日本 人物列表
谷川俊太郎 Shuntaro Tanikawa与谢野晶子 Yosano Akiko石川啄木 Takuboku Ishikawa
岛崎藤村 Shimazaki冈元凤 Yuan Feng Gang陈舜臣 Chin Shunshin
川口长孺 Kawaguchi Changru辻原登 Noboru Tsuji高桥敷 Takahashi apply
大江健三郎 Kenzaburō Ōe茂吕美耶 Moro Miya山冈庄八 Yamaoka Sohachi
山本常朝 Chang Korean Yamamoto石原结实 Ishihara strong坂东真理子 Mariko Bando
千叶丽子 1000 叶丽子福田千晶 Fu 田千晶高桥美佳 Takahashi Meijia
中泽琉美 Nakazawa Okinawa U.S.立石员子 Tateishi member sub-津田妙子 Jin 田妙子
辜朝明 Koo松嶋·亚 Song Nakajima Asia大野耐一 Taiichi Ohno
樋口泰行 Yasuyuki Higuchi海音寺潮五郎 Kaionji Chogoro甲田光雄 A 田光雄
东茂由 Tung Mau by the黑泽明 Akira Kurosawa桐山桂一 Kiriyama Keiichi
井上笃夫 Inoue Du Fu重野秀一 Shuichi Shigeno加藤正秀 Kato Masahide
伊奘诺尊 Izanagi respect天照大神 Amaterasu神武天皇 Emperor Jimmu
绥靖天皇 Appeasement Emperor安宁天皇 Annei Tennō懿德天皇 Itoku-tenno
孝昭天皇 Kosho-tenno孝安天皇 Koan-tenno孝灵天皇 Emperor Xiao Ling
孝元天皇 Kogen-tenno开化天皇 Civilized Emperor崇神天皇 Emperor worship God
垂仁天皇 Emperor Suinin景行天皇 Kageyuki Emperor成务天皇 Emperor into service
仲哀天皇 Emperor Chuai神功皇后 Jingū Kōgō应神天皇 God Emperor should be
仁德天皇 Emperor Ren履中天皇 To fulfill the Emperor反正天皇 Hanzei-tennō
允恭天皇 Ingō-tennō安康天皇 Ankō Tennō雄略天皇 雄略 Emperor
清宁天皇 Qing 宁天皇显宗天皇 Exoteric Emperor仁贤天皇 Renxian Emperor
小津安二郎 Yasujirō Ozu
日本 昭和时代  (1903年12月12日1963年12月12日)
Ozu Yasujirō
出生地: 东京都深川


小津安二郎(1903年12月12日-1963年12月12日),日本知名导演,生于东京都深川。1923年进入松竹映画的蒲田摄影所当摄影助理,在1927年正式升格为导演。早期他广泛的拍摄各类影片,其中又以青春喜剧类居多。战后则主力于以一般平民日常生活为主的小市民电影,尤其以《晚春》、《东京物语》为他一生中的代表作。此外他以低视角仰视拍摄方式独树一格,也成为后来导演的效法学习对象。

生平

1903年12月12日,小津安二郎生于东京,他和他的两个兄弟在三重县松阪市接受教育,他的父亲在东京卖肥料。在1916年,他开始在宇治市上中学,在那时他是个顽劣不堪的孩子而且一直酗酒。他在上学期间便养成了看电影的习惯。除了有几项才能之外,小津安二郎在一个离名古屋有些距离的小山村中取得一个老师助理的工作。那段时间他一直在酗酒,他的父亲给他钱去还喝酒欠下的债。小津安二郎回到东京工作他的叔叔了解到他对于电影的喜爱,便把他介绍到松竹株式会社的一位管理人Teihiro Tsutsumi那去工作。不久后成为一个助理摄影师。但在1923年的在日本,从事电影业并不是很牢靠的工作,很多年轻电影人最终都失去了信心和热情。作为助理摄影师,他经常要搬运设备。在成为大久保忠素的导演助理后,不到一年,小津安二郎完成了他的第一部电影《忏悔之刃》,电影拍摄于1927年。在拍摄结束后,被日本帝国陆军征召。在第二次中日战争中,小津在中国战场待了两年,参与过南京战役。1939年退役回到日本。1943年再次入召,派往新加坡。第二次世界大战结束,小津作为战犯被遣返回日本。从第一部电影《忏悔之刃》到1962年上映的《秋刀鱼之味》,小津安二郎共导演了54部电影。1953年的《东京物语》是他最为人知的作品。虽然小津电影主题大多是反映中产阶层的家庭生活,但小津终身未婚,1963年因癌症去世,享年60岁。

