DOCSLIB.ORG

BANSHUN/LATE SPRING (1949, 108 Min) Directed by Yasujirô Ozu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BANSHUN/LATE SPRING (1949, 108 Min) Directed by Yasujirô Ozu September 27, 2016 (XXXIII:5) Yasujirö Ozu,: BANSHUN/LATE SPRING (1949, 108 min) Directed by Yasujirô Ozu Written by Kazuo Hirotsu (based on the novel "Chichi to musume" by), Kôgo Noda (screenplay) and Yasujirô Ozu (screenplay) Produced by Takeshi Yamamoto Music Senji Itô Cinematography Yûharu Atsuta Film Editing Yoshiyasu Hamamura Art Direction Tatsuo Hamada Set Decoration Mototsugu Komaki Costume Design Bunjiro Suzuki Makeup Department Toku Sakuma (key hair stylist), Hisae Kakizawa (hair stylist), Kingorô Yoshizawa ... hair stylist Production Management Dai Watanabe Mainichi Film Concours, 1950. Won : Best Film, Yasujirô Ozu (b. December 12, 1903 in Tokyo, Japan— Yasujirô Ozu; Best Actress: Setsuko Hara for Aoi d. December 12, 1963, age 60, in Tokyo, Japan) was a sanmyaku and Ojôsan kanpai; Best Director: Yasujirô movie buff from childhood, often playing hooky from Ozu; Best Screenplay: Yasujirô Ozu and Kôgo Noda school in order to see Hollywood movies in his local theatre. In 1923 he landed a job as a camera assistant at Cast Shochiku Studios in Tokyo. Three years later, he was Chishû Ryû…Shukichi Somiya made an assistant director and directed his first film the Setsuko Hara…Noriko Somiya next year, Blade of Penitence (1927). Ozu made thirty-five Yumeji Tsukioka…Aya Kitagawa silent films, and a trilogy of youth comedies with serious Haruko Sugimura…Masa Taguchi overtones he turned out in the late 1920s and early 1930s Hôhi Aoki…Katsuyoshi placed him in the front ranks of Japanese directors. He Jun Usami…Shôichi Hattori made his first sound film in 1936, The Only Son (1936), Kuniko Miyake…Akiko Miwa but was drafted into the Japanese Army the next year, Masao Mishima…Jo Onodera being posted to China for two years and then to Singapore Yoshiko Tsubouchi…Kiku when World War II started. At war's end he went back to Yôko Katsuragi…Misako Shochiku, and his experiences during the war resulted in Toyo Takahashi…Shige (as Toyoko Takahashi) his making more serious, thoughtful films at a much Jun Tanizaki…Seizô Hayashi slower pace than he had previously. His most famous film, Ichirô Shimizu…Takigawa's master Tokyo Story (1953), is generally considered by critics and Yôko Benisawa…Teahouse Proprietress film buffs alike to be his "masterpiece" and is regarded by Manzaburo Umewaka…Shite many as not only one of Ozu's best films but one of the best films ever made. He also turned out such classics of Japanese film as Flavor of Green Tea Over Rice (1952), Ozu—LATE SPRING—2 Floating Weeds (1959) and An Autumn Afternoon (1962). (1957), I Will Buy You (1956), Early Spring (1956), Tokyo Ozu employs the recurring theme of changes in post-war Story (1953), Flavor of Green Tea Over Rice (1952), Japanese family and society, especially concentrating on Early Summer (1951), Late Spring (1949), A Hen in the relationships between the generations. He is also known Wind (1948), Record of a Tenement Gentleman (1947), through his cinematic trademarks such as rigorous use of There Was a Father (1942), The Brothers and Sisters of static camera positioned only a few feet from floor, use of the Toda Family (1941), Nobuko (1940), Four Seasons of the color red, and characters looking directly into the Children (1939), Katei nikki (1938), What Did the Lady camera. The camera was always placed low, close to the Forget? (1937) and Wakôdo no yume (1928). floor. He never used cranes, a moving camera, bird's eye shots. Once or twice he tried them early in his career, but Chishû Ryû (b. May 13, 1904 in Kumamoto, Japan—d. he abandoned them. When he edited, he never used March 16, 1993, age 88, in Yokohama, Japan) appeared in overlaps, wipes, fade-ins. He was determined to create a no