Family Connections: Film Analysis

Family connections have dependably been an obvious point in Japanese film from its very beginnings. Through the microcosms of family structures, Japanese movie producers have mirrored the first social clashes that have influenced their nation in their works. For instance, of the movies we have watched in class, three of them explore how family connections is a matter that affects the society today. They are: Tokyo Story, (Yasujiro Ozu, 1953), I Was Born, But… (Yasujiro Ozu, 1932), and There Was a Father (Yasujiro Ozu, 1930s) In the three movies there exists certain parallelism among them and this depends on their topics. Ozu thinks about the family as he writes his films, to the degree that it ought to be viewed as an essential component

“Ozu's cameras are static; once a shot starts the cameras do not move aside from on exceptionally unusual events, for example, the cheap, relentless and unpretentious following shot in Tokyo Story that comes to a fence to uncover the guardians sitting tight outside for Noriko to return home”. Ozu additionally disposes of some editing methods, for example, disintegrates, blurs and wipes to rather have straightforward, direct cuts. Moves between scenes are made through a progression of embed shots. Besides, it cuts down ways to deal with filmmaking, further elevating the original nature of Ozu’s movies and brought the humanity of the characters into closer view. (Jonathan,

Tokyo Story might be a cut off life kind of film however it additionally invokes a portion of the certain issues in life, for example, how we manage passing, change, maturing, and melancholy. The movies needed wistful triggers and created feelings; they turn away from minutes a lesser film would have abused. They wouldn't like to drive our emotions, yet to share their understanding one notification that a significant portion of the film's assemblage of work, including here, are more fundamental perceptions of what is going on in the movies than real basic investigation of the more profound implications and ethics of the work. Be that as it may, on the other hand, what else is there to the state? Ozu puts all that he implies in the films, no illustrations, no contemplations, is what they are what makes one feel he feels, and that makes the race otherworldly (Jonathan,