历年导演作品

年份作品名制作公司编剧主要演员备注
1927年忏悔之刃松竹蒲田野田高梧吾妻三郎小川国松河原侃二野寺正一渥美映子花柳都小波初子河村黎吉/黑白默片(已亡佚)
1928年年轻人的梦松竹蒲田小津安二郎吉谷久雄松井润子斋藤达雄若叶信子坂本武大山健二高松荣子关时男小仓繁笠智众/黑白默片(已亡佚)
1928年太太不见了松竹蒲田吉田百助斋藤达雄、冈本文子国岛庄一菅野七郎、坂本武、关时男、松井润子、小仓繁、笠智众/黑白默片
1928年南瓜松竹蒲田北村小松斋藤达雄、日夏百合绘半田日出丸小樱叶子、坂本武/黑白默片(已亡佚)
1928年搬家的夫妻松竹蒲田伏见晁渡边笃吉川满子大国一郎中川一三浪花友子、大山健二/黑白默片(已亡佚)
1928年肉体美松竹蒲田伏见晁斋藤达雄、饭田蝶子木村健儿、大山健二/黑白默片(已亡佚)
1929年宝山松竹蒲田伏见晁小林十九二、日夏百合绘、青山万里子冈本文子、饭田蝶子、浪花友子若美多喜子糸川京子/黑白默片(已亡佚)
1929年年轻的日子松竹蒲田伏见晁结城一郎、斋藤达雄、松井润子、饭田蝶子、高松荣子、小藤田正一大国一郎、坂本武、日守新一山田房生、笠智众/黑白默片
1929年和制喧哗友达松竹蒲田野田高梧渡边笃、吉谷久雄、高松荣子、大国一郎、浪花友子、结城一朗若叶信子/黑白默片(残本十五分钟)
1929年我毕业了,但……松竹蒲田荒牧芳郎高田稔田中绢代铃木歌子、大山健二、日守新一、木村健二、坂本武、饭田蝶子/黑白默片(残本十二分钟)
1929年会社员生活松竹蒲田野田高梧斋藤达雄、吉川满子、小藤田正一、加藤精一青木富夫石渡晖明、坂本武/黑白默片(已亡佚)
1929年突贯小僧松竹蒲田池田忠雄斋藤达雄、青木富夫、坂本武/黑白默片(残本十四分钟)
1930年结婚学入门松竹蒲田野田高梧斋藤达雄、栗岛澄子奈良真养、冈本文子、高田稔、龙田静枝、吉川满子/黑白默片(已亡佚)
1930年开心的走吧松竹蒲田池田忠雄高田稔、川崎弘子松园延子铃木歌子吉谷久雄毛利辉夫伊達里子、坂本武/黑白默片
1930年我落第了,但……松竹蒲田伏见晁斋藤达雄、二叶香、青木富夫、若林広雄大国一郎、田中绢代、笠智众/黑白默片
1930年那夜的妻子松竹蒲田野田高梧冈田时彦八云惠美子市村美津子山本冬乡、斋藤达雄、笠智众/黑白默片
1930年爱神的怨灵松竹蒲田野田高梧斋藤达雄、星光伊達里子月田一郎/黑白默片(已亡佚)
1930年瞬间的幸运松竹蒲田野田高梧斋藤达雄、吉川满子、青木富夫、市村美津子、関时男、毛利辉夫、月田一郎、坂本武、大国一郎/黑白默片(已亡佚)
1930年大小姐松竹蒲田北村小松栗岛澄子、冈田时彦、斋藤达雄、田中绢代、冈田宗太郎、大国一郎/黑白默片(已亡佚)
1931年淑女与髯松竹蒲田北村小松冈田时彦、川崎弘子、饭田蝶子、伊达里子、月田一郎、饭冢敏子、吉川满子、坂本武、斋藤达雄/黑白默片
1931年美人哀愁松竹蒲田池田忠雄冈田时彦、斋藤达雄、井上雪子、冈田宗太郎、吉川满子、若水照子/黑白默片(已亡佚)
1931年东京合唱松竹蒲田野田高梧冈田时彦、八云惠美子、菅原秀雄高峰秀子、斋藤达雄、饭田蝶子、坂本武、谷丽光宫岛健一山口勇/黑白默片
1932年春随妇人来松竹蒲田池田忠雄、柳井隆雄城多二郎、斋藤达雄、井上雪子、泉博子、坂本武、谷丽光/黑白默片(已亡佚)
1932年我出生了,但……松竹蒲田伏见晁斋藤达雄、吉川满子、菅原秀雄、突贯小僧、坂本武、早见照代加藤清一、小藤田正一、西村青儿/黑白默片
1932年青春之梦今何在松竹蒲田野田高梧江川宇礼雄、田中绢代、斋藤达雄、武田春郎水岛亮太郎大山健二、笠智众、坂本武、饭田蝶子、葛城文子、伊达里子/黑白默片
1932年何日再逢君松竹蒲田野田高梧冈田嘉子冈让二奈良真养、川崎弘子、饭田蝶子、伊达里子、吉川满子/黑白默片(已亡佚)
1933年东京之女松竹蒲田野田高梧、池田忠雄冈田嘉子、江川宇礼雄、田中绢代、奈良真养/黑白默片
1933年非常线之女松竹蒲田池田忠雄田中绢代、冈譲二、水久保澄子三井秀夫逢初梦子/黑白默片
1933年心血来潮松竹蒲田池田忠雄坂本武、伏见信子大日方传、饭田蝶子、突贯小僧、谷丽光/黑白默片
1934年我们要爱母亲松竹蒲田池田忠雄岩田祐吉、吉川满子、大日方传、加藤清一、三井秀男、野村秋生、奈良真养、青木忍光川京子、笠智众、逢初梦子、松井润子、饭田蝶子/黑白默片(已亡佚)
