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This 4 page research paper offers a scene description and analysis from Ozu's Late Spring, describing how the famous scene featuring a vase has been interpreted by critics. Bibliography lists 4 sources.
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4 pages (~225 words per page)
File: KL9_khozulates.doc
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listed below. Citation styles constantly change, and these examples may not contain the most recent updates. Yasujiro Ozu and Late Spring (1949)
Research Compiled By - November, 2011 properly! In a scene from Japanese
director Yasujiro Ozus 1949 masterpiece Late Spring, there are two cutaway shots that feature a beautiful vase. These shots are both excessively long and nothing else in all of Ozus
films have ignited the same degree controversy, as conflicting explanations have been posited to explain the cutaways and their meaning (Nornes, 2007). The scene occurs late in the film when
the father and his daughter, Noriko, journey to Kyoto just before she is to be married (Nornes, 2007). Ozus film technique can be characterized by this use of "subtle dialogue,
meaningful glances and restrained movement," as well as "still, low-angle" shots (Bock, 1983, p. 51). In the discussion of the following scene, these features are highly evident. Noriko and
her father have laid down on the sleeping mats at a traditional Japanese inn and briefly talk in the darkness about their day before going to sleep. After a short
silence, Noriko makes another remark, but her father does not reply, and she turns her head towards him to find that he has fallen asleep. She, then, turns back, looks
at the ceiling and smiles fondly. At this point, there is a cutaway to a vase that is framed by the immobile camera for roughly six seconds before cutting
back to Noriko, whose expression now reflects sadness. Then, there is a second cutaway that shows the vase, with the same framing, which lasts ten seconds before cutting to the
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