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“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. -
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, -
Notes to Editors PRESS
EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. Page 2 – Full Programme Information, including: BFI Player collections Akira Kurosawa Classics Yasujirō Ozu Cult Anime Independence 21st Century Early Films of Japan (1894-1914) J-Horror BFI Blu-ray and DVD The Japanese Cinema Book UK wide activity Seasons at BFI Southbank: The Golden Age Radicals and Rebels Anime 21st Century Japanese cinema Mediatheque collection – Lost in Japan International partnerships Page 10 – Stills and moving image assets Page 11 – Notes to Editors PRESS CONTACTS: General enquiries about BFI JAPAN: Liz Parkinson – PR Manager, BFI Cultural Programme - [email protected] | 020 7957 8918 / 07810 378203 Judy Wells – Director, Press and PR, BFI - [email protected] | 020 7957 8919 / 07984 180501 Interviews with BFI spokespeople and selected talent available on request via Liz Parkinson FULL PROGRAMME HIGHLIGHTS EMBARGOED UNTIL 00:01, MONDAY 4 MAY 2020. BFI PLAYER COLLECTIONS The BFI’s VOD service BFI Player will be the premier destination for Japanese film this year with thematic collections launching over a six month period (May – October): Akira Kurosawa (11 May), Classics (11 May), Yasujirō Ozu (5 June), Cult (3 July), Anime (31 July), Independence (21 August), 21st Century (18 September) and J-Horror (30 October). All the collections will be available to BFI Player subscribers (£4.99 a month), with a 14 day free trial available to new customers. There will also be a major new free collection Early Films of Japan (1894-1914), released on BFI Player on 12 October, featuring material from the BFI National Archive’s significant collection of early films of Japan dating back to 1894. -
From Screen to Page: Japanese Film As a Historical Document, 1931-1959
FROM SCREEN TO PAGE: JAPANESE FILM AS A HISTORICAL DOCUMENT, 1931-1959 by Olivia Umphrey A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History Boise State University May 2009 © 2009 Olivia Umphrey ALL RIGHTS RESERVED BOISE STATE UNIVERSITY GRADUATE COLLEGE DEFENSE COMMITTEE AND FINAL READING APPROVALS of the thesis submitted by Olivia Anne Umphrey Thesis Title: From Screen to Page: Japanese Film as a Historical Document, 1931- 1959 Date of Final Oral Examination: 03 April 2009 The following individuals read and discussed the thesis submitted by student Stephanie Stacey Starr, and they also evaluated her presentation and response to questions during the final oral examination. They found that the student passed the final oral examination, and that the thesis was satisfactory for a master’s degree and ready for any final modifications that they explicitly required. L. Shelton Woods, Ph.D. Chair, Supervisory Committee Lisa M. Brady, Ph.D. Member, Supervisory Committee Nicanor Dominguez, Ph.D. Member, Supervisory Committee The final reading approval of the thesis was granted by L. Shelton Woods, Ph.D., Chair of the Supervisory Committee. The thesis was approved for the Graduate College by John R. Pelton, Ph.D., Dean of the Graduate College. ACKNOWLEDGMENTS The author wishes to thank her advisor, Dr. Shelton Woods, for his guidance and patience, as well as her committee members, Dr. Lisa Brady and Dr. Nicanor Dominguez, for their insights and assistance. iv ABSTRACT This thesis explores to what degree Japanese film accurately reflects the scholarly accounts of Japanese culture and history. -
Yasujiro Ozu: the Syntax of His Films Author(S): Donald Richie Source: Film Quarterly, Vol
Yasujiro Ozu: The Syntax of His Films Author(s): Donald Richie Source: Film Quarterly, Vol. 17, No. 2 (Winter, 1963-1964), pp. 11-16 Published by: University of California Press Stable URL: http://www.jstor.org/stable/1210862 Accessed: 17-10-2017 15:09 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly This content downloaded from 147.251.99.131 on Tue, 17 Oct 2017 15:09:17 UTC All use subject to http://about.jstor.org/terms 11 DONALD RICHIE Yasujiro Ozu: The Syntax of His Films In the Autumn issue of Sight and Sound, Tom Milne surveys Ozu's work on the basis of a series of films recently seen in London. Five Ozu films will shortly tour the United States (Late Spring, Tokyo Story, Early Spring, Good Morning, and Late Autumn) and the following stylistic analysis explicates some of the methods we will soon be able to observe in these pictures. With Ozu, as with Antonioni or Resnais, the a film as a carpenter makes a house. The fin- critic may speak of grammar, of vocabulary, of ished object one may measure, one may in- syntax-something which one cannot do with spect, one may compare. -
Tokyo Story Are Donald Richie, Ozu (1977); David Bordwell, Ozu and the Poetics of Cinema (Rep
