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Daisuke Miyao

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 Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.

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Katherine Thomson-Jones

range of film examples—from classical and contemporary Hollywood as well as from European and Asian art cinema—with surprisingly productive comparisons such as between Ozu Yasujirō’s The Flavor of Green Tea over Rice (1952) and the works of Stan

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Brian Boyd

. Wartenberg , Thomas E. 2007 . “ Need There Be Implicit Narrators of Literary Fictions? ” Philosophical Studies 135 : 89 – 94 . Filmography Malick , Terrence . 1978 . Days of Heaven . USA . Ozu , Yasujiro . 1953 . Tōkyō Monogatari (Tokyo Story

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood and Paul Gordon Kramer

films of Ozu Yasujiro. Consequently, it becomes obvious that the parody used “‘traditional’ themes for porno ends, which Suo achieves by making repeated connections between the home drama and the Pink Film” (221). However, the Pink genre was not just

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Murray Smith

explored in FACT: Ozu Yasujirō is often celebrated in the West as (in effect) a modernist, but he made popular comedies and family dramas (such as Ochazuke no aji [The Flavor of Green Tea Over Rice, 1952], discussed in Chapter 4 of FACT) for one of Japan