Abstract
This chapter considers “Ozuesque” as an individual sensibility that could be rooted in and extrapolated from the thematic and stylistic traditions of both Japan and Hollywood. Ozu’s austere yet ludic constitution comprises his distinctive sensibility that is rarely emulated by any other director. In order to delineate Ozu’s aesthetic sensibility, the chapter turns to the conception of sensibility advanced by art historian Roger Fry, who argues for a need to distinguish between sensibility in design and the sensibility in texture, the latter of which he calls “surface sensibility.” Such a distinction not only helps identify Ozu’s sensibility, but further explains the uneasiness in loosely employing the term “Ozuesque” in the discussion of directors who are influenced by, or pay homage to, Ozu. The latter half of the chapter examines Kore-eda Hirokazu, who is often compared to Ozu, not through formal terms, but instead via their shared, muted sensibility.
Original language | English |
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Title of host publication | Reorienting Ozu |
Subtitle of host publication | A Master and His Influence |
Publisher | Oxford Univerity Press; Oxford |
Chapter | 5 |
Pages | 77-97 |
Number of pages | 20 |
ISBN (Print) | 9780190254971 |
DOIs | |
Publication status | Published - Dec 2017 |
Keywords
- Ozu
- Ozuesque
- Kore-eda Hirokazu
- Nobody Knows
- Tokyo Twilight
- dolls
- muted sensibility