Notes Introduction 1. Readers interested in more detailed and abstract arguments should consult David Bordwell and Kristin Thompson, Film Art: An Introduction. Ozu and the Poetics of Cinema [David Bordwell] on *FREE* shipping on qualifying offers. Over the last two decades, Yasujiro Ozu has won. Over the last two decades, Yasujiro Ozu has won international recognition as a major filmmaker. Combining biographical information with discussions of the.
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How s Filmmakers Changed Movie Storytelling. A new video lecture!
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Ozu and the Poetics of Cinema
borxwell Models of Mind in Explaining Film. Nordisk and the Tableau Aesthetic. One Forceful, Impressive Idea. Re Discovering Charles Dekeukeleire. Scene Transitions in Classical Cinema.
Ozu and the poetics of cinema / David Bordwell.
Anatomy of the Action Picture. Film and the Historical Return. On the History of Film Style. University of Chicago Press, A Labyrinth of Linkages. Films, Files, and the Future of Movies. The Lord of the Rings and Modern Hollywood. University of California Press, Textbook written in collaboration with Kristin Thompson and Jeff Smith.
Eleventh edition, New York: Textbook written with Kristin Thompson bordwekl author.
Third edition, New York: No extras, no booklet, just a brief appreciation by Rick Prelinger which can be read here. Use the arrow keys to cycle through menu selections. My enjoyable talk with Elizabeth Pauker ranged on a lot of topics across two hours. We talked about his narrative strategies too, particularly his oscillation between nuclear-family plots like I Was Born, But… and extended-family ones like Brothers and Sisters of the Toda Familyanother masterpiece and Tokyo Storyditto.
How do you treat a neighborhood as an extended family?
Observations on film art : A modest extravagance: Four looks at Ozu
How do you shoot families living jammed together? How do you accentuate comic misunderstandings, and create gags through composition and color?
And how do you structure a film around a landscape, days of the week, and neighborhood routines? Through echoic camera positions and compositions. The pattern shown above completes itself on p. The title of that book resonates in a couple of ways. The title also has personal meaning, because it was Ozu who taught me just how deeply cinematic patterning could penetrate the texture of a movie.
Without sacrificing any emotional power, Ozu created films that are marvels of organization, from large-scale story construction to the smallest detail of image and sound. I remember distinctly bordaell I realized the grain of this work. We came to a simple transitional passage and we all gasped. Eisenstein had formulated the idea theoretically. But if we want to know how films work and work on us, we need to make the effort of looking closely.
Just how cunning was this guy? The more I looked, the more I began to hallucinate that he had made his movies just for me. That red lamp in Ohayo appears teasingly in the distance, out of focus, when other things are going on. Then you have the fact that people in these films like to keep their drinks at the same bodwell of fill, no matter how big the glasses are or how close they are to the camera.
Color seems to have inspired him to try these tricks, as in his first color film Equinox Flower Why would a grown man put these in his movies? And so what if nobody much notices? As I tell my skeptical students: At one point, the elderly Mrs. Haraguchi seems to be praying to a tower in the distance. The film starts with a long shot of the neighborhood, its rooftops and fence and washlines in the distance, all dominated by a tower. The film ends with a shot of wash on a line, paying off the gag of the boy who constantly shits his underwear.
But the angle of the shot constitutes a reverse angle of the very first shot, since the towers are now in the distance. Yet he gives us that more without our asking. His films are generous to their characters and to us, but also to the art of cinema. They have done themselves and Criterion proud with this wonderful package. I supplied a feature-length commentary for another Criterion trip to Ozuland, An Autumn Afternoon If you decide to download Ozu and the Poetics of Cinemabe patient.
Wednesday May 10, Directors: Ozu YasujiroNational cinemas: My presentation is hereif you are a FilmStruck subscriber. If the streaming version of Observations on Film Art is a bit like a bonus material on a DVD, think of these blog entries as liner notes with clips.
This format allows us to tackle the films from an angle not covered in our videos. But if these entries inspire you to go back to the films in whatever form you can find them, that would be all to the good. The character of Sanshiro was based on Shiro Saigo abovewho was one of the first pupils of the founder of judo, Jigoro Kano. In the film, Kano is called Yano, below. Kano learned the traditional fighting technique called jujutsu aka jujitsu.
But Kano tried to refine the art, eliminating some of the harsher techniques, like biting and kicking, and aiming for maximum efficiency of energy.
This distinction is enacted in the film, when Sanshiro, having learned enough technique to bully people with abandon, must learn to master himself. Kano became a public figure and oversaw the introduction of judo into the public school system in By then, judo was well bordwel as recreation.
And bywhen Kurosawa made his film, he was at pains to show judo as the progressive force replacing old-fashioned jujutsu. John Dower has pointed out that imperial wartime propaganda tended to emphasize not triumph over the enemy but the need to purify the self.
In the film, Sanshiro comes to Tokyo inthe year Kano actually founded his school. He must defeat the kindly jujitsu obrdwell Murai. Judo, he says, awakens his senses. But from fight to fight, Sanshiro gains greater and greater self-possession, so that in the climactic combat, he can spare time to stare at clouds and envision lotus blossoms. He became a street brawler after he won his tournament victories. More basically, Sanshiro Sugata goes beyond its historical sources and political program, as ambitious films tend to do.
Kurosawa started on it when bordaell was thirty-two within my magic-number deadline. He was ready for the project. He had a busy several years as an assistant director bordwe,l screenwriter at the fast-moving Toho studios. He worked on twenty-eight dramas and comedies between and Like other young directors in Japan, he was well aware of developments abroad. Caligari to Metropolis and The Blue Angel Then all American films were banned.
So he was a borvwell director, perhaps not quite as passionate as Ozu, but a young man who looked and learned. Like most Japanese directors, he had mastered Hollywood continuity staging and cutting. Servants and family rush past her; he may be dying. She hesitates in the corridor. This geometrical bordwelp to editing is one of the characteristics of Sanshiro I discuss in the video entry.
You see it near the start, when alternating single shots of Yano, back to the bordwel, are intercut with slow tracking shots across Monma and his truculent students.
To push the pattern further, the tracking shots alternate—first in one direction, then another.
Like two rhyming lines in poetry, each of these cinematic couplets brackets one futile attack on Yano after another. Later fight scenes will get more complicated, but no less rigorous patterning. And the purpose is always to add to the tension and excitement of the combat. Another sort of pattern we find in Sanshiro is simpler, but Kurosawa works some nifty variations on it.
This is the axial cut, the shot change that moves in or back along the axis of the camera lens. That exemplifies an axial cut that moves backward rather than inward.