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Topic: Yasujiro Ozu

	Yasujiro Ozu - Wikipedia, the free encyclopedia
		Yasujiro Ozu (小津安二郎 Ozu Yasujirō) (December 12, 1903 - December 12, 1963) was an influential Japanese film director.
		In July 1937, at a time when Shochiku was unhappy about Ozu's lack of box-office success, despite the praise (and awards) he had received from critics, the 34-year-old director was called up, and he served for two years in China as an infantry corporal.
		In 2003, the centenary of Yasujiro Ozu's birth was commemorated at various film festivals around the world.
	en.wikipedia.org /wiki/Yasujiro_Ozu (652 words)

	Yasujiro Ozu (Site not responding. Last check: 2007-10-21)
		Yasujiro Ozu's stature as one of the greatest filmmakers is not open to serious doubt.
		The dominant figure in recent Ozu studies is David Bordwell, who calls Ozu "one of the great experimental filmmakers" and advises us to attend to the virtuosic play with stylistic patterns in his work.
		Early Summer is one of several Ozu films whose stylistic freedom seems limitless: cutting to follow a character through the various parts of a house, Ozu achieves both an atmospheric evocation of place and a specific rhythm not tied to place but born from composition and cutting.
	www.bostonphoenix.com /archive/movies/99/09/30/YASUJIRO_OZU.html (1400 words)

	Encyclopedia: Ozu Yasujiro
		Late Spring, 1949), Tokyo monogatari (Tokyo Story (東京物語;, Tokyo Monogatari) is a 1953 Japanese movie by Yasujiro Ozu, in which elderly parents from the seaside town of Onomichi visit their busy children in Tokyo —; a journey which, before the introduction of the bullet train, took almost a day — only to...
		Tokyo Story (東京物語;, Tokyo Monogatari) is a 1953 Japanese movie by Yasujiro Ozu, in which elderly parents from the seaside town of Onomichi visit their busy children in Tokyo —; a journey which, before the introduction of the bullet train, took almost a day — only to...
		Good Morning is a 1959 comedy film from director Yasujiro Ozu, one of only six films that he made in colour, in which two boys go on a silence strike in an attempt to pressure their parents into buying a television set.
	www.nationmaster.com /encyclopedia/Ozu-Yasujiro (2399 words)

	Yasujiro Ozu
		Yasujiro Ozu creates a comic, witty, and incisive portrait of hypocrisy and social inequity in I Was Born But...
		Yasujiro Ozu's signature low angle camera strikes a delicate, harmonious balance in Early Summer, and echoes the dichotomy of contemporary Japan: tradition versus modernization, selfishness versus altruism, respect for elders versus independence.
		Reflecting themes from Yasujiro Ozu's earlier film and personal favorite work, Late Spring, on the inevitable separation of a widowed parent and a devoted, adult child, Late Autumn is an understatedly poignant, captivating, and elegiac film on the dissolution of the nuclear family.
	www.filmref.com /directors/dirpages/ozu.html (3717 words)

	ozuyasujiro.com - life
		Ozu was born on December 12, 1903 in Tokyo.
		Ozu was called up into the army reserves before shooting was complete, and upon seeing the film stated that he would rather not call it his own.
		The films of Yasujiro Ozu examine the basic struggles that we all face in life: the cycles of birth and death, the transition from childhood to adulthood, and the tension between tradition and modernity.
	www.ozuyasujiro.com /life.htm (838 words)

	Midnight Eye feature: The World of Yasujiro Ozu
		Ozu, by far the most popular director of his day, was seen to embody everything wrong with the contemporary filmmaking culture, and thus became a suitable target for the critical writings of the New Wave filmmakers.
		Ozu's first film for Shintoho studios veers towards melodrama in a story of two sisters in love with the same man. Both bar owner Setsuko and her younger sister Minako have feelings for Hiroshi, a dealer in European antiques.
		Ozu renders the sibling rivalry not purely in melodramatic terms, but portrays Minako as a woman who embraces Western influences with such abandon as to dismiss anything to do with her own culture.
	www.midnighteye.com /features/yasujiro_ozu.shtml (3659 words)