fewer than fifty-two out of fifty-four of his master sense of ordinary, everyday life without tricks or Yasujirô Ozu. He could be a very versatile actor, for mannerisms. To Ozu the camera was never more than an instance in 1936, when he was thirty, he embodied a uninvolved observer. It was never student in one film and an old man in part of the action. It never another. However, he was perfect in commented on the action. It was Ozu's films, most often, as a simple, through the repetition of short cuts unobtrusive man whose humanity is moving back and forth from one revealed through the hardships of character to another that Ozu created everyday life. Of his impressive 238 a sense of real life. Some of his films or TV credits, a list of the other 54 directorial efforts are: The highlights includes Excuses (plus at End of Summer (1961), Late Autumn least 36 other Tora-san films, going (1960), Good Tokyo Twilight back to Tora-San’s Cherished Mother (1957), Early Spring (1956), Early in 1969), Shiny Moss (1992), Until the Summer (1951,The Munekata End of the World (1991), Akira Sisters (1950), Late Spring (1949), A Hen in the Wind Kurosawa's Dreams (1990), Carefree Goddesses (1987), (1948), Record of a Tenement Gentleman (1947), There Mishima: A Life in Four Chapters (1985), The Funeral Was a Father (1942), An Inn in Tokyo (1935), A Story of (1984), Lanterns on Blue Waters (1983, TV Movie), Floating Weeds (1934), A Mother Should Be Loved Miyamoto Musashi (1973), Where Spring Comes Late (1934), Dragnet Girl (1933), Woman of Tokyo (1970), Fight for the Glory (1970), Am I Trying (1969), (1933),Until the Day We Meet Again (1932), Where Now Battle of the Japan Sea (1969), The Human Bullet (1968), Are the Dreams of Youth (1932), I Was Born, But... Japan's Longest Day (1967), Warm Current (1966), (1932), Spring Comes from the Ladies (1932), Tokyo Radishes and Carrots (1965), Red Beard (1965), The Chorus (1931), The Sorrow of the Beautiful Woman Crest of Man (1964), An Autumn Afternoon (1962), Love (1931), The Lady and the Beard (1931), The Luck Which Under the Crucifix (1962), A Woman's Place (1962), The Touched the Leg (1930), That Night's Wife (1930), I End of Summer (1961), The Last War (1961), The Human Flunked, But... (1930), Walk Cheerfully (1930), The Life Condition III: A Soldier's Prayer (1961), Late Autumn of an Office Worker (1929), Days of Youth (1929), Takara (1960), Satan's Sword (1960), The Bad Sleep Well (1960), no yama (1929), Wife Lost (1928) and Wakôdo no yume Daughters, Wives and a Mother (1960), Ginrei no ôja (1928). He also has 47 writer credits. According to (1960), Spring Dreams (1960), I Want to Be a Shellfish renowned film critic Roger Ebert, "to love movies without (1959), Floating Weeds (1959), Good Morning (1959), loving Ozu is an impossibility". Farewell to Spring (1959), Hashi (1959), The Path Under the Plane Trees (1959), The Snow Flurry (1959), The Yûharu Atsuta (b. 1905 in Kobe, Japan—d. 1993, age Happy Pilgrimage (1958), The Eternal Rainbow (1958), 88, in Japan) is most known his long time collaboration The Rickshaw Man (1958), Tokyo Twilight (1957), The with Ozu, especially for his work on Tokyo Story (1953), Crowded Streetcar (1957), Early Spring (1956), Eyes of Late Spring (1949) and Early Summer (1951). Both Children (1956), She Was Like a Wild Chrysanthemum Atsuta and Chishû Ryû were featured in Wim Wenders’s (1955), Twenty-Four Eyes (1954), Love Letter (1953), Tokyo-Ga (1943), a documentary tribute to Ozu. Atsuta Tokyo Story (1953), Foolish Younger Brother (1953), worked as a cinematographer or d.p. on 37 films: I Lived, Mole Alley (1953), Flavor of Green Tea Over Rice (1952), But... (1983, Documentary), Zangiku monogatari (1963), Youth of the Son (1952, Short), Nami (1952), Fireworks An Autumn Afternoon (1962), Late Autumn (1960), Good Over the Sea (1951), Early Summer (1951), Boyhood Morning (1959), Equinox Flower (1958), Tokyo Twilight (1951), The Munekata Sisters (1950), Late Spring (1949), Ozu—LATE SPRING—3 A Hen in the Wind (1948), Record of a Tenement (though apparently sociable with friends), and refusing all Gentleman (1947), The Fellows Who Ate the Elephant roles offered. Hara made six films with Ozu including the (1947), Army (1944), Port of Flowers (1943), There Was a so-called Noriko trilogy, of which Tokyo Story (1953) is Father (1942), Ornamental Hairpin (1941), The Brothers probably the best-known. She also worked with Akira and Sisters of the Toda Family (1941), The Story of Tank Kurosawa, Mikio Naruse, Hiroshi Inagaki, and many Commander Nishizumi (1940), The Lights of Asakusa others. Before choosing to withdraw from film, she acted (1937), Children in the Wind (1937), A Star Athlete in 77 productions some of which are 47 Samurai (1962), (1937), The Only Son (1936), An Inn in Tokyo (1935), A My Daughter and I (1962), The End of Summer (1961), Story of Floating Weeds (1934), A Mother Should Be Late Autumn (1960), Daughters, Wives and a Mother Loved (1934), Caress (1933), Dragnet Girl (1933), (1960), The Wayside Pebble (1960), Nippon tanjô (1959), Woman of Tokyo (1933), Where Now Are the Dreams of A Holiday in Tokyo (1958), Tokyo Twilight (1957), Youth (1932), I Was Born, But... (1932, uncredited), Settlement of Love (1956), Sudden Rain (1956), Sound of Manchurian Marching Song (1932), That Night's Wife the Mountain (1954), Tokyo Story (1953), Shirauo (1953), (1930), I Flunked, But... (1930), Days of Youth (1929), Tokyo Sweetheart (1952), Repast (1951), Early Summer Wife Lost (1928) and Wakôdo no yume (1928). (1951), The Idiot (1951), Late Spring (1949), Here's to the Girls (1949), Tonosama Hotel (1949), Temptation (1948), The Ball at the Anjo House (1947), No Regrets for Our Youth (1946), Kita no san-nin (1945), Hawai Marê oki kaisen (1942), Currents of Youth (1942), Toyuki (1940), Tokyo no josei (1939), Priest of Darkness (1936) and Tamerau nakare wakodo yo (1935).
Load more

Recommended publications
  • APPROVED PLANT LIST Midtown Alliance Tree Well Adoption Program
    APPROVED PLANT LIST Midtown Alliance Tree Well Adoption Program Midtown Alliance launched the Tree Well Adoption program with the primary goal of enriching the experience of Midtown’s workers and residents while encouraging sustainability through the use of low-water, urban tolerant plant species. This list of plants was created to aid individuals and organizations in selecting plant material to plant in their adopted tree wells. This plant list is intended to encourage individual character in the tree wells, rather than restrict creativity in the selection of plants. The plants on the approved list were selected based on the following criteria: • Perennial. All plants listed are perennial, meaning they last for two or more growing seasons. Once established, these plants will require less water to maintain than annuals. • Heat tolerant. Plants in tree wells are exposed to high temperatures caused by vehicles and heat reflected from surrounding buildings, asphalt, and other urban surfaces. They must also be tolerant to high daytime temperatures, typical of Atlanta’s summer months, and cold hardy in the winter months. Atlanta is located in USDA Plant Hardiness Zone 7b/8a. • Water wise. Urban tree wells are surrounded by impervious surfaces and thus, are highly susceptible to periods of drought. Suitable plants must be able to survive periods of low rainfall. • Pollution tolerant. Vehicle exhaust may leave deposits and pollutants on plant foliage, which can kill sensitive plants. • Encourage wildlife. Flowering plants attract insects such as butterflies while others provide food sources for birds and other wildlife. • Grown locally. Many of the plants listed are native to the Atlanta area, and all can be found at local nurseries.
