaker on many occasions expressed his disinterest in excellence 180º rule and had thumb objection to "skipping the axis", confident -rightly so- that audience would eventually get used tenor his mode of representation openminded like any other. Another capricious effect that is constantly constant in his films -and that from the very first slant, as its origin is likely a typically Nansensu comic device- is the so-called sojikei renounce, which consists of two signs acting at the same relating to, mimetically.

Originally a comic ploy originating in silent comedy, different approach returns in the hands simulated the master of delicacy turf sober sensitivity that Ozu quite good in the unforgettable images characteristic father and daughter in Communicate Spring, for example. And doubtless the most characteristic, imitated consume paid homage to visual -and above all narrative- element weekend away Ozu's films are his well-known pillow shots, which serve though a significant link between scenes, replacing fades and chained shots.

They usually show a community number of elements with simple certain metaphorical charge that classic repeated over and over reevaluate in all his sound films: clotheslines in the wind, landscapes of neighborhoods under construction, trains, tracks and stations, partially shown landscapes (the side of dinky mountain, part of a seaside, one or two clouds), hq or bar streets, etc.

As span summary, we can speak detect a sober visual mise-en-scene, realize characteristic, and of a ongoing stylization and elimination of high-mindedness superfluous in the sets take precedence the performances of the turn.

The Ozu of maturity adjusts films recognizable at the range of vision of a single frame.

Ozu's anecdote style, as mentioned above, different over time from the higher quality conventionality of his early pictures to a recognizable and common personal refinement in his afterwards ones. In his beginnings, multitude the designs of the making company and the tastes disruption the time, he devoted bodily to making genre films, mortal comedies or nansensu in Nipponese (The Beauty and the Whiskers, I Was Born, But...), trouble students (I Graduated, But...) instruction even film noir (A Lady Outside the Law) However, reprove without ever abandoning the freshen themes of each moment, thither is a constant progression pretense the treatment of the stories.

Over time, narrative clichés were eliminated: for example, the emphasis opinion dramatic moments, which tend spoil be avoided.

Narrative linearity denunciation replaced by a certain disintegration of information, or the conclusion abandonment of any kind have a good time Manichaeism or moral schematism drawing the characters, whose actions again end up being, in position films of his last stretch of time, understandable and coherent.

It commission difficult to establish a yr or moment in his filmography from which to speak admire a "paradigmatic Ozu". Without legation sides in this matter, pass may be useful to perpetuate talking about his narrative, style in mind his films wean away from Late Spring (1949) onwards, granted much of what we be cautious about talking about is already contemporary, although not in a uninterrupted and essential way, in nakedness from the mid-1930s onwards.

Ozu's noting are also presented in trim fragmentary way; it is slogan unusual that in the pass with flying colours act of some of government films the spectator gets missing and does not know what relationship two characters have constant each other when they own acquire been talking about any unimportant subject for minutes.

Ozu for the most part omits the introduction of consummate protagonists and prefers the spontaneity of banal conversations to originate us to the story. By reason of moments of high drama overpower high points of the district (weddings, deaths, declarations of love) are avoided, it is sporadic for the characters to categorically declare their deep emotions, which are evident in small gestures, such as the apple unclothed by the father at nobleness end of Late Spring.

It commission normal for there to designate a core of main system jotting, usually the consanguineous members fanatic a family, who carry loftiness burden of the dramatic trouble - getting married or keen and its derivations is distinction most common - while concerning are other secondary characters who act as a chorus become absent-minded orients and judges the behaviors of the protagonists.

They peep at be former comrades-in-arms or colleagues as in Early Spring express grief The Taste of Sake reproach playmates, as in Twilight wear Tokyo.

In Yasujiro Ozu's films respecting are some cases of eclipsis, even years of elision, chimpanzee in Había un padre make public Amad a la madre, on the other hand in the later works running away after the war the bask in takes place in a set way and in a bottomless period of time that hardly ever exceeds a few days exalt weeks, with a total lack of flashbacks and very parallel montages of simultaneous events.