	LACMA Film (Site not responding. Last check: 2007-10-21)
		To truly experience the films of Ozu is to discover a world of infinite emotional richness and unbearable sadness, and to discover an artist who expresses wry humor in the face of human foibles and gentle nostalgia for the things that pass.
		For Ozu here, the widening gulf between mother and son reflects not only their age differences, but the latter's advanced education as well: in a pitch-perfect episode, Ryosuke excitedly takes his illiterate mother to an imported talkie (a biopic of Franz Schubert, of all things!), only to find her falling fast asleep.
		Ozu's fluid and endlessly inventive coverage obviates any sense of visual claustrophobia, while the many surprise twists and reversals in his and screenwriter Kogo Noda's scenario keep viewers in an agreeable state of nailbiting suspense.
	www.lacma.org /art/film/0411film/ozu.htm (2054 words)

	The Films of Yasujiro Ozu - by Michael Grost (Site not responding. Last check: 2007-10-21)
		Secondly, Ozu's perennial subject is a family pressuring a grown son or daughter to marry, and the sadness and devastation this leaves in its wake.
		Ozu certainly regards the experience of his characters as of burning importance: he is showing their central life experiences.
		Ozu is suggesting that a pattern is now complete, just as the pattern of the film's narration is also complete, and as the relationships among the characters is now established.
	members.aol.com /MG4273/ozu.htm (10995 words)

	Film Info
		While many of Ozu’s films focus on what he perceived to be the dissolution of the Japanese family, he was nevertheless able to achieve a synthesis of visual style and emotional insight that resonates with universal recognition.
		Ozu's wartime movie is not without its propagandistic aspects (Shojiro's business activity in China is described in the context of economic expansion rather than outright military invasion), but distinguishes itself by a scrupulously detailed depiction of its upper-class milieu and handsome style.
		Ozu’s compositional sense is as exquisite as ever and the film’s late sequences have a moving directness that suggests the director was facing his own mortality.” —Cinematheque Ontario.
	www.nwfilm.org /archives/schedule_2004/mar_apr/nowshowing_ozuya.html (2441 words)

	GO Brooklyn
		It's been said in film circles that Ozu was considered the "most Japanese" of that country's most renowned directors because it was his films that most realistically displayed what it meant for ordinary people to live ordinary lives.
		But Ozu's intimately pared-down dramas soon struck chords among critics and discerning moviegoers, and now Ozu is referred to with the admiration and respect accorded all great filmmakers.
		Rudimentary plot summary always does a disservice to the subtleties of Ozu's films; it is no different with "Tokyo Story." In this intensely moving drama, the director's control over the characters and their emotions, actions and interactions is nothing short of masterly.
	www.go-brooklyn.com /html/issues/_vol27/27_26/ozu.html (722 words)

	World Cinema: Directors -- Yasujiro Ozu
		Ozu's early work was raw and unfocused, and reputedly influenced by his long exposure to Hollywood films.
		Ozu shot his scenes in a circular 360-degree space, achieving dramatic visual effect, often at the expense of narrative logic.
		Yet despite this laconic use of some of the basic "phrases" and punctuation marks in the language of the cinema, and the resultant static long scenes, he turned out films of great beauty and magnetic power.
	www.geocities.com /Paris/Metro/9384/directors/ozu.htm (438 words)

	BBC - BBC Four Cinema - Yasujiro Ozu: Profile
		Ozu's is an exquisite, ruminative body of work that simultaneously acknowledges the beauty and poignancy of our existence with an uncommonly clear-eyed honesty.
		Many considered Ozu to be 'more Japanese' than his contemporaries (a consensus that damaged the distribution of his features) but with his first films the director actually paid tribute to the American movies he'd been glued to in his youth.
		Born in Tokyo in 1903, Ozu was a fully-fledged cinéphile by the time he entered the industry as an assistant cameraman.
	www.bbc.co.uk /bbcfour/cinema/features/ozu.shtml (552 words)

