Week 5

In terms of Ozu's writing Tokyo Story is movie structured around three generations of a family. The oldest generation existing of the grandparents, who are embarking on a voyage from their rural tradition Japanese lifestyle and home; and traversing to Tokyo the epitome of urban living, and also Tokyo represents an ideology that then its residents embody, and distances the relationship between parent and child. In Bordwell's essay the family theme was a core Ozu's work.
The first segment of the movie depicts the grandparents packing for their excursion to Tokyo. From this we can infer instantly the change in their dynamic and routine being altered. On the train ride  to Tokyo we see the smoke stacks of industry symbolic of the change of both scenery and forms the syuzhet of the film. During the stay in Tokyo we see the differing attitudes of the characters. The wife of Koichi who is polite yet subversively uncaring, and outwardly equivalent in her sister in law. Ozu frames them both in the greeting of their mother. One saying she hasn't changed for sake of formality,  and the other recalling events of her childhood rudeness while concurrently being rude in doing so. This is something that is reminiscent of the Ozu framework. The past being melded with the present can foreshadow the future in the context of the film.
In perhaps the first third of the film the perceived burden of both child and parent becomes apparent. The self appointed importance of the characters lives, forced them to send the parents off to bath houses, or to outsource their love to Noriko.
The cinematography of the Tokyo story also very reflective of Ozu and his techniques. There are no moving shots, except on a train, or bus. In these instances, like many shots in the film, the camera remains framed by the windows. Rather than move the camera he essentially moves the shots, to capture the perspective suited to the scene. In the opening of the movie a neighbor of the grandparents peers through the window. This is perhaps one of the comical moments in the film. The actors behaving in a semi surrealistic manner; and the camera framing it accordingly.
The final aspect mentioned by Bordwell is the musical accompaniment. For the most part the music was used sparingly. Initially in the beginning there was the formal credit roll. However when it is used it is not to overwhelm, but rather in this film it acted as a transition to a change in scenery but also to revitalize the syuzhet. An exemption to this would be the music of the resort; modern, and obtrusive, the tension it represented was aptly present. It was then heightened by its contrast to Ozu's score.

Laura Ullery
Week 5 Position Paper and Presentation

One of the important themes in “Tokyo Story” is the breakdown of family relationships and the resulting feelings of disappointment. The two oldest children, Koichi and Shige, have moved to far away Tokyo. The city itself appears in the film as a physical manifestation of the post-modernization change in values that cause families to break apart. Scenes in Tokyo often begin with shots of smoke stacks and buildings. Shukichi and Tomi say that if they were separated in the huge city, they would never find each other again. Living in Tokyo, Koichi and Shige are too preoccupied with their independent businesses to spend time with their parents who they rarely see. Shukichi and Tomi talk about how the oldest children have changed since they came to Tokyo: they used to be nicer. Shukichi tells his friends that there are “too many people in Tokyo” - the competitive urban atmosphere has caused the children to become callous. Koichi and Shige’s family lives revolve around their nuclear families: both are married and Koichi has two sons. Koichi’s children treat their grandparents as strangers; the older boy is upset when the visit disrupts his daily schedule and is nonresponsive when his grandparents talk to him. The younger boy just runs away whenever spoken to. Koichi and Shige, used to focusing on the families they formed in Tokyo, treat their parents’ visit as a burden. Both are too busy with work to take them out and are reluctant to spend more money than necessary to feed them and amuse them.
When Tomi and Shukichi first arrive in Tokyo, they find that Koichi’s neighborhood isn’t what they imagined. They thought it would be livelier, but it is actually in a suburban area. As the visit progresses, they realize that their children’s lives are not what they expected either. Koichi is actually just a small neighborhood physician. Shige has grown harsh. Shukichi’s friends, outsiders to the family, believe that his children are successful. He tells them that he is actually disappointed, but he has realized that parents can’t expect too much from their children. After the visit, when Shukichi and Tomi discuss the changes in their children, he says that children don’t live up to parent’s expectations.
It is Noriko, the widow of their son Shoji, who takes time off from work to give Shukichi and Tomi a tour of Tokyo. Noriko is an intermediate figure – she is neither inside nor outside of the family. Shukichi and Tomi do not have a parent’s unrealistic expectations for her, but they do not have an idealized outsider’s perspective of her either. In Tokyo standards, Noriko is less successful than the other two children – she is a widowed typist living alone in an apartment whereas the other two have their own businesses, families, and houses. However, Shukichi and Tomi are most satisfied with Noriko because she treats them better than Shige and Koichi do. They prize her kindness and honesty over the other children’s professional success. Noriko always appears happy: we do not see the callousness of Koichi and Shige or the disappointment of Shukichi and Tomi in her character.
The younger children, Kyoko and Keizo, are “gradient” characters somewhere between Noriko and the oldest children. Kyoko is unmarried and still lives with her parents: she is too young to have left for a new lifestyle in Tokyo. Keizo lives between Onomichi and Tokyo. He is not still attached to his parents like Kyoko, and he is neither as kind to them as Noriko nor as harsh as the older children. He realizes that he was a bad son, but he decides to leave his father immediately after Tomi’s funeral with Shige and Koichi. Noriko is the only one who stays behind.
At the end, however, even Noriko admits to disappointment and selfishness. She has actually forgotten her dead husband. She feels like she’s waiting for something, but nothing ever happens. She admits to being selfish and says that life is disappointing. Shukichi too admits that he should have been nicer to Tomi when she was alive. We see that even these two characters have drifted away from their family members and ended up with feelings of disappointment about how their lives turned out.