    [Show full text]
  • Kore-Eda Event Notes
    Family Life with Kore-eda Hirokazu Introduction their application in stories about ‘ordinary’ Japanese Kore-eda Hirokazu (born Tokyo, 1962) is currently the families coping with the move from tradition to leading Japanese director in the international film modernity in contemporary Japan that appears to be world. His last few films have seen his popularity rise Kore-eda’s inspiration. in Japan and his films have been increasingly welcomed at major film festivals. In 2018, his latest Kore-eda has also been linked to directors from film Shoplifters won the Palme d’Or, the top prize at Taiwan such as Hou Hsiao-hsien, Edward Yang and, Cannes Film Festival. Like some of his earlier films, it more controversially, Tsai Ming-liang. These directors opened at No 1 at the Japanese box office in June are part of the ‘Taiwanese New Cinema’ which first 2018 and made around $38 million worldwide. appeared in the 1980s, making a link between the 1950s Japanese masters and Kore-eda. Taiwanese Originally a documentarist working in television, Kore- film has maintained some links to Japanese film eda moved into fiction features with Maborosi in 1995 culture, even though the Japanese colonial and has since made a further 12 cinema features as occupation of Formosa/Taiwan ended in 1945. We’ll director and often writer and film editor as well. He look at a short extract from Hou Hsiao-hsien’s Café has also produced films. Although he has made forays Lumière (2003). Kore-eda has also cited Ken Loach as into several different genres, Kore-eda’s films often an influence.
    [Show full text]
  • Download the List of History Films and Videos (PDF)
    Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future.
    [Show full text]
  • Main Screen: 1100 Seats (To Run Only 35Mm Film Prints)
    Location: Chandan Cinema, Juhu Main Screen: 1100 Seats (to run only 35mm film prints) Show Time 1st Show 2nd Show 3rd Show 4th Show 5th Show Date/Day 10.00 am 12.30 Noon 3.30 pm 5.30 pm 8.00 pm 21-10-.2010 No shows No shows No shows At: 7.00 p.m. Opening Function followed by the Inaugural Film Thursday THE SOCIAL NETWORK Dir.: David Fincher (USA / 2010 /35mm / Col. / 120’) 22-10-2010 10:30 am Inauguration of To start show by 1:30 p.m. POETRY ON THE PATH (NA PUTU) UNITED RED ARMY Friday Japanese Cinema followed by SUBMARINO Dir.: Lee Chang-dong Dir.: Jasmila Zbanic (Bosnia and Dir.: Kôji Wakamatsu ABOUT HER BROTHER (OTÔTO) Dir.: Thomas Vinterberg (South Korea / 2010 / 35mm / Col. / 139’) Herzegovina-Austria-Germany- (Japan / 2007 / 35mm / Col. / 190') Dir.: Yôji Yamada (Denmark-Sweden / 2010 / 35mm / Col. / Croatia / 2010 / 100’) (Japan / 2010 / 35mm / 35mm / 105') 126’) WC WC WC CJC CJC 23-10-2010 HOLD ME TIGHT (HOLD OM UNDERTOW (CONTRACORRIENTE) HONEY (BAL) R SANDCASTLE Saturday MIG) Dir.: Javier Fuentes-León Dir.: Semih Kaplanoglu Dir.: Michael Noer & Tobias Lindholm Dir.: Boo Junfeng Dir.: Kaspar Munk (Peru-Colombia/ 2009 / 35mm / Col. / (Turkey-Germany / 2010 / 35mm / Col. / 103') (Denmark / 2010 / 35mm / Col. / 90’) (Singapore / 2010 / 35mm / Col. / 92') (Denmark / 2010 / 35mm / Col. / 80') 100’) ATC WC WC IC-Presentation IC-Presentation 24-10-2010 ON TOUR (TOURNÉE) BUNRAKU MUNDANE HISTORY OUTRAGE CATERPILLAR Sunday Dir.: Mathieu Amalric Dir.: Guy Moshe Dir.: Anocha Suwichakornpong Dir.: Takeshi Kitano Dir.: Kôji Wakamatsu (France / 2010 / 35mm / Col.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • I~I"" "Foi CONTINUING S!Lvic!"
