Relevant bibliographies by topics / Yasujiro Ozu

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Yasujiro Ozu'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Yasujiro Ozu"

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Mellen, Joan. "Late Ozu, Late Naruse." Film Quarterly 61, no. 4 (2008): 24–32. http://dx.doi.org/10.1525/fq.2008.61.4.24.

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Abstract This essay reflects on the shared qualities of the late works of Yasujiro Ozu and Mikio Naruse. Both worked in the shomin-geki genre of middle-class life, depicting the often unhappy social conditions, notably among women, in post-war Japan. But while Ozu is tender and pitying, Naruse is agonized and outraged at injustice.
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Albera, François. "Yasujiro Ozu, Carnets 1933-1963, Paris, Carlotta, 2020, 1275 p. ; Coffret Ozu. 6 films en couleurs, Carlotta, 2020." 1895, no. 93 (May 1, 2021): 251–54. http://dx.doi.org/10.4000/1895.8472.

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Schoneveld, Erin. "The Cinema of Ozu Yasujiro: Histories of the Everyday by Woojeong Joo." Journal of Japanese Studies 46, no. 1 (2020): 209–13. http://dx.doi.org/10.1353/jjs.2020.0022.

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Raine, Michael. "The Cinema of Ozu Yasujiro: Histories of the Everyday by Woojeong Joo." Monumenta Nipponica 76, no. 2 (2021): 430–37. http://dx.doi.org/10.1353/mni.2022.0019.

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Kerimov, Khafiz, and Tapdyg Kerimov. "The Evanescent Thing: Heidegger and Ozu." Kronoscope 14, no. 2 (2014): 195–210. http://dx.doi.org/10.1163/15685241-12341305.

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A fundamental consequence of Heidegger’s destruktion of classical metaphysics consists in a radical rethinking of the sense of presence. Nowhere is the verbal and processual sense of presence as strongly articulated as in Heidegger’s work. For Heidegger, things are never merely present. Rather, they must be ceaselessly brought into presence. Herein lies Heidegger’s non-onto-theological thinking of continuous creation: the world must be born anew from out of the anonymous event of presence at each moment of time. Such understanding of presence, in turn, opens into a phenomenology of evanescence
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Costa Júnior, Edson Pereira da. "A comunidade na expropriação: modos de alteridade no cinema de Pedro Costa." MATRIZes 14, no. 1 (2020): 267–88. http://dx.doi.org/10.11606/issn.1982-8160.v14i1p267-288.

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O artigo discute os modos de alteridade evidenciados pelos elementos estruturais de Ossos (1997), No quarto da Vanda (2000) e Juventude em marcha (2006), de Pedro Costa. Ao descrever e analisar as formas fílmicas escolhidas para construir vias de acesso entre os corpos em cena, valorizando a constante exposição ao outro, busca-se apresentar como o cinema do realizador português constitui uma comunidade intrínseca à expropriação. O artigo opta por um viés comparatista entre os filmes de Costa e os de cineastas que oinfluenciaram, como John Ford e Yasujiro Ozu; para além da breve consulta a obra
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Miyao, Daisuke. "Cinema and the Haptic in Modern Japan." Screen Bodies 3, no. 1 (2018): 23–36. http://dx.doi.org/10.3167/screen.2018.030103.

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The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwas
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Phillips, A. "Pictures of the past in the present: modernity, femininity and stardom in the postwar films of Ozu Yasujiro." Screen 44, no. 2 (2003): 154–66. http://dx.doi.org/10.1093/screen/44.2.154.

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Holanda, Karla. "Pegadas do cinema de Olga Futemma." Lumina 14, no. 2 (2020): 171–85. http://dx.doi.org/10.34019/1981-4070.2020.v14.29758.