Tokyo Story, perhaps the most prolific film by acclaimed director Yasujiro Ozu, puts much of his signature style on display. As David Bordwell points out, Ozu’s films have a reputation for being “plotless” or about “nothing”, and Tokyo Story has not been immune to this criticism. I personally attempted to watch this film over the summer and couldn’t discern any particular direction after nearly a half hour of viewing. Now, after having studied two of Ozu’s films and his particular approach to filmmaking, I understand how such criticism originates, but I disagree with the notion that Ozu films, particularly Tokyo Story, are aimless.
The manner in which Ozu slowly sets the stage and introduces the characters of Tokyo Story is a recurring stylistic convention throughout his films. Ozu’s filming technique is representative of his relatively slow pacing of events and lack of action. The camera remains stationary and the majority of his takes are considered quite long, restricting all movement, in effect. While this style may appear boring, it is intentionally employed to produce a calm effect that emphasizes how very mundane the action of the scene is. These still, long takes are then reused throughout the film to create something of a routine that becomes comfortable and predictable, such as the exchange between Kyoko and the grandmother every time she leaves for work. Ozu will often parallel the routines he establishes for his films to create yet more repetition until finally a small change is introduced to the story. Ozu then revisits all of his established routines to show how the small change very subtly influences the characters and plot a great deal more than one might expect. Drawing upon the very commonplace exchange between Kyoko and her mother each time the daughter would leave for work, after her mother’s death, Kyoko would continue to say her part, but with no one there to echo her sentiment. This altered routine represents a significant change in the film. Due to the extreme subtlety of this particular motif, and the many others Ozu employs in Tokyo Story, it is easy to see why many might not pick up on the very subdued style of one of Japan’s most famous directors and instead simply write off his masterpiece as the filmic equivalent of Seinfeld.

What was most evident to me in Ozu’s film Tokyo Story was Ozu’s ability to capture the everyday life of his characters. Throughout the film, I felt that I could relate to what the characters were going through, whether that entailed looking after misbehaving children, visiting with old friends or even entertaining relatives. I feel as though most everyone has been in these situations, yet many directors choose to omit or to disregard these events as not worth their attention because they are so ordinary. Ozu has the uncanny ability to make common events into something that appears to be worthwhile, but finding the novelty in the everyday proved to be difficult for me. I found it difficult to concentrate on the movie because I became bored with the slowly-progressing plotline. Although Ozu’s style is original, I simply cannot understand how critics think he is so compelling when nothing ever happens in his films. He is famous for being creatively unoriginal, taking characters, plot devices and mannerisms from his other films and incorporating them into new ones. Although the continuity aspect of his combined works truly is interesting, I find it difficult to praise a director who is most well-known for being so unoriginal. I believe that it is really only necessary to see one film of Ozu’s because after seeing this one film you have already seen at least two or three parallel films. In a way, his work is uncommon and praise-worthy because the films are so dependent upon each other, but it seems odd that Ozu’s entire career is based off of only a few ideas. Ozu purposely extends scenes throughout his films, especially in Tokyo Story. Oftentimes he will keep the camera rolling on a scene in which the character has already left, leaving me to wonder what exactly the point of this is. These scenes don’t provide the audience with any additional knowledge about the characters, nor do they further the plot and they’re only purpose is fill time. One positive aspect about Ozu is his ability to accurately capture the complex relationships between family members. This is especially evident in Tokyo Story with the attitudes of Noriko and the other “children” towards their visiting parents. Each of the visiting parents’ children responds to their parents’ arrival in Tokyo differently, just as children today would act if their parents visited. In this sense, Ozu does a good job of capturing these complex emotions and incorporating them into his films. I feel as though I can really relate to how the children feel while, simultaneously, being able to connect with the visiting parents as well. So, although I feel Ozu’s films are somewhat dull and unoriginal, I do have to acknowledge the interesting dynamics the continuity between Ozu’s films create and his ability to portray complex relationships in a relatable manner in his film