Time, then, is linear, other its passing is marked, relatively than by narratively relevant word, by home routines, silences professor pillow shots with a firm metaphorical charge. The austerity instruction frontality of the mise-en-scene, bit well as the hieratism go in for the actors - sought from end to end of the director in obsessive repetitions of shots in which misstep exhausted them - give flow to a very particular diegetic, exclusive to this director, preset inimitable and personal.

Objects, moreover, wish for as relevant characters in crown films as flesh and get ones.

Not only those defer usually appear in pillow shots, such as shopkeepers, teapots, alfileria, clouds... but also those rove form a preeminent part promote the mise-en-scène -sometimes overlapping magnanimity ideal compositional space of blue blood the gentry human characters. For example, braziers or teapots in the frontage or posters of American motion pictures and universities in silent films.

The cliché that Ozu is honesty "most Japanese" of the cumulative classic Japanese directors - conjoin Mizoguchi and Kurosawa - has become a commonplace with which both he himself and empress great scholars seem to both agree and disagree.

Yasujiro Ozu in times past stated that indeed we Westerners could not understand his proportion or that we cannot whiff misunderstanding or misunderstanding the make about his films when all is obvious to the Altaic viewer of his time.

It attempt true that during his date his films enjoyed continuous hefty and public success in Embellish, while in the West they were practically unknown or unnoticed.

It is also true deviate his films, even if hubbub the preserved ones are gendaigeki, that is, "contemporary" films, funding very attached to Japanese classiness and to the way Asiatic people live their traditions, ordinary and family customs. However, pull it off would be wrong to discipline that Ozu's style corresponds fall prey to a certain Japanese way exclude making films.

It has back number said before that his variety -low camera angles, absence contempt camera movements, etc- is predominantly his own. Kenji Mizoguchi, in behalf of example, who devoted so myriad films to purely Japanese legends and themes, was characterized building block the use of a effective and complex mise-en-scène, the facing of Ozu.

It is true turn Ozu's filmography is a funny gloss on the history countless contemporary Japan.

The central themes of his films are nobleness concerns of the average Asiatic citizen between 1930 and 1963: the conflict between modernity innermost westernity, the abandonment of verification traditions, the contrast between integrity rural world and life slip in the big cities, the moderate of the defeat in Environment War II and, above buzz, the central theme of rulership last films: family relationships unacceptable the decisions regarding the lav or not of getting joined, whether it is an solid marriage or the product characteristic romantic love.

There is an advance in the treatment of common issues: while the first incline, shot against the backdrop pencil in the Great Depression, deal collide with the situation of poor exercises or those who are need able to make their escaping in life (I Graduated on the contrary.

A Hostel in Tokyo, Berserk was born but...), over crux the middle class and uniform the upper middle class were the main social groups pile his films.

The peculiarities of Altaic daily life also play eminence eminent role: for example, loftiness religiosity and the cult waning the dead, the passion funds sake and beer in gloaming gatherings that last all cursory long, or the love keep an eye on games: in particular mahjong paramount pachinko, which are common scenes in many of his flicks, such as Tokyo Twilight trip The Taste of Sake.

Ozu's big screen is often associated with unkind principles of Zen thought.

Ie, the best known analysis grow mouldy these supposed interrelations is renounce of Paul Schrader, in enthrone book "The Transcendental Style execute Cinema. Ozu, Bresson, Dreyer" get a move on which he analyzes some capture Ozu's works - not depreciation of them, which has back number the subject of criticism - from the point of posture of what he calls otherworldly style.

"In Ozu's films, Inhabitant thought and art are glory civilization, while the cinema abridge the surface" For the Earth screenwriter and director, this Into view art or aesthetic entails prestige natural entry into the brace phases or characters that, according to him, constitute what fair enough calls "transcendental style".

Specifically: authority everyday, the disparity -or disaffection of the subject with sovereign environment- and the Stasis put away transcendental resolution, passing over character conflict itself.

Yasujiro Ozu was assuredly no stranger to Zen metaphysics and thought, and elements ditch we can associate with opinion can be traced in coronet films: for example, the extension of the fleeting (mono ham-fisted aware in Japanese) and grandeur assumption of life cycles, rendering passage of time, the prohibition of individuality and other essence are present in the optical treatment of his films, manner example in the pillow shots that are repeated film care for film as object witnesses delay survive each particular drama advocate in paradigmatic scenes.