1934年浮草物语松竹蒲田池田忠雄坂本武、饭田蝶子、三井秀男、八云理惠子坪内美子、突贯小僧、谷丽光、西村青儿、山田长正/黑白默片
1935年温室姑娘松竹蒲田野田高梧、池田忠雄饭田蝶子、田中绢代、坂本武、突贯小僧、竹内良一青野清、吉川满子、悬秀介、大山健二/黑白默片(已亡佚)
1935年东京之宿松竹蒲田池田忠雄、荒田正男坂本武、突贯小僧、末松孝行、冈田嘉子、小嶋和子、饭田蝶子、笠智众/黑白配乐
1935年镜狮子松竹蒲田尾上菊五郎 (6代目)松永和枫柏伊三郎望月太左卫门/黑白片
1936年大学是个好地方松竹蒲田荒田正男近卫敏明、笠智众、小林十九二、大山健二、池部鹤彦日下部章高杉早苗、斋藤达雄、青野清、饭田蝶子、出云八重子、坂本武、爆弹小僧/黑白配乐(已亡佚)
1936年一人息子松竹大船池田忠雄、荒田正男饭田蝶子、日守新一、叶山正雄、坪内美子、吉川满子、笠智众、浪花友子、爆弹小僧、突贯小僧、高松荣子加藤清一小岛和子青野清/黑白片
1937年淑女忘记了什么松竹大船伏见晁、詹姆斯・槇(小津安二郎)栗岛澄子、斋藤达雄、桑野通子佐野周二、坂本武、饭田蝶子、上原谦、吉川满子、叶山正雄、突贯小僧/黑白片
1941年户田家兄妹松竹大船池田忠雄、小津安二郎藤野秀夫葛城文子、吉川满子、斋藤达雄、三宅邦子佐分利信、坪内美子、近卫敏明、高峰三枝子、桑野通子、河村黎吉、饭田蝶子、笠智众/黑白片
1942年父亲在世时松竹大船池田忠雄、柳井隆雄、小津安二郎笠智众、佐野周二、津田晴彦、佐分利信、坂本武、水户光子大冢正义、日守新一、西村青儿、谷丽光/黑白片
1947年长屋绅士录松竹大船池田忠雄、小津安二郎饭田蝶子、青木放屁小泽荣太郎、吉川满子、河村黎吉、三村秀子、笠智众、坂本武、高松荣子、长船藤代河贺祐一谷吉乃殿山泰司、西村青儿/黑白片
1948年风中的母鸡松竹大船斋藤良辅、小津安二郎佐野周二、田中绢代、村田知英子、笠智众、坂本武、高松荣子、水上令子文谷千代子长尾敏之助/黑白片
1949年晚春松竹大船野田高梧、小津安二郎笠智众、原节子月丘梦路宇佐美淳桂木洋子杉村春子三岛雅夫、三宅邦子、坪内美子、清水一郎/黑白片
1950年宗方姊妹新东宝野田高梧、小津安二郎高峰秀子田中绢代上原谦山村聪堀雄二高杉早苗、笠智众、斋藤达雄、藤原釜足堀越节子、河村黎吉、千石规子一之宫敦子坪内美子/黑白片
1951年麦秋松竹大船野田高梧、小津安二郎原节子、笠智众、淡岛千景、佐野周二、二本柳寛、三宅邦子、菅井一郎东山千荣子、杉村春子、井川邦子高桥豊子高堂国典西胁宏三宫口精二/黑白片
1952年茶泡饭之味松竹大船野田高梧、小津安二郎佐分利信、鹤田浩二木暮实千代津惠恵子、淡岛千景、三宅邦子、笠智众 、柳永二郎十朱久雄望月优子北原三枝上原叶子小樱叶子/黑白片
1953年东京物语松竹大船野田高梧、小津安二郎笠智众、东山千荣子、原节子、香川京子、山村聪、大坂志郎、杉村春子、三宅邦子、东野英治郎中村伸郎/黑白片
1956年早春松竹大船野田高梧、小津安二郎淡岛千景、池部良岸惠子高桥贞二中北千枝子、山村聪、藤乃高子田浦正巳、笠智众、杉村春子、杉田弘子浦辺粂子、三宅邦子/黑白片
1957年东京暮色松竹大船野田高梧、小津安二郎原节子、有马稲子、笠智众、山田五十铃高桥贞二、中村伸郎、田浦正巳、宫口精二、杉村春子、信欣三、藤原釜足/黑白片
1958年彼岸花松竹大船野田高梧、小津安二郎有马稲子、山本富士子久我美子佐田启二、田中绢代、佐分利信、高桥贞二桑野美雪、笠智众、江川宇礼雄浪花千荣子/彩色片
1959年早安松竹大船野田高梧、小津安二郎佐田启二、久我美子、笠智众、三宅邦子、杉村春子、泉京子设乐幸嗣岛津雅彦大泉滉高桥丰泽村贞子长冈辉子/彩色片
1959年浮草大映野田高梧、小津安二郎京町子若尾文子野添瞳川口浩、中村鹰治郎、杉村春子、笠智众、三井弘次田中春男潮万太郎/彩色片
1960年秋日和松竹大船野田高梧、小津安二郎原节子司叶子冈田茉莉子佐田启二佐分利信三上真一郎岩下志麻田代百合子千之赫子、笠智众、泽村贞子/彩色片
1961年小早川家之秋宝冢映画东宝野田高梧、小津安二郎原节子司叶子新珠三千代宝田明团令子小林桂树森繁久弥、中村雁治郎、白川由美浪花千荣子、杉村春子/彩色片
1962年秋刀鱼之味松竹大船野田高梧、小津安二郎岩下志麻、笠智众、冈田茉莉子、佐田启二、三上真一郎吉田辉雄牧纪子、中村伸郎、三宅邦子、东野英治郎/彩色片