Tokyo Story was a sad movie full of ironies and a disappointing life. One of the first screen shot of the "industrialized" world was that of about 5 or 6 smoke stacks, at full go, pumping out pollution. I think this gives us an instant feeling of uncleanness (especially in todays world). Ozu would continue to show these throughout the film and fairly significant moments in the film. They showed up after the family had some sort of altercations with the parents, like he was subconsciously trying to tell us that the city full of bright lights and huge buildings is also something that will break apart the family and the human spirit (this is mentioned when the father and his old police buddy were reminiscing about the old days when people's spirits were not easily broken, and thy fought hard to advance in life). the film did have comedy that seems like Ozu's directing style. He used the youngest grandchild to help some uneasy situations less awkward (when the grandparents first arrive, the child runs away from grandma). It also seems to me that Ozu portrays the city as the reason that when people grow and move to the city, they become bad and "heartless" (as in looking out for their own good). This can be seen with all of the children refusing to rework their schedules because of their parents coming. At the same time, their daughter in law (married to shiju) shows them more hospitality than their own blood (kin). maybe to show that there is still some good in people that haven't completely been corrupted by the city. Ozu creates such story lines where the characters don need to be complex and have different levels. We can usually get an instant read of their persona right away. That way he can worry more about the issues he wants to address instead of worrying about character development.
In watching allots an Japanese movie (from an American upbringing) it is really hard to see characters feeling a certain way or wanting to do something/ say something else but they don't. I think that is the most frustrating thing about watching these movies. It is also the best thing about watching these movies, because they are so different than what we are used to.

Utterly depressing. Having already watched I was born but…one can certainly come to expect a level of inevitability to pervade Ozu’s works, but after reading Bordwell’s analysis, it turns to a level of soul-wearying inescapability. Ozu coaxes the viewer in with familiar objects and ideas, giving hint at a plethora of choices ahead in one’s life. It could be wonderful and uplifting. Instead it becomes the nth circle of Ozu Hell. Certainly, there are choices in life, different paths to take, but Bordwell shows it to be no more than diverging off one track only to settle onto another pre-set track. These people are caught in tiny loops of time, crushed within a small temporal moment we peek in on. And it doesn’t even matter where we look, when we glance into their lives, because we know where they are going and where they have been. It has been demonstrated in another movie. The boys of I was born but…have a momentary state of peace (reconciled with their father, one last dominance of Taro), but even watching Tokyo Story can clue us in on their future. They’ve got options, but all it will do is plop them in ‘obedient son’ track A, ‘failure son’ track B, or ‘dead son’ track C (with some variety into the gray regions between).
Tomorrow is plodding ever onward in these people’s lives with little care to their mad scramble. In some cases, the music (as discussed by Bordwell on page 68) is the world rolling past, blissfully ignoring terrible events that could be being pictured at that moment. In addition, the noises you hear (cicadas, train whistles, etc) you will hear tomorrow and the next day and the next and hundreds of other people will be hearing it too. Hundreds of people all puttering through their track lives, desperate for a little flair. But with Ozu, even drama gets thrown under a dulling blanket. Children have their emotional outbursts…but they are all the same with elbows out, fists over eyes. Someone died? It’s too bad you couldn’t stick around for the whole funeral, but it doesn’t really matter. You caught a reception last week just down the street. Emotion seems to have had the wind kicked out of it. It is due course that someone is feeling sick, so don’t bother dwelling on what seems like a momentary escape from the track. It is an expected layover. Much like comedy. Finally emotions are on the rise and then BANG! Ozu slaps it down with quick laugh. While Bordwell sees this as “playful unpredictability,” I do not see how it can be anything BUT predictable. He can’t have his little people escaping their little monotonous lives, oh no, so even comedy becomes an expectation that the characters must abide by. So, they make that joke only because they have to, just because it is another step in the cycle of doom. The inexorable cycle that shuffles in generation after generation, each one having its moment of (questionable) importance before being scuttled along and along.

Position paper for week five
ALL3456 Japanese film
By Eric Michelson

The pace of the film “Tokyo story” is very slow and calm. The old couple that is the center of the film act very slow as well. It is as if the film is shown from their rerspective. The film is rather gloomy, it dosent deplict anything bad but it just has an overall sense of doom to it. It deplicts the despair and gloom of real life. For the vast majority of the film what is going on is that the kids of the parents are complaining about how inconvienent it is for them to come, and no one really seems to want them there. None of the people have enough time for their parents, with the possible expection of the wife of their son, who is a widow now. Everyone else dosent have time for them anymore. A reoccurring theam of the movie is how the children are so absorbed with their lives that they don’t have time for their parents. It is mentioned several times in the movie that children don’t turn out how their parents expected. This is most prevalent when they are drinking at the bar and the father is converseing with his old friends.

After the death of the grandmother the children are really inconsiderate, and we see that the non-blood relative, is the one who is nicest to them. At one point when the children are hearing of their mothers illness, it almost seems like the wife of their son is complaining that their mother is sick as such a busy time. It never shows the mother becoming ill, that all takes place off screen it dose hwoever show the mother when she is very ill and laying on the floor. The disssipoint that the parents feel in the children is almost tangable. In the movie the viewer will see it from the partnes perspective and feel the same way. I think it makes a point about how chidren treat their parents bad after they ave grown up, which is not the correct way for it to be.