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Olga Futemma dirigiu cerca de cinco curtas metragens, entre 1974 e 1989. Na ocasião desta entrevista, era diretora da Cinemateca Brasileira, instituição onde trabalhou desde 1984, sendo uma das principais agentes e testemunha de sua história. Aqui, ela fala de sua família para chegar aos seus filmes, deixando visíveis as pegadas, sobretudo da cultura japonesa – em especial, a okinawana -, que a influenciaram. Destacando a especificidade da região de Okinawa, de onde seus pais migraram para o Brasil, Olga revela o que isso significou para sua vida e, consequentemente, para sua obra. É possível
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TAGUCHI, Tetsuya, and Kazuo USUGI. "HOUSING COMMUNICATION-SCENE IN "OHAYOU" DIRECTED BY OZU YASUJIRO : The basic study on the composition and analysis of spatial-scene for the architectural plan." Journal of Architecture and Planning (Transactions of AIJ) 71, no. 603 (2006): 23–28. http://dx.doi.org/10.3130/aija.71.23_1.

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Dissertations / Theses on the topic "Yasujiro Ozu"

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Peris, Marta. "La casa japonesa a través del cine de Yasujiro Ozu." Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/403498.

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Through the films of Yashijuro Ozu, this thesis studies the Japanese house as a support for a way of living. The Japanese understanding of space, ma, includes the creation of an ambience that transcends the physical, built object of architectural construction and becomes evident in the house that is lived in. Ozu's films describe the radical process of transforrnation that Japanese society has undergone, particularly since the war, and shows the importance of the domestic world in Japan. The study of the house and how it is described, represented and inhabited offers interpretative clues for
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Huang, Mu-Ching. "La couleur de la vacuité : analyse de l'esthétique zen du style cinématographique de Yasujiro Ozu." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100145.

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Il existe deux approches, culturelle et cinématographique, dans les recherches sur Ozu. En réponse au conflit entre les deux, nous proposons de retourner plus profondément aux idées essentielles du bouddhisme Zen qui affectent la culture et l’esthétique traditionnelles japonaises, pour obtenir un nouveau regard sur la richesse et la profondeur de son cinéma. Le style du « ni s’attacher ni quitter » d’Ozu vient de la pensée bouddhiste « La couleur même est la vacuité. » « Couleur » signifie « phénomène », le bouddhisme affirme que dans l’univers de vacuité, tout phénomène est changeant et tempo
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Salazar, Leal Silvia. "Lacan à l'épreuve du cinéma de Yasujiro Ozu : du vide, du regard : la dimension de l'autre." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080059/document.

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Le cinéma de Yasujiro Ozu se caractérise entre autres par la divergence des commentaires à son égard. Pour certains critiques, son esthétique « typiquement japonaise » évoquerait la résignation paisible face à un destin hostile. Pour d'autres, l'expérience de la vision d'un film d'Ozu serait « cruelle » et « intense » dans la mesure où la « violence des coupes » produirait un « sentiment d'étrangeté ». L’œuvre d'Ozu se présente ainsi comme un noyau susceptible de polariser des significations opposées, occupant un espace « entre » qui laisse au spectateur le choix de sa position face au paradox
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Hori, Yukie. "Os ensaios da Dona Sombra - Shadôsan no zuihitsu." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-12012016-113644/.

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Buscando referências e novas relações que ampliassem as possibilidades do pensar e do fazer nas artes visuais, Os ensaios da Dona Sombra (?????? ??? Shadôsan no zuihitsu) lança um olhar vagante para as artes e culturas japonesa e ocidental, conferindo especial atenção às obras e práticas de dois artistas, o diretor de cinema Yasujiro Ozu e o paisagista Mirei Shigemori. Quatro textos delineiam quatro dúvidas: o ensaio, o tempo (cinema), o espaço (jardim) e os encontros (meus trabalhos visuais).<br>Looking through references and relations that contribute to broaden the possibilities of thinking
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Toresson, Fredrik. "Tidig Ozu / Sen Ozu : En jämförande stilanalys av A Story of Floating Weeds och Floating Weeds." Thesis, Stockholm University, Department of Cinema Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-912.