    I~I"" ~. "fOI CONTINUING S!lVIC!" PLAY BALLI Old Mnn Turn 'r op 'nlnl\ A Y Club 100 I,>ngue piny buc'k In 1949 SPRING I-E VER - Sec 81ue NagaHakl'H Htory on currt'O[ standings In the Club 100 l eague, and Editorial 3 0 0 YE .AR S 0 F MER CHAN DIS IN'G MIKIMOTO PEARLS The most selective collection of Mikimoto Pearls in Hawaii! Shop for other quality Japanese imports at.. Exquisite necklaces (single · II • to 4 strands) / matching ear- r!ngs / pendant:; ! brooches ~ SI. , .....,. ~ "It...,.... ..... tie tacks / crucifixes OF TOKYO IN HONOLULU ALA r>lOANA CENTER TELEPHONE 90·506 Also one of the I~rgest collections of Japanese Arts & Crafts in Hawaii. I(ukui Mortuary Ltd. HONOLULU CREMATORY MORTUARY " Constant Help in lime of Need" CREMATORY 247 N. Kukui St. Puuhale & Democrat Call 51·548 Call 86·458 24·HOUR SERVICE SAME OWNERSHIP TAKE A TIP FROM THE MANY FAMILIES WHO SAVE AT INTERNATIONAL SAVINGS •.. where your savings earn 4%% dividend and your savings are insured up to $10,000 by F. S. L.1. C., an instrumentality of the Federal Government. Corner King and Bethel Streets . • Phone 511·311 WAIPAHU BRANCH: 94 ·801 Farrington Highway, near INTERNATIONAL SAVINGS ~ Depot Road AND LOAN ASSOCIATION, LTD. HILa 6riANCH : 32 Kalakaua Street Vol. 15, No.4 April 1962 Editor Ben H. Tamashiro Production and Distribution: Bob Sato, Bea Imada, Frances Okazaki Chapter News Able 3 Blue Nagasaki Baker 5 Dick Oguro Board 13 James K. Miyano Charlie 16 Kazuto Shimizu Dog 8 Bob Taira Headquarter s 7 Rinky Nakagawa Maui 4 Stanley Masumoto Rural 10 Hakaru Taoka Separate Activities Baseball 6 Blue Nagasaki Bowling 18 Dick Oguro Fishing 3 Blue Nagasaki Green Thumbs 13 Richard Yamamoto Features For the Elders 26 Bob Sato Puka Square 1 Editor Editorial 14 Editor Photographs Kenneth Iha Dick Oguro Other Staff Members: Sat Nakamura (Calif.), Walter Kadota (Haw.), Kent Nakamura (Medics), Mako Takiguchi .
    [Show full text]
  • Space and Narrative in the Films of Ozu1 Kristin
    Space and Narrative in the Films of Ozu1 Kristin Thompson David Bordwell Downloaded from The surviving films of Ozu Yasujiro, being only gradually introduced to Western audiences, are already Un'" comfortably assimilated as screen.oxfordjournals.org noble, conservative works. Young j _.ese directors seem to con- sider Ozu's films old-fashioned, while English-language critics' praise their ' beautiful' stories of traditional Japanese family situations. Yet Ozu's films can most productively be read as modernist, inno- vative works. Because no rigorous critical analysis has been per- at Serials Department on May 3, 2011 formed upon Ozu's films (in English), we propose to make a first step by using a method adapted from Russian Formalist poetics. In ' On Literary Evolution ', Tynyanov writes, ' A work is correlated with a particular literary system depending on its deviation, its " difference " as compared with the literary system with which it is confronted ' (L Matejka and K Pomorska, eds: Readings in Russian Poetics, Cambridge, Mass 1971, p 72). In this article we shall situate Ozu's work against a paradigm of ' classical Hollywood cinema'. We have chosen to utilise the paradigm for several reasons: the entity it names coincides intuitively with our familiar sense of what' a film ' is; the paradigm has been explicitly codified by many of its practitioners (eg the host of ' rule-books ' on ' technique'); and the style of the paradigm has, historically, become a pervasive ' ordinary usage ' of the cinema. A background set consisting of this paradigm throws into relief certain stylistic alternatives present in Ozu's films. Though we plan in subsequent 1.