The film Tokyo dream was very interesting, I found that I liked the grandpa more and more. One element that I thought was very interesting, there was a point when the family referenced the age of the grandma. The y had said something about her being 68 years old and then, it was as if they all understood what the problem was. I know that in traditional Japanese culture that there are years in your life that are considered the unlucky years. It is said that you should be extra vigilant in making decisions, and keeping up your health. The other thing that was really funny was the fact that they never really referenced what was wrong with the grandmother. From what I could assess is that she had a tumor and slowly made her forget, then made her dizzy, and then it finally put her into a coma where she then later died. Noriko was an important element in the movie. The constantly reference how the children never live up to their parents expectations. What I realized is that what they wanted was not that they wanted their children to be successful, but to just be happy instead. It is interesting how Noriko is the first to realize this. Where all the children spent their time at their father’s house during the mourning process for the funeral and wake, they all made excuse how they had to leave and return to the lives they had back in Tokyo. They spent their lives trying to live up to their parent’s expectations, instead of realizing that they should take their father to live with them in Tokyo. Instead they leave him all alone at his home. Noriko, who was not even a blood relative realizes what has happened and stays as long as she can, which is longer than everyone else, to help the grandfather. I also believe that what the grandfather wanted was to force his children to be successful, but later realized that he pushed them away and wanted the family togetherness after grandmother had died. You realize how lonely he is after talking with his neighbor, and then you see a single tear.

Tokyo Story puts forth a variety of complex characters in its narrative about family life. Of the five children, no two were very similar and all ended up playing a certain role in regards to their parents. However, the daughter in law Noriko seemed to prove the most loyal and kind of all their children, even though their son, her husband, has been dead for 8 years.
For example, the selfish daughter Kaneko is annoyed by her parents visit and sets them up in a spa to ‘relax’ but it is obvious from her demeaning comments such as “they don’t need such fancy gifts” and “I know a cheap place” that her consideration for her parents was more than lacking. She even gets Noriko to take them around Tokyo so she doesn’t have to. Noriko doesn’t have much to give but she tries anyway to be a good host while her in-laws visit. When the mother becomes ill, the oldest son, Koichi, and Kaneko bring mourning clothes, “just in case” she dies while the dutiful daughter Kyoko and Noriko don’t think to bring them. Both knew the seriousness of the situation but couldn’t bring themselves to think of the mother passing away. Then, not more than a day after her death, Kaneko already asks Kyoko for some of their mother’s things. Kyoko is shocked and offended she is already thinking about material things so recently and moreover, it’s about giving them to her, not to others or a sort of concern, it’s about getting her the things of mother’s she wants. Kyoko confesses her disgust to Noriko but Noriko, like the sweet woman she portrays, defends her saying she has grown up like all children do and become self-concerned, and that it may happen to them one day. Throughout the film, Noriko constantly delivers her lines with a smile, but refuses the comments given her about her kindness—insisting that she is indeed selfish. The mother even said that she was the happiest visiting Noriko’s tiny apartment, illustrating that Noriko offers them something the other children do not. Keizo states that ‘one cannot serve his parents after death’ yet ironically does not make it to his mother’s side before hand, giving a sense that he will be full of regret in the future for being a poor son. Koichi disappointed them with his position as a small town doctor and rude grandchildren, Kaneko was secretly annoyed and selfish of her time during their stay, while Kyoko and Noriko remained dutiful, even though they did not expect it of Noriko due to the death of their son eight years before. By far of all the children however, Noriko is their most dutiful and serving despite the lack of blood relation.

Thomas James Nosbish
Japanese Film
Position paper
October 8th, 2009

Tokyo Story
This film was about an elderly couple visiting there family throughout Japan. First, they visit their older son, a family doctor in a popular Tokyo suburb neighborhood. This is a very quiet place for the couple to visit as they comment on how they thought Tokyo would be much livelier. After arriving there are many awkward silences between the couple’s children. This awkwardness is lent to the fact that the sons and daughters believe they are a nuisance. The two children in the film express this notion very openly with the rude greeting and the eldest complaining to the mother where his study desk has disappeared to. The camera angel throughout this film mostly stilled and set at the eye level of the characters. They decide to go sightseeing through the city, but they have to call off it, as the doctor is summoned to tend to a very sick child patient.
Later in the film the couple visits their second child. She is a busy hairdresser, married and without children. The second child convinces everybody to pack her parents to a summer resort since they are somewhat an inconvenience. The elderly couple can't stand the noise from all the drunken people at the resort. So when they have had enough of the busy life that they sought to see, they come back to their second child's home. When they have just made up their minds, she feels a little tired and dizzy, which was used for foreshadowing in the film. The hairdresser has been preparing a home party with some other fellow hairdressers, so she makes her parents feel unwelcome and a nuisance. This theme of the older generation being pushed aside by the busier younger generation is one that is emphasized through the film. Camera play again does little to add this theme since form the most part stays positioned. There are rare occasions with the camera will draw back, as in the memorable scene of the couple looking over the ocean and the cityscape , gives you a sense on how separated they are from the world they once knew.

