오즈 야스지로 영화의 편집 미학

The Edit Aesthetics of Ozu Yasujiro's Films: The Variation of the Landscape Shot and the Extension of the Graphic Continuity

In Ozu Yasujiro's films, the family is the main point of his film andthe life is contained through the marriage event of the family members. Ozu' style is regulated to the fixed screen, Tatami shot and the samedirectivity, while the part of edit is evaluated unconcern relatively. Ozu's edit is characterized 'how was the landscape shots played thevariation between the one cut and the other cut' and 'how was thecontinuity expanded through the graphic similarity'. The first trait ofOzu's edit is the landscape shot. It is the most representative thing for setscreen to play a role like a kind of guide when the shot is shifted fromoutside to inside. Ozu's landscape shots are classified to a few types. First, it not only presents the residence space of the main character, butplays a role as bridge connecting a scene and the next scene. Second, itrepresents the theme of the film indirectly. For example, it shows thecirculation and the repetition of the nature in <Tokyo Story> and exposesthe repeat of the inside and outside of the space intermediated bypassageway in <an Autumn Afternoon>. Finally, it plays a role as the setscreen representing the identity of a place. It is the conventionallandscape shot. Ozu's landscape shots perform the customary function of the set screen,present the residental environment of the characters and play the role of bridge for making the narrative rhythm. The graphic similarity changesthe scenes through the element of mise-an scene, the element of color andmoving and the similarity of the behavior and the composition. Theexample of shift as similarity of color is the scene connected from the redwashing to the red lighting in <Good Morning>. Last, the achievement of the edit's originality and the extension ofrepresentation at the Ozu's edit style is found in the case shifted tomontage of attraction with the continuity through the similarity of thethings and the people. If the graphic similarity is maintained by thesimilarity of form like a shape or a composition, the similarity of thethings and the people links artistic Simultaneism wiping away theboundary between the things and the people and Manmuljedong ofJangja's theory. The shoes arranged neatly represented the image of the anold couple in <Tokyo Story> and the jar was identified with sleepingfather in <Late Spring>. These are brought to the top of Ozu's graphicsimilarity.