Although his work was widely unknown in the west throughout his life, for being considered ‘to Japanese’, after his death his work seems one of the ‘most universal’. Yasujirō’s films are quite understated and connect to the audience on a ‘intimately human scale’ you often see in his scripts the connections of family and the relationships between parent and child. Most of his films contain common themes, for example ‘the uneasy compromise that love and freedom must negotiate with loyalty and security. As Yasujirō progressed through his career and his style had become realized by the public you could see that what his films would lack in suspense and flourishes, he more than made up with, with the pure, powerful feelings that were felt by his audiences. As Roger Ebert wrote in 2005, ‘“[Ozu’s] stylistic development involved the abandonment of one artistic device after another until his films reached a simplicity and serenity that abandoned breadth for bottomless depths.”’
Mostly he filmed from a low point of view sticking with a waist height shot as well as eliminating all transitions such as wipes, fades and dissolves sticking with straight cuts from one scene to another as well as adding pillow shots within scenes to break it up. Also, in almost every one of his films he kept the camera static observing the ‘"180-degree rule," which states that the camera must either stay on one side of an imaginary line drawn through the scene or explain why it has moved.’
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