Position Paper for Tokyo Story
I believe that the purpose of the readings this week are too demonstrate how Ozu is an auteur. Beyond that I agree with the readings for a few reasons. One is because a definition of an auteur is a director who brings a unique and recognizable style. The first reading this week states that Ozu is “the most Japanese director out of all Japanese directors”. This in itself proves that Ozu is an auteur because a whole nation recognizes a distinct style. So that everything he works on is immediately known as an Ozu film. Things that make Ozu’s films easy to spot are both camera techniques and plot devices. Ozu is known for his “pillow shots”, which are shots that linger on inanimate objects in a frame empty of characters. This occurred in Tokyo Story a few times, once on the city skyline and a few times on objects that form abstract patterns. In addition to this, there is Ozu’s notable lack of plot. Tokyo Story is not really about anything out side of the family dynamic. It focuses more on developing who the characters are as opposed to what happens to them. One other thing that is Ozu’s sparing use of music, non-diegetic sound is very rarely used. Occasionally, there is a light melody, but in comparison to the Kurosawa, who loves using music, the Ozu is nearly devoid of music. All of these things, plus many more, contribute to Ozu’s distinct style that qualifies him as auteur, and perhaps the most “Japanese” director of all.
I think that using Tokyo Story was the Ozu “talkie” for this class was great. I am not sure about the rest of his films, but Tokyo Story contains all the stylistic elements that pertain to Ozu’s auteur-ship that is discussed in both class and in the readings for this week.

Reading the name "Ozu" on the syllabus immediately put the idea in my head that what I was about to watch was going to be about daily life without much of a spark and I wasn't disappointed. The film progresses at a snail's pace and not much really happens until the end, and even then Ozu doesn't show much of the actual dying scene. In fact, Ozu didn't show much of anything in terms of exterior shots and when the grandmother was thinking about her grandson was the only one part of the film that was shot outside. For a film that takes place primarily in Tokyo, not much of the city was shown so it was hard to understand the comparison of Onomichi to Tokyo.
The film does have its strong points, too. For example when the grandmother was dying I couldn't help but think back to my own grandmother dying from cancer, just like the grandmother in the film. It was hard on everybody. It was also hard to see as nobody would embrace those who are openly weeping like Kyoko when Shige finally arrives.
At first I really didn't understand why the film was considered so great as it is, but after some reading and talking with others I got a little more insight on what was being conveyed. Unfortunately, it didn't raise my opinion of the film too much. I understand now the reasons for its critical success, but I wasn't too impressed with it. Sorry.

Its nice to have been able to do some reading from David Bordwell, as my previous studies in cinema have largely been based on his writing, namely I tend to look at film in a very mechanical way as he does. I, like Bordell, tend to write about film in terms of how the shot is used to convey the narrative and how the intricacies of each can play off each other. It’s good to read his writing here since I was largely confused about Ozu’s techniques in cinema. Ozu, like Kurosawa (or depending on what you reading, more than Kurosawa) is largely regarded as one of the greatest filmmakers of all time, and Tokyo Story is largely accredited as being his masterpiece, also among many of the top movies of all time. I did a little extra research and found that Wikipedia lists it as being in several lists of top movies including Sight and Sound magazine’s top 10, Time magazine’s top 100, and is critically acclaimed as one of the best movies of all time by critics such as Roger Ebert and Paul Schrader. However, even as universally acclaimed as it is, I found myself not being able to quite see why Ozu’s work is so highly regarded. Obviously the shots are stunning, so the film is undoubtedly a visual masterpiece. The low angle shots characteristic of his style and a strong sense of depth and composition in every shot (for example the depth and contrast of high angle shots of the cities and the symmetrical mise en scene of the siblings all sitting at the table) I was particularly taken by a shot of an alleyway, similar to another shot Ozu had taken in I was Born, But… in which the composition is not symmetrical and is a little tilted, giving this breathtaking long distance shot of something as mundane as a simple alleyway. That being said however, I find this theme redundant among his work; the shot is superbly composed but, as in the case of the alleyway, has little to do with the narrative (unless you try to look at it through some very VERY interpretive lenses). Furthermore, Ozu fails to do something that all other famous auteurs do; he doesn’t move the camera. There are hardly any pans or tracks or zooms or any movement of the camera! Simply long takes and cuts. However (with a little help from Bordewell) I was able to understand the purposes Ozu may have had for this. Bordwell. Ozu’s process of filmmaking is a process steeped in realism. The reason camerawork is kept few and far between may in fact be because he wants us to feel like we are in the room with the characters. Bordwell notes that Ozu makes a point of giving little information to us as the audience about the characters from before the start of the movie’s plotline, and these events often take place over a short period of time (a few days or weeks). Certain presumably important elements are even omitted from that time frame, such as the parents traveling in Tokyo Story (retrospectively overt narration, Bordwell calls this). Yet the narration is not completely omnipotent either; in some scenes, when a character leaves the room, the scene continues on without them, retaining the feel of being in the room with the characters but not entirely omnipotent. Bordwell notes other examples of an adherence to realism, such as the use of a soundtrack that is “neither clearly diegetic nor nondiegetic” or on a particularly interesting note, when the music is “refusing to empathize with a character” and “rolls happily, mindlessly on.” Bordwell also noted Ozu’s refusal to use flashbacks and utilization of a restricted narrative, again these are components that make us feel more as though we are there rather than watching a film. At yet at the same time we are given visual and aural cues that remind us we are watching a movie; soundtrack cues, cuts, etc. There are clear exceptions to these realistic techniques, such as Ozu’s use of dialogue or didactic titles, but in all we are presented with “a narration that is not only p\ervasive and suppressive but highly self-conscious.” Interesting, unusual, and for me, in need of another look.