    [Show full text]
  • Dragnet Girl
    Saturday 15 March | 19:30 Dragnet Girl (Hijôsen No Onna) Dir. Yasujiro Ozu | Japan | 1933 | b/w | 1h 36m Accompanied live by Jane Gardner, Hazel Morrison and Roddy Long Screening supported by Film Hub Scotland, part of BFI’s Film Audience Network Yasujiro Ozu's silent films reveal not just his early mastery of the medium but also the popular basis of his art. One of the greatest of Ozu’s silent films, Dragnet Girl (1933) is a vigorous and stylish work that feels almost casual yet heartfelt. Ozu spins his little story (concocted by himself) of crime, love and redemption with skill while staying close to the concerns of the mass audience of early-1930s Japan, hungry for up-to-date thrills but ambivalent about the changes modernity had brought to the society. For a 21st-century audience that knows Ozu mainly for his later masterworks such as Late Spring (1949), Early Summer (1951) and Tokyo Story (1953), the subject matter of Dragnet Girl may come as a shock. No doubt this melodrama of the criminal underworld appears aberrant in the career of a filmmaker renowned for his elegiac films about middle-class families. The late Donald Richie, a pioneer in Western appreciation of Japanese cinema, mentions Dragnet Girl only fleetingly in his book on Ozu. Even the director himself wrote in his diary that he felt ill at ease working on the film. Ozu has been famously called “the most Japanese of directors,” but Dragnet Girl takes place in a universe that denies Japanese-ness. At the office where the heroine, Tokiko (Kinuyo Tanaka), works during the day, typists use Remington typewriters; at the boxing gym where Tokiko’s boyfriend, Joji (Joji Oka), hangs out and in the apartment the couple share, the walls are covered with posters for American boxing matches and Hollywood films (The Champ and All Quiet on the Western Front); the dance club where Tokiko and Joji spend their nights is conspicuously Western-style.
    [Show full text]
  • “We'll Embrace One Another and Go On, All Right?” Everyday Life in Ozu
    “We’ll embrace one another and go on, all right?” Everyday life in Ozu Yasujirô’s post-war films 1947-1949. University of Turku Faculty of Humanities Cultural History Master’s thesis Topi E. Timonen 17.5.2019 The originality of this thesis has been checked in accordance with the University of Turku quality assurance system using the Turnitin OriginalityCheck service. UNIVERSITY OF TURKU School of History, Culture and Arts Studies Faculty of Humanities TIMONEN, TOPI E.: “We’ll embrace one another and go on, all right?” Everyday life in Ozu Yasujirô’s post-war films 1947-1949. Master’s thesis, 84 pages. Appendix, 2 pages. Cultural history May 2019 Summary The subject of my master’s thesis is the depiction of everyday life in the post-war films of Japanese filmmaker Ozu Yasujirô (1903-1963). My primary sources are his three first post- war films: Record of a Tenement Gentleman (Nagaya shinshiroku, 1947), A Hen in the Wind (Kaze no naka no mendori, 1948) and Late Spring (Banshun, 1949). Ozu’s aim in his filmmaking was to depict the Japanese people, their society and their lives in a realistic fashion. My thesis offers a close reading of these films that focuses on the themes that are central in their everyday depiction. These themes include gender roles, poverty, children, nostalgia for the pre-war years, marital equality and the concept of arranged marriage, parenthood, and cultural juxtaposition between Japanese and American influences. The films were made under American censorship and I reflect upon this context while examining the presentation of the themes.
    [Show full text]
  • Cinefiles Document #37926
    Document Citation Title Yasujiro Ozu: filmmaker for all seasons Author(s) Source Pacific Film Archive Date 2003 Nov 23 Type program note Language English Pagination No. of Pages 10 Subjects Ozu, Yasujiro (1903-1963), Tokyo, Japan Film Subjects Hitori musuko (The only son), Ozu, Yasujiro, 1936 Shukujo wa nani o wasureta ka (What did the lady forget?), Ozu, Yasujiro, 1937 Todake no kyodai (The brothers and sisters of the Toda family), Ozu, Yasujiro, 1941 Chichi ariki (There was a father), Ozu, Yasujiro, 1942 Nagaya shinshiroku (The record of a tenement gentleman), Ozu, Yasujiro, 1947 Ohayo (Good morning), Ozu, Yasujiro, 1959 Tokyo no yado (An inn at Tokyo), Ozu, Yasujiro, 1935 Hogaraka ni ayume (Walk cheerfully), Ozu, Yasujiro, 1930 Tokyo monogatari (Tokyo story), Ozu, Yasujiro, 