外部链接


Yasujirō Ozu (小津 安二郎Ozu Yasujirō, 12 December 1903 – 12 December 1963) was a Japanese film director and screenwriter. He began his career during the era of silent films, and his last films were made in colour in the early 1960s. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s.

The most prominent themes of Ozu's work are marriage and family, especially the relationships between generations. His most widely acclaimed films include Late Spring (1949), Tokyo Story (1953), Floating Weeds (1959), and An Autumn Afternoon (1962).

His reputation has continued to grow since his death, and he is widely regarded as one of the world's most influential directors. In the 2012 Sight & Sound poll, Ozu's Tokyo Story was voted the third-greatest film of all time by critics worldwide. In the same poll, Tokyo Story was voted the greatest film of all time by 358 directors and filmmakers worldwide. 

Biography

Early life

Ozu was born in the Fukagawa district of Tokyo, the second son of five brothers and sisters.[n 1] His father sold fertilizer. Ozu attended Meiji nursery school and primary school. In March 1913, at the age of nine, he and his siblings were sent by his father to live in his father's home town of Matsusaka in Mie Prefecture, where he remained until 1924. In March 1916, at the age of 12, he entered what is now Ujiyamada High School.[n 2] He was a boarder at the school and did judo. He frequently skipped classes to watch films such as Quo Vadis or The Last Days of Pompeii. In 1917, he saw the film Civilization and decided that he wanted to be a film director.

In 1920, at the age of 17, he was thrown out of the dormitory after being accused of writing a love letter to a good-looking boy in a lower class, and had to commute to school by train.