Much is made of the grandparents’ interactions with others in Tokyo Story as well. In key moments where one asks one of the grandparents a question about their children, the camera is positioned in a medium-to-close-up shot of the respondent, as though the viewer were a part of the film themselves, taking on the role of the character who just spoke. In Standish and earlier chapters of Bordwell, it was stressed that Ozu used this technique a lot in trying to draw the viewer in. It appears in the beginning as though this mid-level shot is used to signify the grandparents or their children may not want to discuss certain aspects of their lives, although they appear to be quite polite about the questioning. Indeed it almost feels as though there were a strained relationship between the people involved in the conversation whenever this particular shot composition is used, as there is the feeling that the polite conversation seems forced whenever we view the person speaking through the viewpoint of a person they are talking to.
Another interesting observation is relative tolerance in generational relations Ozu shows in Tokyo Story as opposed to the generational relations Ozu showed 20 years earlier in I Was Born, But…. One of the more glaring examples of this is the husband-wife relationship in Tokyo Story compared to the husband-wife relationship in I Was Born, But…. It is quite interesting to note that in I Was Born, But…, the wife doted on the husband, helping to dress and undress him when he got home. In Tokyo Story, the husband helps the wife put away her parents’ luggage when her parents’ arrive for a visit. It is curious to note Ozu’s sudden acclimation of the husband-wife relationship as being equal in this particular scenario, perhaps due to a cultural shift, as the relationship between grandmother and grandfather more closely resembles the husband-wife relationship in I Was Born, But…. In this way too does Ozu show conflict between the various generations of the family household.

James Updyke
8 October 2009
ALL 3456

With Ozu Yasujiro, there are so many aspects and angles to analyzing and picking at his films that I believe it is appropriate, if not necessary, to approach with an eye to specificity and detail. In David Bordwell’s Ozu and the Poetic of Cinema, the writer makes a very important observation about Ozu’s narrative style that is applicable to Tokyo Story (1953). Ozu has a knack for omitting details about his characters’ pasts, leaving the audience with little in the beginning of his films. This style is not used to confuse the audience, but as a way to draw the audience in for more. Bordwell breaks Ozu’s narrative style down to two key effects: “realism” and “intimacy.” (54).

“Realism” refers to how the real world does not create a story in which the background events are told by someone (exactly why Ozu did not like the benshi). In more Western films, a set-up is given and the story begins from that point. In real life, that does not happen. Ozu appreciates how his films are mere snapshots in his characters’ lives. In the case of Tokyo Story, the narrative begins with the elderly couple packing for their trip to Tokyo. The audience learns, through observing the unfolding events, they are visiting their children whom they have not seen in many years. Another example is how Ozu incorporates his camera technique, low angle shots that remain stationary, into his narrative style. In the sequence where Koichi’s wife is cleaning the house, the audience is shown a multitude of these camera shots from room to room. Again, there is no reference to who she is or what she does, but through Ozu’s narrative style the audience is given a realistic understanding of the character.

“Intimacy,” as Bordwell describes, is how “we come to ‘know’ these characters because their existence is almost completely circumscribed by the span of the film.” (54). This is the second part of Ozu’s narrative style. Although the audience is thrown into the story with no knowledge of a background, the narrative develops the characters to bring out their personalities. An example is the grandfather in Tokyo Story. The audience learns through his later actions (when he goes back to his daughter’s house drunk from the bar) that his heavy drinking in the past affected his family life. Ozu’s style of character development reveals these personality traits and helps to form an intimate connection, not just between characters, but also to the audience.

Brian Berzins
2983324
Response Paper 5

In this response I'm going to go into some discussion of camera work in Ozu's Tokyo Story. First and foremost, I will say that I found the camera extremely distracting. We mentioned in class that Ozu completely disregarded the 180° camera rule (the rule that when going back and forth between two people the camera does make a 180° rotation). While this did not bother me early on, the more it was done, and the more rapidly it was done, the more disoriented I got. I suspected that it would have the opposite effect, that it would get less distracting as the movie progressed.

One of more interesting things I noticed about this break was the repeated “straight-on shot” where the person talking was looking directly at the camera. This didn't bother me in Rashomon (example: each pleading their case in court – where the camera looks from the judge's perspective) because it was constant. The camera was always in the same position and the people moved relative to it. In Tokyo story, we were constantly being placed in the seats (as the audience) of multiple characters. I found this to be extremely disorienting and quite confusing at times. This, when done in rapid succession, eventually lead me to just look away from the characters into the background, or in the worst cases, completely off screen.