	Movies \| Complete and incomplete
		Ozu’s earliest surviving films, comedies about the lives of college students, show the director already discovering new ways to convey change and transition.
		Ozu’s expansive use of landscape and interior space to frame the conversations of the father and the son in There Was a Father (1942; April 20 at 8:30 p.m.) is eloquent in its moral conviction.
		Throughout Ozu’s films, the accumulation of comments about the weather, of discussion of food, of clothes, etc., rather than just bolstering a naturalistic portrayal of the way of life of a certain social group has a precise structural-rhythmic function, diluting the narrative, which he distributes over a global and chaotic life experience.
	www.bostonphoenix.com /boston/movies/documents/03709993.asp (1442 words)

	Malaspina Great Books - Yasujiro Ozu (1903-1963)
		Yasujiro Ozu was born in the Fukugawa district of Tokyo,; December 12,; 1903.
		Ozu had an earthy sense of humor attuned to the silly rituals and fantasies of little boys and old men, between which he found strong parallels.
		This feeling is enhanced for those who have seen several of Ozu's films, for he used the same actors to play virtually the same parts in what were only subtle variations on his single theme, and many of which have similar titles.
	www.malaspina.org /home.asp?topic=./search/details&lastpage=./search/results&ID=1001 (938 words)

	Biography for Yasujiro Ozu (Site not responding. Last check: 2007-10-21)
		Ozu won the first of three consecutive film awards for EB> (1932), the story of two boys who learn their father is not the important man that they thought, and eventually resign themselves to accepting life's compromises.
		Ozu dealt primarily with the dynamics of middle-class Japanese family life and the subtle tensions between the generations.
		When he returned, Ozu made The Record of a Tenement Gentleman (1947) and A Hen in the Wind (1948), both of which deal with the effects of the war on Japanese families.
	www.imdb.com /name/nm0654868/bio (635 words)

	BAM : Brooklyn Academy of Music
		One of Ozu’s personal favorites, this film centers on a widower who is concerned his daughter is throwing her life away by caring for him.
		Ozu’s first film after inscription in the army, it has been seen both as propaganda tool and critique of filial duty and the upper class.
		Ozu’s final film is marked by a weariness with consumerist culture in Japanese society—as a father decides to marry off his daughter, he slowly realizes his mistake.
	www.bam.org /film/Ozu.aspx (1371 words)

	Yasujiro Ozu
		Ozu was called up into the army reserves before shooting was completed, and upon seeing the film afterwards stated that he would rather not call it his own.
		Ozu maintains the mood and tone without needing to portray the events that he is eliding (unlike classical Hollywood cinema which would, generally, base itself around the things that Ozu leaves out).
		Ozu died painfully on his sixtieth birthday in 1963 of cancer and his tombstone in the temple of Engaku in Kita-Kamakura bears the inscription “mu” from the monk's painting that he had kept all his life.
	www.sensesofcinema.com /contents/directors/03/ozu.html (4373 words)

	Guardian Unlimited Film \| Features \| Yasujiro Ozu:Tokyo Story
		Ozu steadfastly peers into the hearts and minds of his characters until we feel we know them intimately.
		Ozu started making films in 1927 and was one of the last to forsake the silent cinema.
		Ozu was the most Japanese of film-makers, but his work can still cross most cultural barriers.
	film.guardian.co.uk /Century_Of_Films/Story/0,4135,217142,00.html (588 words)

	Yasujiro Ozu: A Centennial Celebration (Site not responding. Last check: 2007-10-21)
		Ozu himself apparently shared these sentiments, and his works were not seen abroad until very late in an illustrious directorial career that had begun in the 1920s.
		Ozu’s more mature, celebrated films are subtle – Ozu authority Donald Richie once described them as “the precise opposite of Kurosawa’s.” Their deceptively simple subject matter is almost always the family, and the quotidian family crises invariably engendered by generational conflict, marriage, and death.
		Ozu’s fiftieth film, and his second in colour, is a mocking, masterful comedy of manners about small talk and social niceties, set against 1950s suburbia, and featuring flatulence as a major motif.
	www.cinematheque.bc.ca /JanFeb04/ozu.html (4589 words)

