https://www.youtube.com/watch?v=2G7oeyOsfSg
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Use of 50mm only.
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The Tatami shot (Close to ground, eye level, japanese seating).
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Nothing ever happens outside of frame.
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Doesn’t use POV shots if ever.
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However very planimetric Reverse style shooting which has big semblance to Wes
Anderson and somehow to POV but since subjects don’t look into the lens, they’re not
POV’s!
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No sole protagonists.
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Frames within frames (doorways, trees, other).
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Foreground objects for depth.
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No moving camera. No pans!
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If moving, Pulling or pushing, to keep composition very similar.
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Planimetric - Neutral Staging
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Blurring of objectivity and subjectivity.
A blurring of subjective and objective: By maintaining both a closeness and a distance
to his subjects, Ozu straddles the line between objectivity and subjectivity. This is also
magni ed by that fact that there usually isn't just one hero in the lm, but many
characters to keep track of.
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The Tatami Shot: A static, low angle and distant shot, replicating the viewpoint of
someone sitting on a Tatami mat. This plus a 50mm (that mimics the human eye) which
usually is associated with audience detachment, but instead it makes Ozu's lms feel
conscious and intentional.
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Video found here, extra summary: https://no lmschool.com/2015/12/video-essay-directoryasujiro-ozu-interview-paul-thomas-anderson
"Takeaways from the essay:
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Composition: Ozu is only interested in what is inside the frame, and will often highlight
this by framing his subjects within frames (doorways, nature, foreground).
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POV: Ozu's version of POV shots (arguably the most subjective type of shot) involves
intentionally crossing the 180° line, so you get actors in single shots looking almost
directly into the lens when talking to each other.
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Elliptical Editing: Ozu uses edits as ellipsis to heighten the impermanence and transitory
nature of life. He will also regularly leave out scenes that otherwise seem
important. Mono no aware = The Pathos of Things; a Japanese term for the awareness
of impermanence and the sadness felt about the reality of life.
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Continuous action: Ozu often shows continuous action in real time, even a simple action
of someone leaving a room and entering another may require several edits.
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Transitions: When using shots of empty rooms, cityscapes, or exteriors used to pass
time, no shot lasts longer than another."