October 22, 2002 (VI:9) Conversations about great films with Diane Christian & Bruce Jackson Yasujiro Ozu (12 December 1903, Tokyo—12 December 1963, Tokyo, cancer) directed 54 films, only 33 of which still exist. His work wasn't much known in the west until the 1960s. His last film was Sanma no aji/An Autumn Afternoon (1962); his first Zange no yaiba/Sword of Penitence (1927); the best known is Ukigusa (1959, US Floating Weeds 1970). Some of the others are Umarete wa mita keredo/I was Born But... 1932, Tokyo no onna/A Woman of Tokyo 1933, Nagaya shinshiroku/Record of a Tenement Gentleman 1947, Banshun/Late Spring 1949, Bakushu/Early Summer 1951, Higanbana/Equinox Flower 1958, Ohayo/Good Morning 1959 and Sanma no aji 1962. The best published texts on Ozu's life and work and Tokyo Story are Donald Richie, Ozu (1977); David Bordwell, Ozu and the Poetics of Cinema (rep. 1994); David Dresser, Ed., Ozu's Tokyo Story (Cambridge Film Handbooks Series, 1997); and Paul Schrader, Transcendental Style in Film : Ozu, Bresson, Dreyer rep. 1988).On the web: The University of Tokyo maintains "Behind the Camera,"an excellent site on Ozu and his cameraman on Tokyo Story, with a lot of analysis, samples from the cameraman's notebooks, and more: http://www.um.u-tokyo.ac.jp/dm2k-umdb/publish_db/books/ozu/ Another good web site on his life and workis http://homepage.mac.com/kwoy/ozu/ozu.htm. from World Film Directors. V.I. Ed. John Wakeman. H.W. Wilson Co. NY 1987 Notoriously hard-working in later years, Ozu enjoyed his stint as an In the course of his career, Ozu would receive six Kinema assistant director primarily because he “could drink all I wanted and Jumpo “best ones,” more than any other director in the history of spend my time talking.” He was nevertheless promoted before the end Japanese cinema. -
Dvd Press Release
DVD & Blu-ray press release More Yasujiro Ozu Dual Format Edition releases from the BFI on 23 May 2011 On 23 May the BFI adds more titles to its ongoing strand, The Ozu Collection with the release of Late Autumn (1960) and An Autumn Afternoon (1962). Presented in Dual Format Editions (a Blu-ray and a DVD disc in one box), each main feature is complemented by an early Ozu film that has never been made available in the UK before. The Ozu Collection, which will eventually feature all 32 of the world-renowned Japanese director’s surviving films made for the Shochiku Studio, already contains Tokyo Story, Early Summer, Late Spring, Equinox Flower and Good Morning. Late Autumn (Akibiyori) & A Mother Should be Loved (Haha O Kowazuya) When college nostalgia inspires a group of middle-aged businessmen to match-make for the widow of a friend – played with measured dignity by Setsuko Hara (Tokyo Story) – and her daughter, they have no idea of the strife their careless interference will cause. Late Autumn’s examination of familial upheaval moves effortlessly from comedy to pathos and is amongst the finest of Ozu’s post-war films. Also included here is surviving version of Ozu’s moving silent drama A Mother Should be Loved. Missing both first and last reels, the incomplete film nevertheless achieves a dramatic intensity in its portrayal of a young man struggling to deal with a disturbing family secret. It is presented with an alternative, newly commissioned, score by composer Ed Hughes. Special features Standard Definition and High Definition presentations of Late Autumn (DVD & Blu-ray) Standard Definition presentation of A Mother Should be Loved Optional score for A Mother Should be Loved by Ed Hughes, commissioned exclusively for the BFI Illustrated booklet with a new sleevenote essay by Asian cinema expert Alexander Jacoby New and improved English subtitles An Autumn Afternoon (Sanma No Aji) & A Hen in the Wind (Kaze No Naka No Mendori) Yasujiro Ozu’s elegiac final film An Autumn Afternoon charts the inevitable eclipse of older generations by irreverent youth. -
Ozu and World Cinema Daisuke Miyao Postdoctoral Fellow, Film
EAAS V3317: Ozu and World Cinema Daisuke Miyao Postdoctoral Fellow, Film Studies, University of California, Berkeley First offered as an ExEAS course at Columbia University in Fall 2003 Class Meetings: Monday & Wednesday 4:10-5:25 Screenings: Monday 6:10- 1. Course Description: Since the1960s, Japanese director Yasujiro Ozu (1903-1963) has been the object of increased popular and critical attention by international film scholars and audiences. Ozu is widely considered “the most Japanese” of Japanese directors, but what does “the most Japanese” mean? Do Ozu’s films express the special characteristics of Japanese cinema? If so, what constitutes the cultural specificity of Japanese cinema? At the same time, Ozu was a big fan of foreign films. The director considered “the most Japanese” was in fact steeped in foreign popular culture. How can Ozu be located in global film cultures and international histories of cinema? This course reexamines Ozu’s works in terms of their social and cultural context, from both national and transnational perspectives. It locates Ozu’s films at a dialogic focal point of Japanese, American and European cinema. Through an intense examination of Ozu’s films as primary texts, this course pays particular attention to Japanese modernization in the 1920s; the influence of wartime film policy; reconfiguration of traditional Japanese art forms during the postwar Occupation; the decline of the Japanese film studio system and the popularization of international film festivals. We will also discuss the mutual influence between American and European cinema and Ozu’s films and Ozu’s legacy in international films, including New German Cinema (Wim Wenders), American independent films (Jim Jarmusch), and contemporary Japanese films (Kiju Yoshida, Masayuki Suo). -
