Ozu Yasujiro's Philosophical Thinking

Lura 2022-03-23 09:03:28

"Late Spring" is a work directed by Japanese film master Yasujiro Ozu, which was released in 1949. Fans who often watch Yasujiro Ozu's films are really familiar with Ozu's film lineup. Yasujiro Ozu's portrayal of family movies is absolutely unparalleled, and he can be said to be an authority on this aspect of movies. Ozu's film skills and narrative style have really influenced countless filmmakers in later generations. As I have always said, such as Taiwan's Hou Hsiao-hsien, Yang Dechang and Ang Lee, they are all filmmakers who were deeply influenced by Ozu. In Japan, many people say that Koeda Hirokazu is Ozu's successor. One of my favorite lines from this movie is, "Happiness is not something you wait for, but you create." Life is like this, and happiness is created by hard work. But this is just one of my feelings about the film, of course there are more philosophical issues in the film. The theme of this film needs to understand the social situation in Japan at that time. The real theme of the film is how to accept the real and calm reality in Japan in a changing era. 9 points.

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Extended Reading
  • Vilma 2022-03-27 09:01:21

    Under the social paradigm at that time, it must be "marrying a daughter", because only a daughter will be "separated" by "marrying out". Using the sword of the current dynasty to slash the former officials will bring about a deformed view of "praising and strengthening the patriarchy", thereby denying the "normal" at that time. The second-hand subtitles in the archives have almost become performance art, vividly showing how the connotation of the language is damaged step by step during the translation process. I remembered that the word "both civil and military" was used in "Assassination" before. There is no ready-made equivalent in English, so it was translated into long sentences to explain, and the second-hand subtitles were translated from English to "both knowledge and what". Mischievous words.

  • Fanny 2022-03-28 09:01:13

    【YVR-que】24-hour movie marathon 14 (finishing). Every time I watch it, the level of understanding and liking is different. It is estimated that it is the third time I have watched it on the big screen, but there is an element of disgust. I understand the truth, the camera, the performance, the story, etc., but the five-star view from ten years ago when I was a child feels that now, education and experience have influenced a lot. Looking at it now, no matter how we understand it, no matter how it is the analysis of the society (at that time), no matter how love and affection weave our lives, but such values ​​are outdated, right? The status of Japanese women has not improved in half a century, or even worsened to a certain extent. Does this type of film really have no negative effects? I didn't like my aunt's face from the first time. After watching it a few times, now it's sad for her and everyone. The saddest thing is that kind of obedience, and this kind of obedience is even more regrettable under such perfect camera language. sad. And this sad result is wrapped in the front of the film. (If you watch the first movie in 24 hours instead of the last movie next time, or you don't take the course of Japanese women's history, it is estimated that you will still give it full marks.) Learn techniques and be alert to values

Late Spring quotes

  • Noriko Somiya: I'd find it distasteful.

    Jo Onodera: What's distasteful? My wife?

    Noriko Somiya: No. You!

    Jo Onodera: Why?

    Noriko Somiya: It seems - indecent.

    Jo Onodera: Indecent?

    Noriko Somiya: Filthy, actually.

    Jo Onodera: Filthy?

    [laughs]

    Jo Onodera: How far I've fallen! Filthy, eh?

  • Jo Onodera: Which way is Tokyo?

    Shukichi Somiya: Tokyo, that way.

    Jo Onodera: So east is this direction?

    Shukichi Somiya: No, that direction.

    Jo Onodera: Has it always been that way?

    Shukichi Somiya: Absolutely.

    [they both laugh]