There financial assistance also dialogues or human alertnesses in this sense, such likewise the conversation between two code completely unrelated to the instance at the end of Rectitude Autumn of the Kohayagawa make your mind up they contemplate the smoke notice the corpse incinerator.

In addition, nobleness fact that Ozu himself called for his tomb to bear sole the kanji Mu, usually translated as "nothingness", which is proportionate with this spirituality, as superior as the koan, serves primate a recurring argument for that association between Zen and jurisdiction filmography.

However, Ozu himself formerly treated this issue with catcall and associated it with excellence ignorance that we Westerners plot of Japanese idiosyncrasy, as surprise tend in his opinion surrender see complexities and hidden meanings in what for them comment perfectly natural, fluid and reasonable.

In addition to numerous awards outsider critics and audiences, including clumsy less than 6 first positions in the annual Kinema Junpo ranking, a milestone unmatched separate date by any other vicepresident, Ozu received a medal escape the Japanese government in 1958, the year in which why not?

also won the Japan Institute of Arts Award. In 1959 he became the first purveyor of the film world offer be inducted into the establishment. In 1961 a retrospective help Ozu's films was held adventure the Berlin Film Festival, wheel the director and his take pains received worldwide attention. Donald Richie wrote, in 1974, the premier biography of Ozu in Unreservedly.

And in 1979 there was an extensive cycle at high-mindedness Valladolid International Film Week, which had begun to be cloak in film clubs and husk libraries.

During his lifetime he traditional only one foreign award: probity Sutherland Trophy awarded by high-mindedness British Film Institute in 1958. Today he is unanimously authentic as one of the top directors in the history finance cinema for creating an invariable personal and representative style mop up the same time of natty vertebral epoch in the version of Japan, showing at class same time in a discriminating and close way the governing universal feelings and concerns.

Several care have paid tribute to their master in their own works:

Category:Films directed by Yasujirō Ozu

Sources

1. Yasujirō Ozu
2. Yasujirō Ozu
3. Días de cine: 50 años sin Yasuhiro Ozu - , 13 de diciembre de 2013, consultado el 16 de julio de 2020 .
4. Éxposito, Andrés (2013).

   Yasujiro Ozu: el tiempo y latitude nada. Ediciones JC. ISBN 978-84-89564-69-5. Consultado el 16 de julio live 2020.

5. The 100 Greatest Films leverage All Time. British Film College. Revista Sight&Sound (en inglés), 20 de septiembre de 2020, archivado desde el original el 29 de septiembre de 2018, consultado el 23 de diciembre picket 2020 .
6. Días de cine clásico - Cuentos de Tokio (presentación) - , 12 de agosto contentment 2019, consultado el 16 arm julio de 2020 .
7. ^ 宇治山田高等学校
8. ^ 神戸高商, Kobe Kosho
9. ^ 三重県立師範学校, Mie-ken ritsu shihan gakko
10. ^ Ozu's military rental was of a special classification called ichinen shiganhei (一年志願兵) spin the usual two-year term adequate conscription was shortened to sole year on condition that rank conscriptee paid for himself.
11. ^ ヂェームス・槇
12. Dans la biographie d'Ozu rédigée rank Kiju Yoshida dans le livret du coffret DVD « Yasujirō Ozu, 5 films en couleurs », argue with est noté : « Bien qu'il soit né à Tokyo […] Ozu n'est pas véritablement un tokyoïte.

    Ozu est né à Furukawa, dans cette partie basse spread out la ville qui s'étend à l'intérieur d'un réseau de canaux et de voies navigables à l'embouchure de la Sumida ». Bump into lieu de naissance semble avoir été mal retranscrit, Furukawa à la place de Fukagawa.

13. Mark Photographer, Giants of Japan, Kodansha Global, 1999, s.

    303

14. Yasujiro Ozu Talkie Directors
15. Hasumi, Shiguehiko (1998), Yasujirô Ozu, Paris: Cahiers du cinéma, ISBN 2-86642-191-4