In March 1921, Ozu graduated from the high school. He attempted the exam for entrance into what is now Kobe University's economics department,[n 3] but failed. In 1922, he took the exam for a teacher training college,[n 4] but failed it too. On 31 March 1922, he began working as a substitute teacher at a school in the Mie prefecture. He is said to have traveled the long journey from the school in the mountains to watch films on the weekend. In December 1922, his family, with the exception of Ozu and his sister, moved back to Tokyo to live with his father. In March 1923, when his sister graduated, he also returned to live in Tokyo.

Entering the film business

Yasujiro Ozu in Dragnet Girl 1933

With his uncle acting as intermediary, Ozu was hired by the Shochiku Film Company, as an assistant in the cinematography department, on 1 August 1923, against the wishes of his father. His family home was destroyed in the earthquake of 1923, but no members of his family were injured.

On 12 December 1924, Ozu started a year of military service.[n 5] He finished his military service on 30 November 1925, leaving as a corporal.

In 1926, he became a third assistant director at Shochiku. In 1927, he was involved in a fracas where he punched another employee for jumping a queue at the studio cafeteria, and when called to the studio director's office, used it as an opportunity to present a film script he had written. In September 1927, he was promoted to director in the jidaigeki (period film) department, and directed his first film, Sword of Penitence, which has since been lost. Sword of Penitence was written by Ozu, with a screenplay by Kogo Noda, who would become his co-writer for the rest of his career. On September 25, he was called up for service in the military reserves until November, which meant that the film had to be partly finished by another director.

In 1928, Shiro Kido, the head of the Shochiku studio, decided that the company would concentrate on making short comedy films without star actors. Ozu made many of these films. The film Body Beautiful, released on 1 December 1928, was the first Ozu film to use a low camera position, which would become his trademark. After a series of the "no star" pictures, in September 1929, Ozu's first film with stars, I graduated But..., starring Minoru Takada and Kinuyo Tanaka, was released. In January 1930, he was entrusted with Shochiku's top star, Sumiko Kurishima, in her new year film, An Introduction to Marriage. His subsequent films of 1930 impressed Shiro Kido enough to invite Ozu on a trip to a hot spring. In his early works, Ozu used the pseudonym "James Maki"[n 6] for his screenwriting credit. His film Young Miss, with an all-star cast, was the first time he used the pen name James Maki, and was also his first film to appear in film magazine Kinema Jumpo's "Best Ten" at third position.

In 1932, his I Was Born, But..., a comedy about childhood with serious overtones, was received by movie critics as the first notable work of social criticism in Japanese cinema, winning Ozu wide acclaim.

In 1935 Ozu made a short documentary with soundtrack: Kagami Shishi, in which Kokiguro VI performed a Kabuki dance of the same title. This was made by request of the Ministry of Education.:p. 221 Like the rest of Japan's cinema industry, Ozu was slow to switch to the production of talkies: his first film with a dialogue sound-track was The Only Son in 1936, five years after Japan's first talking film, Heinosuke Gosho's The Neighbor's Wife and Mine.

Wartime

On 9 September 1937, at a time when Shochiku was unhappy about Ozu's lack of box-office success, despite the praise he received from critics, the thirty-four-year-old Ozu was conscripted into the Imperial Japanese Army. He spent two years in China in the Second Sino-Japanese War. He arrived in Shanghai on 27 September 1937 as part of an infantry regiment which handled chemical weapons. He started as a corporal but was promoted to sergeant on 1 June 1938. From January until September 1938 he was stationed in Nanjing, where he met Sadao Yamanaka, who was stationed nearby. In September, Yamanaka died of illness. In 1939, Ozu was dispatched to Hankou, where he fought in the Battle of Nanchang and the Battle of Xiushui River. In June, he was ordered back to Japan, arriving in Kobe in July, and his conscription ended on 16 July 1939.

In 1939, he wrote the first draft of the script for The Flavor of Green Tea over Rice but shelved it due to extensive changes insisted on by military censors. The first film Ozu made on his return was the critically and commercially successful Brothers and Sisters of the Toda Family, released in 1941. He followed this with Chichi Ariki (There Was a Father, 1942), which explored the strong bonds of affection between a father and son despite years of separation.