Late Ozu DVD Collection
Late Ozu DVD Collection By Jan Uhde Fall 2007 Issue of KINEMA YASUJIRO OZU needs neither introduction nor recommendation. Many of Ozu’s features have been available on DVD for some time in Asia but mostly only on Region 3 which the great majority of DVD players in the West would not play. There has been only little Ozu available in the West so this Criteron release is good news. The Eclipse series presents the director’s work of the last decade of his life - a mature artist who has honed his restrained style. It also shows Ozu experimenting with colour and revealing more of his subtle, understated humour, as in The End of Summer and Late Autumn. Ozu’s films have always had a finger on the pulse of Japanese society: in these late period films, perceptive references to the post-war poverty and environmental devastation evolve into images of growing material comfort as well as generational conflicts and increasing Americanization. The image quality of the filmsis better than those issued by Hong Kong Panorama Entertainment. Despite the lack of supplements (unusual for Criterion), Late Ozu is a true bargain - as the other two sets mentioned above. Figure 1: LATE OZU DVD COLLECTION ¶ (Early Spring, Tokyo Twilight, Equinox Flower, Late Autumn, The End of Summer). ¶ Yasujiro Ozu, Japan 1956-61, 5-disc set, NTSC, Region-0, DVD-9, 85min, b&w and colour. ¶ Criterion Eclipse series #3. ¶ Japanese with English subtitles. ¶ (USD 49.99 at Amazon.com). Author Information Jan UHDE is Professor Emer. (Film Studies) at the University of Waterloo, Ontario, Canada. -
CRUEL STORY of YOUTH -Digitally Restored Version
CRUEL STORY OF YOUTH -Digitally Restored version- DRAMA / Japan / Color / 1960 / 2014 / Running time: 96min Original title: Seishun Zankoku Monogatari Starring: Miyuki KUWANO / Yusuke KAWAZU / Yoshiko KUGA Director: Nagisa OSHIMA Nagisa OSHIMA’s shocking tale of youthful delinquency in post Hiroshima. The film has been digitally restored in 4K. Story Makoto and Kiyoshi's generation follows their desires. Makoto is in high school when a university student, Kiyoshi, rescues her from a middle-aged man's assault. The next day Kiyoshi takes out Makoto, with alternately cruel and tender, insists roughly on sex, and then discards her. A week later she calls him; waiting for him at a bar, two pimps accost her. Again Kiyoshi rescues her, and their affair begins in earnest. She moves in with him, continues school, and they support themselves by extorting money from men who offer her a ride and then make a pass: Kiyoshi shows up to beat them. Things are semi-OK until pregnancy and a short stay in jail change their relationship. About Restoration The Cruel Story of Youth is a film by Nagisa OSHIMA that is a monumental achievement of Nouvelle Vague (New Wave) filmmaking. Made in 1960, the film was produced as a blatant challenge to the Shochiku "Ofuna style" of the Shochiku Ofuna Studios. The film has been restored in full 4K resolution, with image supervision by Takashi KAWAMATA, who was Oshima's cameraman during that period and one of his closest friends, and Masashi CHIKAMORI, cameraman for The Little House (Directed by Yoji YAMADA, Silver Bear Award for Best Actress at Berlin International Film Festival 2014). -
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. -
1 How to Read the Good Manners of Yasujiro
1 How to Read the Good Manners of Yasujiro Ozu Ozu’s seems the politest of cameras. You feel that if he suddenly tilted or panned or tracked, the film would come apart in shock. When characters are sitting, he keeps the camera below the level of their shoulders. When they’re standing, he keeps it about three feet off the floor, always granting them as much dignity as possible. It’s the cinematic equivalent of a bow. Even if he’s filming children, he appears to give them dignity, even when they’re rude. Everyone in Ozu is polite. No adult ever raises their voice. You can’t imagine Toshiro Mifune in an Ozu film. No-one is ever sarcastic. Everyone smiles; in company, they twinkle genially at each other. But it’s all seeming and show – Shakespeare’s favourite theme. Children, who haven’t learned manners, are either loud in protest or silent and sulky; but adults too show the same emotions, when they can afford to sacrifice face to do so. Married couples, when alone, never twinkle at each other. When the granny in Tokyo Story (1956) is taken on a tacky sightseeing tour of the city to get her out of the way, you see her face when no-one else can, staring ahead in the bus: Ozu may be filming her from below shoulder-height, but her politeness has gone. She’s bored out of her mind. In this world, only when no-one’s looking at you do you allow your face to fall.