response paper 102

The response paper on Ozu’s Late Spring, please read Satō’s “Ozu,” paying special attention to the director’s distinctive cinematic techniques (low angle shot, stationary camera, arrangement of characters, avoidance of movement, full-face shots of speakers, stability of size of camera shots, linking my means of cutting alone, cutain/transitions shots, tempo and choreographic acting directions, watch the entire film with these techniques in mind, and then analyze the opening sequences of the work from time stamp 2:31 to 6:54 both in terms of Ozu’s original form/style and how it is related to his content/meaning/theme introduction.

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