In 1943, Ozu was again drafted into the army for the purpose of making a propaganda film in Burma. However, he was sent to Singapore instead, to make Deruhi e, Deruhi e ("To Delhi, to Delhi") with Chandra Bose. During his time in Singapore, having little inclination to work, he spent an entire year reading, playing tennis, and watching American films provided by the Army information corps. He was particularly impressed with Orson Welles's Citizen Kane. He occupied a fifth-floor room facing the sea in the Cathay Building where he entertained guests, drew pictures, and collected rugs. At the end of the Second World War in August 1945, Ozu destroyed the script, and all footage, of the film. He was detained as a civilian, and worked in a rubber plantation. Of his film team of 32 people, there was only space for 28 on the first repatriation boat to Japan. Ozu won a lottery giving him a place, but gave it to someone else who was anxious to return.

Postwar

Ozu returned to Japan in February 1946, and moved back in with his mother, who had been staying with his sister in Noda in Chiba prefecture. He reported for work at the Ofuna studios on 18 February 1946. His first film released after the war was Record of a Tenement Gentleman in 1947. Around this time, the Chigasakikan[n 7] Ryokan became Ozu's favoured location for scriptwriting.

Ozu's grave at Engaku-jiKamakura in 2018.

Tokyo Story was the last script that Ozu wrote at Chigasakikan. In later years, Ozu and Noda used a small house in the mountains at Tateshina in Nagano Prefecture called Unkosō[n 8] to write scripts, with Ozu staying in a nearby house called Mugeisō.[n 9]

Ozu's films from the late 1940s onward were favourably received, and the entries in the so-called "Noriko trilogy" (starring Setsuko Hara) of Late Spring (1949), Early Summer (1951), and Tokyo Story (1953) are among his most acclaimed works, with Tokyo Story widely considered his masterpiece. Late Spring, the first of these films, was the beginning of Ozu's commercial success and the development of his cinematography and storytelling style. These three films were followed by his first colour film, Equinox Flower, in 1958, Floating Weeds in 1959, and Late Autumn in 1960. In addition to Noda, other regular collaborators included cinematographer Yuharu Atsuta, along with the actors Chishū RyūSetsuko Hara, and Haruko Sugimura.

His work was only rarely shown overseas before the 1960s. Ozu's last film was An Autumn Afternoon, which was released in 1962.

He served as president of the Directors Guild of Japan from 1955 to his death in 1963.

Ozu was known for his drinking. He and Noda measured the progression of their scripts by how many bottles of sake they had drunk. Ozu remained single throughout his life. He lived with his mother until she died, less than two years before his own death.[citation needed]

Ozu died of throat cancer in 1963, on his 60th birthday. The grave he shares with his mother at Engaku-ji in Kamakura bears no name—just the character mu ("nothingness").

Legacy and style

Yasujirō Ozu (far right) on location of Tokyo Story (1953)

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. He did not conform to Hollywood conventions. 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.

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. Ozu moved the camera less and less as his career progressed, and ceased using tracking shots altogether in his colour films. 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."

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. 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!"

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. 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.

Ozu became recognized internationally when his films were shown abroad. Influential monographs by Donald Richie, Paul Schrader, and David Bordwell have ensured a wide appreciation of Ozu's style, aesthetics, and themes by the English speaking audience.

Tributes and documentaries

Five, also known as Five Dedicated to Ozu, is an Iranian documentary film directed by Abbas Kiarostami. The film consists of five long takes set by the ocean. Five sequences : 1) A piece of driftwood on the seashore, carried about by the waves 2) People walking on the seashore. The oldest ones stop by, look at the sea, then go away 3) Blurry shapes on a winter beach. A herd of dogs. A love story 4) A group of loud ducks cross the image, in one direction then the other 5) A pond, at night. Frogs improvising a concert. A storm, then the sunrise.

In 2003, the centenary of Ozu's birth was commemorated at various film festivals around the world. Shochiku produced the film Café Lumière (珈琲時光), directed by Taiwanese filmmaker Hou Hsiao-hsien as homage to Ozu, with direct reference to the late master's Tokyo Story (1953), to premiere on Ozu's birthday.

Ozu was voted the tenth greatest director of all time in the 2002 British Film Institute's Sight & Sound poll of critics' top 10 directors. Ozu's Tokyo Story has appeared several times in the Sight & Sound poll of best films selected by critics and directors. In 2012, it topped the poll of film directors' choices of "greatest film of all time". 

In 2013, director Yoji Yamada of the Otoko wa Tsurai yo film series remade Tokyo Story in a modern setting as Tokyo Family.

In the Wim Wenders documentary film Tokyo-Ga, the director travels to Japan to explore the world of Ozu, interviewing both Chishū Ryū and Yuharu Atsuta.

