Tokyo Story by Yasujiro Ozu :: Japan Japanese Film Cinema Movies

capital of Japan fabrication was directed by Yasujiro Ozu and released in Japan in1953. It is about an old married couple that travels to Tokyo to visit theirchildren. They atomic number 18 greeted warmly, but are treated as if they are just an plaguy sidetrack from the childrens busy lives. The mother becomes illand dies soon after they hap home, leaving the family to reflect on hervisit. Some striking scenes include the nanna dreaming of her futureduring a walk with her grandson, the old couples visit to a spa, and threeold men discussing the failure of the future generations. The subject matterof the story consists of a social commentary on Japanese middle-classfamily life and more acutely, an examination of human mortality, alienation,and modernity.The primary(prenominal) contention of Ozus unique style of directing is theimportance of in return supportive formal and stylistic systems, a contentionthat is absent from the uncorrupted Hollywood films of this period. Whereas inmost of the movies of this time the stylistic aspects would be subordinate word tothe narrative, the systemics of Ozu coexist independently of one another.This inimitable quality of Tokyo Story can be reflected on through theexamination of continuity, transition, and the discretion of the non-diegeticfilmic properties. The considerateness of these elements suggests that astylistically driven film can succeed unheeding of the degree of narrativemotivation.The freedom of the stylistic system to not be dependent on thenarrative creates the distinctive spatial and temporal aspects of TokyoStory. The intentional discontinuity of the diegetic world is accomplishedmainly by the use of non-traditional editing. Ozus disregard of thenecessity of respecting the conventions of the graphic match and the 180-degree notation present to the originality of the film. For casing, one of theopening sequences in the movie is a conversation between the marriedcouple that deliberately cuts back a nd forth over the 180-degree line ineach successive shot. The effect of this technique is that each eccentricachieves perpendicularity with the camera, which creates the illusion thatthe characters are speaking directly to the audience. This contributes tothe viewers involvement in the world created in front of the camera.Another example is the introductory dialogue between the old couple andtheir daughters family. An entirely different style was employed for thisscene in which any character is in the frame at once. Ozu conveysthrough this scene his exponent to layout a complex shot construction andperform scene manipulation. despite the seeming disregard for the typicalcontinuity, driven by eye-line matches and montage, this film achieves astylistic originality and independence that complements the narrative rather