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<p>Syftet med denna uppsats är att jämföra ett av Ozus tidigare verk stumfilmen A STORY OF FLOATING WEEDS (1934) med ett senare, färg- och ljudfilmen FLOATING WEEDS (1959). Hur skiljer sig dessa åt stilistiskt, vad förenar dem, vad följer t ex av närvaron av färg och ljud i den senare och avsaknaden av desamma i den tidigare filmen.</p><p>Analysen utgår från ett neoformalistiskt perspektiv och i en teoretisk genomgång redogörs för denna inriktnings begreppsapparat. Centrala begrepp häri är t ex främmandegörning, d v s av-naturaliseringen av den vardagliga perceptionen, stil, definierat som inn
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Lam, Oi-wah. "A male 'look' versus a female 'look' : a comparison of Kurosawa's and Ozu's films /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262051.

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Fermaud, Virginie. "Ozu Yasujirô et Imamura Shôhei : le clair-obscur, le présent éternel et l'être-vu." Strasbourg, 2011. http://www.theses.fr/2011STRA1038.

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Le cinéma japonais ne s’est vraiment fait connaître en Occident qu’au début des années 50. Le critique André Bazin souligne alors un cinéma japonais sensiblement différent du cinéma français, ayant su assimiler les arts du Japon dans leur ensemble. Afin de saisir au mieux cet héritage artistique, étudier l’œuvre d’Ozu Yasujirô (1903-1963) est apparu nécessaire. Avec plus d’une cinquantaine de films à son actif, il a connu les grandes étapes de l’histoire du cinéma. Véritable plasticien, son œuvre peut être abordée sous l’angle des arts et de la pensée du Japon, et ce malgré une immense influen
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Dominguez, Jimenez Roman. "Rythme, geste, montage : esquisse pour une technologico-politique par le cinéma." Paris 8, 2012. http://www.theses.fr/2012PA083456.

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Notre objectif est de proposer des concepts philosophiques qui puissent contribuer à susciter une politique distincte de celle de la souveraineté étatique et des régimes représentatifs. Il nous semble que si la politique se trouve désormais remplacée par une gestion managériale où souvent les institutions souveraines ne jouent que le rôle de figurantes, c’est moins dû à un échec des projets de la modernité ou à une crise de civilisation liée à une supposée phase finale du capitalisme, qu’à cause d’une dérive technologique au cours de laquelle toute politique ne cesse de renvoyer à l’image et a
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Zernik, Clélia. "L’œil et l’objectif : la psychologie de la perception à l’épreuve du style cinématographique (1945-1965)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040254.

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En faisant du monde un objet déployé sous le regard du spectateur, le dispositif cinématographique semble mettre le film à la disposition de la science de la perception, qui pourrait alors rendre compte de cet objet spécifique en tous ses éléments, et même le plus inassignable – son style. La psychologie expérimentale peut alors devenir un instrument d’analyse privilégié dans l’étude des films, précisément parce que, comme eux, elle suppose un dispositif dualiste de perception. Il s’agit alors de déterminer dans quelle mesure la psychologie de la perception – notamment la Gestalttheorie – est
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Martins, Hugo de Oliveira. "Yasujiro Ozu : ciclos de vida." Doctoral thesis, 2019. http://hdl.handle.net/10451/43836.

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A investigação, consubstanciada nesta dissertação, sobre o realizador japonês Yasujiro Ozu (12 de dezembro de 1903, Tóquio - 12 de dezembro de 1963), é realizada na perspetiva de alguém que tenta fazer filmes, que pretende olhar para a obra deste realizador como matéria de descoberta e aprendizagem. Ozu é um realizador de afetos, aquele que mais próximo está da vida quotidiana e da família, um dos seus temas maiores. Mas a casa, como foco espacial e emocional das personagens, nunca foi ponto de partida para um estudo ou interpretação. A casa onírica de Gaston Bachelard, é assim a porta d
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Books on the topic "Yasujiro Ozu"

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Ozu Yasujirō no shokutaku: Ozu Yasujiro à table. Haga Shoten, 2000.

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Ozu Yasujiro: Viaggio a Tokyo. Lindau, 1996.