Filmography

hideFilmography of Yasujirō Ozu
YearJapanese TitleRōmajiEnglish TitleNotes
Silent films
1927懺悔の刃Zange no yaibaSword of PenitenceLost
1928若人の夢Wakōdo no yumeDreams of YouthLost
女房紛失Nyōbō funshitsuWife LostLost
カボチャKabochaPumpkinLost
引越し夫婦Hikkoshi fūfuA Couple on the MoveLost
肉体美NikutaibiBody BeautifulLost
1929宝の山Takara no yamaTreasure MountainLost
学生ロマンス 若き日Gakusei romansu: wakaki hiStudent Romance: Days of YouthOzu's earliest surviving film
和製喧嘩友達Wasei kenka tomodachiFighting Friends Japanese Style14 minutes survive
大学は出たけれどDaigaku wa detakeredoI Graduated, But...10 minutes survive
会社員生活Kaishain seikatsuThe Life of an Office WorkerLost
突貫小僧Tokkan kozōA Straightforward BoyShort film
1930結婚学入門Kekkongaku nyūmonAn Introduction to MarriageLost
朗かに歩めHogaraka ni ayumeWalk Cheerfully
落第はしたけれどRakudai wa shitakeredoI Flunked, But...
その夜の妻Sono yo no tsumaThat Night's Wife
エロ神の怨霊Erogami no onryōThe Revengeful Spirit of ErosLost
足に触った幸運Ashi ni sawatta kōunThe Luck Which Touched the LegLost
お嬢さんOjōsanYoung MissLost
1931淑女と髯Shukujo to higeThe Lady and the Beard
美人哀愁Bijin aishuBeauty's SorrowsLost
東京の合唱Tōkyō no kōrasuTokyo Chorus
1932春は御婦人からHaru wa gofujin karaSpring Comes from the LadiesLost
大人の見る繪本 生れてはみたけれどUmarete wa mita keredoI Was Born, But...
靑春の夢いまいづこSeishun no yume ima izukoWhere Now Are the Dreams of Youth?
また逢ふ日までMata au hi madeUntil the Day We Meet AgainLost
1933東京の女Tokyo no onnaWoman of Tokyo
非常線の女Hijōsen no onnaDragnet Girl
出来ごころDekigokoroPassing Fancy
1934母を恋はずやHaha wo kowazuyaA Mother Should be Loved
浮草物語Ukigusa monogatariA Story of Floating Weeds
1935箱入娘Hakoiri musumeAn Innocent MaidLost
東京の宿Tokyo no yadoAn Inn in Tokyo
1936大学よいとこDaigaku yoitokoCollege is a Nice PlaceLost
Sound, black-and-white films
1936菊五郎の鏡獅子Kagami jishiKagami jishiShort documentary
一人息子Hitori musukoThe Only Son
1937淑女は何を忘れたかShukujo wa nani wo wasureta kaWhat Did the Lady Forget?
1941戸田家の兄妹Todake no kyodaiBrothers and Sisters of the Toda Family
1942父ありきChichi arikiThere Was a Father
1947長屋紳士録Nagaya ShinshirokuRecord of a Tenement Gentleman
1948風の中の牝鶏Kaze no naka no mendoriA Hen in the Wind
1949晩春BanshunLate SpringOzu's first film with Setsuko Hara
1950宗方姉妹Munekata KyōdaiThe Munekata Sisters
1951麥秋BakushuEarly Summer
1952お茶漬の味Ochazuke no ajiThe Flavor of Green Tea over RiceAdapted from censored 1939 script
1953東京物語Tokyo monogatariTokyo Story
1956早春SōshunEarly Spring
1957東京暮色Tōkyō boshokuTokyo Twilight
Colour films
1958彼岸花HiganbanaEquinox FlowerOzu's first film in colour
1959お早ようOhayoGood MorningRemake of I Was Born, But...
浮草UkigusaFloating WeedsRemake of A Story of Floating Weeds
1960秋日和AkibiyoriLate Autumn
1961小早川家の秋Kohayagawa-ke no akiThe End of SummerOzu's last film with Setsuko Hara
1962秋刀魚の味Sanma no ajiAn Autumn AfternoonOzu's final work

Notes

  1. ^ The Japanese name ending "jiro" indicates a second son.
  2. ^ 宇治山田高等学校
  3. ^ 神戸高商, Kobe Kosho
  4. ^ 三重県立師範学校, Mie-ken ritsu shihan gakko
  5. ^ Ozu's military service was of a special type called ichinen shiganhei (一年志願兵) where the usual two-year term of conscription was shortened to one year on condition that the conscriptee paid for himself.
  6. ^ ゼェームス槇
  7. ^ 茅ケ崎館
  8. ^ 雲呼荘
  9. ^ 無芸荘

