Taipei recently held the Ozu Memorial Exhibition, and discussions on Ozu have gradually increased. After reading it, Yan Shikai’s views are particularly innovative and inspiring. Take a note for later understanding:
a toilet and excretion, compared to the unrestrained urchins and jokes in Ozu’s movies, reflect what Ozu’s movies want to show. Unspeakable world. Among them, "Good Morning" (1959) is the most representative.
Second, it’s very strange that in so many previous articles about this tourist-style movie ("Tokyo Painting" or "Looking for Ozu"), there was no mention of Mr. Atsuda Yuharu in the film and the life of Ozu. I only praised him once. That time, I was going to take a picture of an old man who had just died in the hospital. Atsuda said that the sun was shining outside the window that day, and he was still lighting up the room; Ozu asked why he did this? Atsuda said he did not want an old man to die in the dark, and Ozu immediately admired him after hearing this. In this place, one of the fascinating aspects of Ozu’s movies is best demonstrated: even in the darkest scenes (such as the mother of "Tokyo Story", the mother died in the end, like the "Taste of the Saury" at the end of Kasato Chizu lonely Sitting in the kitchen), the audience can't help feeling that there is a little warm light infiltrated in that picture.
3. The most impressive thing in "Looking for Ozu", apart from Ozu’s dark tombstone, is that Wenders met another great German director He Suo on the Tokyo Tower. Two of his comments on Ozu , Li Guan Wanjun: (Ozu movie) such images, it is very likely that some of them have to be obtained from war; .. If contemporary people can shoot such pure images, I am afraid they can only go to space to find them.
Shi Ozu is not blindly immersed in the taste of Eastern life, not to mention his mysterious thinking ability can only be radiated in the Zen realm.
Five (Western filmmakers, especially Donaldridge and Wenders) They regard low-angle photography as an inevitable characteristic of the tatami life in Japanese society. They think it was Ozu who inked this feature everywhere, and in echoing his plain film subject matter, he couldn't help but form his movie style.
This is actually a very boring "low view".... His low-angle photography is most often used, the viewing angle that is hailed as the Japanese hospitality, which is actually when the subject (audience) is really When listening, the most commonly used posture: head, slightly lifted up; heart, contemplation.
For sixty to twenty years (1983-2002), Taiwan did not have a book dedicated to Ozu; in addition, over the past two decades, Ozu video tapes and discs that have been on the market in Taiwan have been limited to late Ozu movies (from 1949's "Late Spring"). "Start), so that Taiwanese society’s understanding of Ozu was almost completely dragged by Ozu in Donaldridge’s book until now, and it has not been able to break away from the gravity field of this book.
The famous Taiwanese brushwork writers we have seen all seem to be sitting on the tatami mats, taking the low-angle photography emphasized by Donald Ritchie, looking up at Ozu movies "blindly"; Ozu silent films and even the mid-terms In the audiovisual film, the "view and life" that moves and even shakes lively has become a lonely kitchen among these Taiwanese folks.
Seven "What the Lady Forgot"... This film can be regarded as the most energetic work in Ozu's movies, and it is Ozu's first work that integrates Eastern and Western cultures into a seamless world. To break the limitations of Ozu's later films in Western views such as Donald Ritchie, we must first explore the subtle transitions in the film, and then lay the foundation for our unique insights into Ozu's films.
On the surface, the Ozu movie, which seems to be unmoving, can only reveal the mystery of life (not just one or two people) from the "frozen inner emotions".
Nine In Paul Schrader's famous book "Transcendental Style In Film: Ozu, Bresson, Dreyer" (London: University of California Press, 1972), a famous book on Ozu, Bresson, and Dreyer, he made a contribution to Ozu's film. Really surpassing Donald Reich, Sato Tadao and other East and West experts who regard Ozu as a "film Zen master", the most incisive insight is that he put forward a view similar to "Zen" (or the first methodology of Buddhism). Schrader said: "Sure enough, we can define Ozu's movies, and we can only start with'by what is not'." (Page 22) ──The arguments of Ricky and Sato say that Ozu Movies try not to do or do less.
Schrader went on to say that Ozu has adopted this film technique throughout his life, but only appeared in his "late period" (what Ricky and Sato called) "being less and less doing anything." (cited on the same page) In this way, what is closer to the full picture of Ozu's movies is a path from Zen to Zen master. And "What Lady Forgot" is at a turning point on this tortuous road.
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