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Ishaghpour, Youssef. Formes de l'impermanence: Le style de Yasujiro Ozu. Farrago, 2002.

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Erika, Gregor, Gregor Ulrich, and Freunde der Deutschen Kinemathek, eds. Yasujiro Ozu: Texte zum Werk, zur Person, zu den Filmen. Freunde der Deutschen Kinemathek, 2003.

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Censorship of Japanese films during the U.S. occupation of Japan: The cases of Yasujiro Ozu and Akira Kurosawa. The Edwin Mellen Press, 2009.

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Sorensen, Lars-Martin. Censorship of Japanese films during the U.S. occupation of Japan: The cases of Yasujiro Ozu and Akira Kurosawa. Edwin Mellen Press, 2009.

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Hamano, Y. Ozu Yasujirō. Iwanami Shoten, 1993.

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Shigehiko, Hasumi. Yasujirô Ozu. Cahiers du cinéma, 1998.

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Kantoku Ozu Yasujirō. Chikuma Shobō, 2003.

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Tanaka, Masasumi. Ozu Yasujirō shūyū. Bungei Shunjū, 2003.

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Book chapters on the topic "Yasujiro Ozu"

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"Yasujiro Ozu." In Cinematic Encounters 2. University of Illinois Press, 2019. http://dx.doi.org/10.5406/j.ctvh9w0qq.20.

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Joo, Woojeong. "Introduction: Ozu, History and the Everyday." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0001.

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This chapter introduces the scope and purpose of the book. It begins with a survey of the Western theories on the everyday, concentrating on Henri Lefebvre, Michel de Certeau and Walter Benjamin, and suggests central concepts for analysing Ozu’s films such as ‘deviation’ and ‘permeation’. The concept of the everyday is then expanded into the Japanese context by examining the possibility of applying Western ideas to modern Japanese history. Lastly, reviewing the previous Ozu studies in academia, from Richie and Bordwell to Wada-Marciano and Phillips, this chapter introduces and examines the socio-historical approach as the primary methodology of this book.
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Joo, Woojeong. "Early Ozu: Shōshimin Film and Everyday Realism." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0002.

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This chapter examines the early phase of Ozu’s cinema, from 1927 to 1932, in the context of the development of Japanese cinema into a modern entertainment form. The first part examines the production strategy of Shochiku, especially in regard to the concept of Kamata-chō as the studio’s fundamental tenet, which was developed in the course of Shochiku’s effort to adopt a modern, Westernised cinematic style through the realistic depictions of urban everyday life, although the modernity had to be in constant conflict with more archaic forms and styles such as shinpa. In the second part, the genre of shōshimin (middle class) film is discussed as Ozu’s attempt to further complicate the format of Kamata-chō by developing its existing representation of modern everyday life into a critique of modernity. This point is examined by analysing Ozu’s two representative shōshimin films of the era, Tokyo Chorus (1931) and I Was Born But… (1932), in comparison with the work of other Shochiku directors, such as Shimazu Yasujiro.
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Joo, Woojeong. "Ozu in Transition: The Coming of Sound and Family Melodrama." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0003.

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This chapter deals with the period of the mid-1930s, when Ozu had to face new challenges from the pressure of commercialism to the coming of sound technology. The main question addresses whether and how the director maintained his critical view of Japanese modernity while using mass-oriented genre formats. Firstly, the conversion to sound in the Japanese film industry is investigated in relation to how it influenced Ozu’s filmmaking. It is followed by a discussion of Ozu’s Kihachi series (such as An Inn in Tokyo (1935)) and woman’s films (such as Woman of Tokyo (1933) and Dragnet Girl (1933)), as an evidence of the director’s expanding generic interest from the middle class into the working class and women. These generic terms will be finally confirmed through textual analysis of Ozu’s films to examine how Ozu’s everyday realism, while working within the context of established generic formats (such as ‘failed moga’ narrative in woman’s film), remains as a critical view of the Japanese modernity.
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Joo, Woojeong. "Wartime Ozu: Between Bourgeois Drama and National Policy Film." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0004.