Tokyo Story is a depiction of generational changes and modern life, and the effects of urbanization on Japanese society. The parents are very proud of their children's accomplishments, and decide to visit them in Tokyo, taking a train from their home in Osaka. The emerging dominance of Tokyo as the country's centre for economic development and corporation headquarters meant that Tokyo was where the most opportunities were available, so two of the elderly Hirayamas' children as well as the widow of another had migrated there and now were leading lives separated from their parents. The demands of modern life took their toll on them, and the parents are largely ignored. While they try to make them comfortable with acts such as sending them to an onsen resort, the widening gap between child and parent in society eventually strains the relationship. Only their son's widow shows them true compassion, not through true choice in the matter but through an overly hectic lifestyle that contributed to bringing Japan into the modern age. However, because their lifestyle no longer allows for time spent with their parents, the parents decide to return home.
On the trip back to Osaka they stop to visit another son, living nearer to Osaka. As the wife Tomi falls ill, they send telegrams back to Tokyo where their children now make time to visit their dying mother. After the funeral they rush back to their busy lives, leaving only the widow Noriko to spend timing with the grieving Shukichi and the unmarried daughter Kyoko, who still lived at home with her parents. The irony that blood relations only make enough time for their relatives in the direst of circumstances while the widowed daughter-in-law with no reason to stay shows compassion shows the downsides of modern life. Whilst modern innovations seem to make life simpler we pay for it in the familial relations that we lose. Perhaps then the key is to strike a balance between the demands of modern life in a big city and spending a time with friends and loved ones while we still have a chance.

Tokyo Story
Like Citizen Kane, though it’s supposed to be a cinematic masterpiece, I had trouble staying interested in Ozu’s Tokyo Story. The messages that we are supposed to cherish and respect our parents while they’re around, and that sometimes people don’t behave like we thought they would, come across clearly, but the execution is so slow that it becomes difficult to follow along. The reading promotes this as a way to let nuances and the little details unfold and be revealed, but you have to know what you are looking for or pay very close attention, something that can be difficult for the average viewer. I also found the practice of having the actors smile constantly and not really act very distracting. I had troubles putting it into the context of the message; I still haven’t quite figured out Ozu’s reason for it.
Despite the snail’s pace of the movie, I found the cinematography and mise-en-scene very interesting. The way Ozu filmed conversations was very unconventional. Instead of shooting over the shoulder to keep perspective, Ozu shoots the speaker straight on, so that they are staring into the camera and the listener is not in the frame. Though the camera doesn’t move, the subjects either always remain centered in the frame or the rule of three is applied, where the focuses of the shot the divide the frame into three sections. This shows how deliberate the shooting is, rather than how characters moved about the frames in earlier movies we’ve watched. I also found it interesting how Ozu would continue showing a setting after the character had exited. This method played a part in the slow pace of the movie, but it also forces the viewers to consider the setting rather than just put all of the attention on the characters as they move about a room.
All in all this is a very depressing movie. The parents are mainly unappreciated and disappointed by their children. The lack of music in the background, especially when the characters are speaking, adds to the somber tone of the movie. Keiko’s conversation with Noriko about life being disappointing contrasts with the smiling, making this scene one of the hollow-est feeling, something that carries throughout the film.

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I'll gear this review to 2 types of people: current Zune owners who are considering an upgrade, and people trying to decide between a Zune and an iPod. (There are other players worth considering out there, like the Sony Walkman X, but I hope this gives you enough info to make an informed decision of the Zune vs players other than the iPod line as well.)