References

  1. ^ "Directors' 10 Greatest Films of All Time"Sight & Sound. British Film Institute. 4 December 2014.
  2. Jump up to:a b c Hasumi 2003, p. 319
  3. ^ Weston, Mark (1999). Giants of Japan. Kodansha International. p. 303.
  4. Jump up to:a b c d Hasumi 2003, p. 320
  5. Jump up to:a b c d Hasumi 2003, p. 321
  6. ^ Shindo 2004, p. 11
  7. ^ Hasumi 2003, p. 322
  8. ^ Scott, A.O. (24 June 2010). "Revenge on the Bully, Silently, in Japan"New York Times. New York Times Company. Retrieved 19 May 2015.
  9. Jump up to:a b Richie, Donald (July 1977). OzuUniversity of California Press. ISBN 978-0-520-03277-4.
  10. Jump up to:a b c d e Hasumi 2003, p. 327
  11. Jump up to:a b c Shindo, Kaneto (21 July 2004). Shinario Jinsei [A life in scriptwriting]. Iwanami Shinsho (in Japanese). 902. Iwanami. ISBN 4-00-430902-6.
  12. Jump up to:a b Hasumi 2003, p. 329
  13. ^ Shindo 2004, pp. 31–32
  14. ^ Parkinson, David. "Yasujiro Ozu – The Noriko Trilogy"MovieMail. MovieMail Ltd. Retrieved 19 May 2015.
  15. ^ "Nihon eiga kantoku kyōkai nenpyō" (in Japanese). Nihon eiga kantoku kyōkai. Archived from the original on 26 July 2010. Retrieved 17 August 2010.
  16. ^ Vishnevetsky, Ignatiy (2016). "Yasujirô Ozu's quietly staggering Late Spring returns in a new restoration". Retrieved 19 February2019.
  17. ^ Rayns, Tony (2010). "Ozu Yasujiro, tofu maker". Archived from the original on 3 August 2012. Retrieved 19 February 2019.
  18. ^ Easterwood, Kurt (2004). "Yasujiro Ozu's gravesite in Kita-Kamakura: How to get there (Part Two)". Retrieved 20 August2009.
  19. ^ Miyao, Daisuke. "The Scene at the Kyoto Inn: Teaching Ozu Yasujiro's Late Spring" (PDF)Columbia University in the City of New York. Columbia University. Retrieved 19 May 2015.
  20. Jump up to:a b Ebert, Roger, "Ozu: The Masterpieces You've Missed", retrieved 8 June 2014.
  21. ^ Schilling, Mark (7 December 2013). "Re-examining Yasujiro Ozu on film"Japan Times. Retrieved 19 May 2015.
  22. ^ Magill, Frank Northen (1985). Magill's survey of cinema, foreign language films, Volume 6. Englewood Cliffs, N.J.: Salem Press. p. 2542. ISBN 978-0893562434.
  23. ^ Bordwell, David"Konban-wa, Ozu-san" (PDF).
  24. ^ Ebert, Roger. "Ozu: The Masterpieces You've Missed"Roger Ebert's Film Journal. Retrieved 19 May 2015.
  25. ^ Ebert, Roger"Floating Weeds (1959)"Chicago Sun-Times. Retrieved 22 August 2012.
  26. Jump up to:a b Desser, David (1997). Ozu's Tokyo Story. Cambridge & New York: Cambridge University Press. pp. 6–7. ISBN 978-0521482042.
  27. ^ Anderson, Lindsay (Winter 1957). "Two inches off the ground". Sight & Sound.
  28. ^ Schrader, Paul (1972). Transcendental Style in Film: Ozu, Bresson, DreyerISBN 978-0-306-80335-2.
  29. ^ Bordwell, David (1988). Ozu and the Poetics of Cinema. Princeton University Press. ISBN 978-0-691-00822-6. Archived from the original on 20 July 2011.
  30. ^ "BFI Sight & Sound Top Ten Poll 2002 – The Critics' Top Ten Directors". 2 August 2011. Archived from the original on 18 June 2012. Retrieved 22 August 2012.
  31. ^ Elley, Derek"Tokyo Family". Retrieved 14 April 2015.
  32. ^ Hasumi 1998, p. 229
  33. ^ Sato 1997b, p. 280

Sources


    

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