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

capital of Japan Story was directed by Yasujiro Ozu and released in japan in1953. It is about an old married rival that travels to Tokyo to twaddle theirchildren. They are greeted warmly, but are treated as if they are bonny anannoying sidetrack from the childrens busy lives. The mother becomes illand dies soon later they return home, leaving the family to reflect on hervisit. Some striking pictures entangle the grandmother dreaming of her futureduring a walk with her grandson, the old couples visit to a spa, and threeold men discussing the hardship of the future generations. The subject matterof the story consists of a social translation on Japanese middle-classfamily life and more acutely, an examination of man mortality, alienation,and modernity.The main contention of Ozus unique style of directing is the splendor of mutually supportive formal and stylistic systems, a contentionthat is missing from the classical Hollywood get hold ofs of this period. Whereas inmost of t he movies of this time the stylistic aspects would be subordinate 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 discreetness of the non-diegeticfilmic properties. The consideration of these elements suggests that astylistically driven film can surveil regardless of the degree of narrativemotivation.The freedom of the stylistic system to not be dependent on thenarrative creates the distinctive spatial and profane aspects of TokyoStory. The intentional discontinuity of the diegetic world is accomplishedmainly by the practice of non-traditional editing. Ozus disregard of thenecessity of respecting the conventions of the graphic match and the 180-degree termination contribute to the originality of the film. For example, one of theopening sequences in the movie is a dialogue between the marriedcouple that deliberately cuts back and forth everywhere the 180-degree line in each(prenominal) successive shot. The effect of this technique is that each characterachieves perpendicularity with the camera, which creates the illusion thatthe characters are speaking directly to the audience. This contributes tothe knockouts involvement in the world created in front of the camera. some other example is the introductory dialogue between the old couple andtheir lady friends family. An entirely different style was employed for this pic in which every character is in the frame at once. Ozu conveysthrough this scene his ability 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