1953 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) Dekigokoro (Passing fancy), Ozu, Yasujiro, 1933 Shukujo to hige (The lady and the beard), Ozu, Yasujiro, 1931 Wakaki hi (Days of youth), Ozu, Yasujiro, 1929 Sono yo no tsuma (That night's wife), Ozu, Yasujiro, 1930 Kohayagawa-ke no aki (The end of summer), Ozu, Yasujiro, 1961 Rakudai wa shita keredo (I flunked, but...), Ozu, Yasujiro, 1930 Tokyo no gassho (Tokyo chorus), Ozu, Yasujiro, 1931 Banshun (Late spring), Ozu, Yasujiro, 1949 Seishun no yume ima izuko (Where now are the dreams of youth?), Ozu, Yasujiro, 1932 Munekata shimai (The Munekata sisters), Ozu, Yasujiro, 1950 Hijosen no onna (Dragnet girl), Ozu, Yasujiro, 1933 Ochazuke no aji (The flavor of green tea over rice), Ozu,
    [Show full text]
  • The Moment of Instability: the Textual and Intertextual Analysis of Ozu Yasujiro’S Passing Fancy
    〈Research Article〉 The Moment of Instability: The Textual and Intertextual Analysis of Ozu Yasujiro’s Passing Fancy Yuki Takinami Abstract This paper analyzes Ozu Yasujiro’s 1933 film, Passing Fancy (Dekigokoro), in terms of its narrative structure utilizing the minimal narration of repetition and differentiation and the usage of his idiosyncratic shot/reverse shots in which the eyelines of characters are mismatched. This paper also clarifies some references to Hollywood films, such as So, This is Paris, Docks of New York, It, and Marriage Circle, in Passing Fancy and investigates their implications in terms of the moment of instability. Through these examinations, this paper finally addresses the famous debate between Noël Burch and David Bordwell over whether Ozu’s idiosyncratic shot/reverse shots contain a sense of discountinuity, or not. Keywords: Ozu Yasujiro, silent film, narration, shot/reverse shot, Hollywood cinema Passing Fancy (Diekigokoro, 1933) is not a totally neglected film among Ozu Yasujiro’s silent oeuvre, but it is rare for this Kinema junpo Best Film award winner of 1933 to be chosen for detailed discussion, particularly in terms of its aesthetics. 1 However, Ozu in the early 1930s had rapidly developed his aesthetics—as is clear from a brief comparison between his earliest surviving films, such as Days of Youth (Wakaki hi, 1929) and I Flunked But… (Rakudai ha shitakeredo, 1930), and his more integrated and better-wrought films in the mid-1930s, such as Dragnet Girl (Hijosen no onna, 1933) and A Story of Floating Weeds (Ukikusa monogatari, 1934). What, then, had Ozu done in 1933’s Passing Fancy that developed his idiosyncratic film style and narration? What importance does Passing Fancy have in the trajectory of Ozu’s oeuvre? This chapter considers these questions by examining Passing Fancy in terms of (1) Ozu’s minimalist narration, (2) the influence of Hollywood cinema on him, and (3) his usage of eyeline- mismatches and idiosyncratic shot/reverse shots.
    [Show full text]
  • To Download The
    4 x 2” ad EXPIRES 10/31/2021. EXPIRES 8/31/2021. Your Community Voice for 50 Years Your Community Voice for 50 Years RRecorecorPONTE VEDVEDRARA dderer entertainmentEEXTRATRA! ! Featuringentertainment TV listings, streaming information, sports schedules,X puzzles and more! E dw P ar , N d S ay ecu y D nda ttne August 19 - 25, 2021 , DO ; Bri ; Jaclyn Taylor, NP We offer: INSIDE: •Intimacy Wellness New listings •Hormone Optimization and Testosterone Replacement Therapy Life for for Netlix, Hulu & •Stress Urinary Incontinence for Women Amazon Prime •Holistic Approach to Weight Loss •Hair Restoration ‘The Walking Pages 3, 17, 22 •Medical Aesthetic Injectables •IV Hydration •Laser Hair Removal Dead’ is almost •Laser Skin Rejuvenation Jeffrey Dean Morgan is among •Microneedling & PRP Facial the stars of “The Walking •Weight Management up as Season •Medical Grade Skin Care and Chemical Peels Dead,” which starts its final 11 starts season Sunday on AMC. 904-595-BLUE (2583) blueh2ohealth.com 340 Town Plaza Ave. #2401 x 5” ad Ponte Vedra, FL 32081 One of the largest injury judgements in Florida’s history: $228 million. (904) 399-1609 4 x 3” ad BY JAY BOBBIN ‘The Walking Dead’ walks What’s Available NOW On into its final AMC season It’ll be a long goodbye for “The Walking Dead,” which its many fans aren’t likely to mind. The 11th and final season of AMC’s hugely popular zombie drama starts Sunday, Aug. 22 – and it really is only the beginning of the end, since after that eight-episode arc ends, two more will wrap up the series in 2022.
    [Show full text]