Tokyo Story ' 360 Degree

929 WordsNov 9, 20154 Pages
Tokyo Story’s 360-degree In David Desser’s “Ozu’s Tokyo Story” he mentions that casual viewers fail to notice Ozu’s “scenic construction and segmenting of screen space” (12). Ozu Yasujiro’s use of the 360-degree space within the film Tokyo Story (1953) may seem like a “mismatched” action. The 180-degree line is a rule where the camera is position at an eye-line perspective. It causes the action within a film to continuously stay on one side of the axis line. Through the editing of 180-degrees, the audience has a connection to the film that makes them feel as if they were not watching a film, but rather, watching the action in person. Ozu, like many other Japanese filmmakers, was influenced by Japanese culture, especially architecture (17). Desser states “the first time we see the Hirayamas in the film, they are seated next to each other, each facing right. Yet by the time the sequence ends we suddenly notice that now they are facing left” (13). Near the end of the segment when a new character, Noriko, walks into the scene. At this moment in the film, Tomi is on the left side of the screen and Shūkichi is on the right. The film cuts and shows Noriko entering the room, cut, then Tomi is on screen right and Shūkichi is on screen left in a long shot. Desser clarifies “characters who converse with each other seem to shift spatially in relation to each other and to the space in which they are filmed” (12). Many films, especially American films, usually have an alternating over

More about Tokyo Story ' 360 Degree

Open Document