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This chapter deals with Ozu’s wartime works from the perspective of their continuing inquiry into the everyday as well as their relation to his postwar films so that they can be re-evaluated as a connecting bridge between the prewar and the postwar period. In the first part, Ozu’s complex stance on the war and the nationalistic ideology is examined through contextual survey of wartime history of Japan and Japanese cinema, and also analysing primary sources that has recorded Ozu’s own experience at battlefield. The second part analyses Ozu’s wartime bourgeois drama, The Flavour of Green Tea over Rice (1939), which, along with the previous work, What Did the Lady Forget? (1937), reveals gender politics of the female domestic everyday that operates antithetical to prevailing male-centric wartime collectivism. The last part of this chapter discusses Ozu’s humanistic position, by analysing two wartime films about paternity and its absence (The Brothers and Sisters of the Toda Family (1941) and There Was a Father (1942)) along with Burma Campaign (1942), which is Ozu’s only attempt at war film genre in a complete form.
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Joo, Woojeong. "Postwar Ozu: Ozu’s Occupation-era Film and Tokyo Regained." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0005.

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This chapter examines the postwar’s impact on Ozu and his films of the late 1940s and early 50s, which include his representative works such as Late Spring (1949), Early Summer (1951) and Tokyo Story (1953). Based on the discussion of the change (and changelessness) in the postwar Japanese society and film industry in the first section, the chapter moves on to the analyses of Ozu’s films from this era, in terms of gender relationship (notably, between aging parents and the daughters), US Occupation and its cultural influence on Japanese society, and the conflict between the lingering past memory of war and the present everyday life, which exhibits Ozu’s sophisticated temporal consciousness. The spatial contrast, as epitomised by disparity between war-stricken Tokyo and other traditional spaces such as Kyoto or Nara, is also discussed in relation to the generational and gender divide prevalent in the films from this period (often in the form of marriage narrative).
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Joo, Woojeong. "Late Ozu: New Generation and New Salaryman Film." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0006.

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This chapter covers the last years of Ozu’s career in the late 1950s and early 1960s, when Shochiku and the director himself were confronted by the younger generation’s challenge to established styles of everyday realism. The first part discusses the contextual basis of this change, from economic recuperation of postwar Japanese society, to the new wave of film industry, as epitomised by the boom of Nikkatsu’s Sun tribe films and the appearance of television. It is suggested that Ozu, though adopting certain aspects of the new changes, essentially maintained his styles and subject matters of urban everyday life and generational conflict, albeit with lesser critical perspective. This can be reflected in his ‘new salaryman films’ of this era, a genre that inherits the middle-classness of the shōshimin film, but with a brighter tone as to class consciousness, anticipating the appearance of television hōmudorama (home drama) genre. In the second part, such new salaryman films as Good Morning (1959) and An Autumn Afternoon (1962), are critically analysed, in terms of their active acknowledgement of new commodity culture and the ensuing banality of middle class everyday life.
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Joo, Woojeong. "Conclusion." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696321.003.0007.

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Conclusion reemphasises the historicity of the everyday in Ozu’s films, which is not a void entity but characterized by various modern subjects – distinguished in class, gender and generation – with conflicting views, the interaction among which changes throughout history. Temporality (permeation of the past into the present) and spatiality (deviation) are also importantly discussed in relation to the working of Ozu’s everyday, especially in the postwar period when historical experience of wartime presents more complex layer of social critique. The role of the Japanese film industry (namely, Shochiku) is reiterated in terms of establishing Ozu’s everyday realism, which is constantly placed in negotiating relationship with the former’s commercial concerns. Lastly, a question is raised about whether Ozu should be regarded as conservative in representing the social reality, for which the particularity of his everyday realism is suggested as an answer.
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"3 Wartime Ozu: Between Bourgeois Drama and National Policy Film." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9780748696338-006.

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"List of Figures." In The Cinema of Ozu Yasujiro. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9780748696338-001.

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