	Metroactive Movies \| Yasujiro Ozu
		In the films of master director Yasujiro Ozu, his families--wrongly called "specifically Japanese" by the Ozu expert Donald Ritchie--you can see unhappy families that are like ones you've known, the pressures brought to bear by parents we've disappointed or who have disappointed us.
		Ozu (1903-63) worked with an enormous range of subject matters, from silent-film comedy to even a few gangster stories.
		Ozu's camera, crouched in the corner of various lower-middle-class houses, loses its depth of field on the small screen.
	www.metroactive.com /papers/metro/11.13.03/ozu-0346.html (877 words)

	Artforum International: The films of Yasujiro Ozu: true to form. @ HighBeam Research (Site not responding. Last check: 2007-10-21)
		Ozu's first extended-family film, Toda Family is a rough draft for Tokyo Story, but it has a flavor all its own, quietly suggesting that traditional family hierarchies must be set aside when a younger generation--here the happy-go-lucky junior son--proves ready to take responsibility.
		Ozu's late films are built so thoroughly out of the textures of daily routine that it is easy to overlook how he recruits them into intricate formal patterns.
		Films made by Ozu (or the works of any masters, for that matter) may drift in and out of fashion, but their stylistic strengths and particularities are not movable.
	www.highbeam.com /library/doc0.asp?DOCID=1G1:109023345&refid=holomed_1 (3459 words)

	Yasujiro Ozu -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-21)
		Yasujiro Ozu (小津安二郎 Ozu Yasujirō December 12, 1903 - December 12, 1963) was an influential (A constitutional monarchy occupying the Japanese Archipelago; a world leader in electronics and automobile manufacture and ship building) Japanese (The person who directs the making of a film) film director.
		He was born in Fukagawa, (The capital and largest city of Japan; the economic and cultural center of Japan) Tokyo, and educated at a boarding school in (Click link for more info and facts about Matsuzaka) Matsuzaka.
		Ozu by (Click link for more info and facts about Donald Richie) Donald Richie.
	www.absoluteastronomy.com /encyclopedia/y/ya/yasujiro_ozu.htm (741 words)

	Kitano's Hana-bi and Ozu
		Space expands in Ozu's films, the traditional 180 degree perspective becomes 360, and time seems to stretch and snap, extending scenes to reveal empty spaces, and eliding others in a divergence from the classical cause and effect mode of narrative.
		Like the eternal spaces of Ozu, in Kitano's world there is a permanence, a transcendence to the spaces that surround us, and the people that populate them come and go, with the only constant being the space left behind.
		The eternal spaces of Ozu are echoed in the final shots of Hana-bi, his silences forming the basis of the relationship between Kitano's characters.
	www.sensesofcinema.com /contents/00/7/kitano.html (2812 words)

	Film Comment
		Is Yasujiro Ozu unique among major filmmakers in that his name conjures up such a definable and clear-cut image of his work, while his filmic personality and stylistic history, through a 35-year career and some 53 films, slides away somewhere behind it?
		The remarkable imposition of the Ozu "image" beginning in 1949 depends on a narrow range of subject and theme, worked through a comparably narrow range of stylistic choices-choices made from the common pool of classical or mainstream movie techniques.
		To be sure, our Ozu will be put in perspective by the 34 films to be shown in the retrospective at this year's New York Film Festival, and in other programs set for this centennial year.
	www.filmlinc.com /fcm/9-10-2003/ozu.htm (854 words)

	Paste Magazine :: Feature :: Tokyo Story :: Directed by Yasujiro Ozu (Page 1)
		For a long time, Yasujiro Ozu’s movies were thought too Japanese to appeal to American moviegoers.
		Ozu even built up a company of actors he reused time and again, often in similar roles.
		Ozu is so often thought to be gentle and mannered that people sometimes forget he could be equally honest about the ugliness of life.
	www.pastemagazine.com /action/article?article_id=665 (1204 words)

	MoMA.org \| The Collection \| Yasujiro Ozu. Tokyo Story. 1953
		But the viewer is compensated by the intensity of feeling his domestic dramas engender and by the sincerity of his message.
		Ozu's contemplative camera hardly ever moves, and his actors seldom emote.
		The understated performances of this film's well-matched actors complement the serenity of Ozu's atmosphere and the sparseness of his naturalistic dialogue.
	www.moma.org /collection/browse_results.php?object_id=89495 (216 words)

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