3 Moronic Techniques Misconceptions inside BaseballThere are various myths in existence within the theme connected with techniques intended for snowboarding competitors. A variety of them ended up designed a time before even though other people ended up distributed possibly not excessively before through the web. As time passes, a crowd of players were stored back their particular snowboarding exercise sessions due to these types of misconceptions. Hopefully that will by simply understanding the best truth it is possible in order to change the snowboarding exercise sessions to be able to obtain the total possible amongst people. You should remember that I'm certainly not a health care professional therefore you have to check with a family doctor previous to start any kind of weight training packages. Misconception ONE: Body building exercise will probably damages a terrific action. Truth: Not a single thing could possibly be additional mistaken! Techniques is vital for being an increased hitter! Specific items have to be considered if body building exercise although. Be certain you might be extending in advance of along with in case you techniques, along with harmony the weight training along with cardio exercise weight training also. Another product in order to recall will be that you will be the snowboarding person therefore the major weight training goal could be to learn snowboarding. Imagine that will although you should be physical exercise, you must allocate a lot of your time and energy within the snowboarding discipline rehearsing the snowboarding principles. Misconception ONLY TWO: Pitchers can't pick up loads. Truth: Just like misconception you, pretty much nothing at all could possibly be further more on the real truth. In case you are the pitcher exactly who doesn�t pick up loads, you may become conquered additional moments in comparison with possibly not by simply batters exactly who perform pick up loads! A lot of people fight that you're walking injure by simply resistance training should you be the pitcher. To tell the truth although, that will strength training the truth is makes an individual via acquiring suffering a loss! Because of this , the reason why almost many MLB pitchers invest in the year-round training course, and keep independantly brainwashed to the 200+ innings they'll become organizing almost every season. Misconception THREE: Body building exercise will probably come up with a person an increased hitter and also an increased pitcher. Truth: You happen to be probably indicating in order to on your own �but you may laughed and said that will both equally batters along with pitchers have to pick up loads yet you are generally revealing myself it is going to possibly not produce myself far better? " Sure, I'm hinting that will body building exercise will not likely turn you into an increased hitter and also an increased pitcher... solely. Although it is vital in order to use a terrific body building exercise plan towards yourb exercise sessions, you'll need to be rehearsing the action and also the pitching action to truly turn you into an increased hitter and also pitcher. Just what exactly I'm seeking to express will be you will want to become shelling out a minimum of utes very much exercise time period within the discipline crucial while working out. That is dependant on creating a well balanced exercise prepare. Given that we�ve debunked these types of popular snowboarding education myths, I really hope it is possible in order to alter the snowboarding weight training along with education weight training that may help you come to be one of the best snowboarding person you may be,Miami Dolphins Bess Authentic Team Color Jersey! Do you want bettering the video game along with becoming one of the best snowboarding person you may be? In that case, consider world wide web. BestBaseballWorkouts. com to discover additional helpful tips along with snowboarding exercise sessions along with education packages available for purchase that should have the video game on the upcoming degree!Boston Reddish Sox THE MLB Workforce: Just about the most common snowboarding groups, your Birkenstock boston Reddish Sox is known for a powerful historical past that will any kind of admirer whose ambition is to get your seats have to realize like a should. The usual Reddish Sox snowboarding workforce possesses eventually overcome The earth Sequence Match connected with Snowboarding inside 2007, following your substantial phase connected with 86-years. Once again inside 07 because of their uninterrupted very difficult endeavours inside bettering their particular carrying around knowledge along with workforce function that they picked off The earth Sequence. Your workforce is probably the actions unique Us Little league franchises. At first your workforce ended up being self-importance connected with Buffalo grass, nevertheless it altered in order to Birkenstock boston inside 1903. Subsequently your Sox are generally lodging right now there. If Mark Henry a number one guru connected with team became your possession from the workforce, it is fortune altered completely along with became a lot more achievements inside line along with organized it is brand jointly your rolls royce workforce inside snowboarding connected with U . s. The corporation focuses number one youthful pitchers thinking that possesses offered these people the outcomes expected. A bit within the Workforce: Your Birkenstock boston Reddish Sox will be Important Little league Snowboarding workforce via Birkenstock boston, Massachusetts. Fenway Area is a team's golf ball area. Your workforce is best suited in order to Us Little league southern department. Your workforce previously worked night and day in order to clinch the earth Sequence Tournament. Considering that their particular dashing triumph connected with Globe Sequence inside 07, your workforce have come to be the principal you inside snowboarding. To keep in that , location your workforce possesses re-inducted a crowd of competitors such as Microphone Lowell, Lilly Wakefield along with Curt Shilling. With each other which they have focused your workforce all the more strong. Although the an old experienced snowboarding person Sean Casey ended up being within the previous to the accountability in order to steer your Sox workforce. Your workforce proprietors are generally some leading marketers specifically Mark Henry, Tom Werner along with Larry Luccino. Terry Francona is a Sox's workforce boss as well as the basic boss is really a an old snowboarding person Theo Epstein. At the start, your workforce ended up being designed inside season 1901. That they earned their particular First Globe Sequence name inside season 1903 although beating your Pittsburg pirates inside finals. Subsequently back 1912 your clinched the earth name subsequently your workforce became your earning connected with greatest trophy inside season 1915,Reebok Indianapolis Colts #44 Dallas Clark Super Bowl XLIV Authe, 1916 not only that inside season 1918. Yet subsequently their particular performance dropped they usually played out possibly not nicely not sufficient or they might get your name until eventually all four 2007 which usually smashed your glaciers they usually ended up gave your name. If you want physical activities specifically snowboarding along with do not desire to overlook the snowboarding affair your record to AskaTicket to discover many of the most current messages upon snowboarding media, Birkenstock boston Reddish Sox 2011 routine as well as the popular facts the snowboarding occasions. 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Do you ever wonder about the authenticity of an article without an author's name? I really think all articles posted here should require a minimum of an author's name and job title.

People have been saying for years now that the US Government has been back engineering crashed alien craft. I don't get it. Just look at this latest new craft X-47B from the NAVY. Come on folks, get it together! It looks nothing like a flying saucer jeez. Where do these crazy ideas come from? Ha Ha LOL

Do you ever wonder about the authenticity of an article without an author's name? I really think all articles posted here should require a minimum of an author's name and job title.

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Those who write rubbish like this hope to turn away any of those conservative skeptics (among older age groups and some younger) because it seems like a great number of conservatives have thrown out the scientific method for a kind of faith-based, apocalyptic use-it-up-and throw-it-away view of the world, and a fear-based approach to ET, which provides good cover for those groups who won't disclose and reinforcing that fear amongst a highly conservative US population. We call this disinfo.

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HALLELUJAH! moved and encouraged by the prayers for Seoul. was great meeting you and seeing Pastor Larry and Pastor Peter again. our prayers are with you and we’ll be praying for the conference as well. Happy Easter!

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Here's an interesting recent article from Slate about the Plott hound:
http://www.slate.com/id/2184281

Pretty rough seas by the time we left. It was cold and windy when we were there but it was kind of an north east wind so the slough was still protected. Very cold though. I guess I’m just lucky Rick. Let’s get after some muskies soon!

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