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YasujirOzuWikipedia,thefreeencyclopedia

YasujirOzu
FromWikipedia,thefreeencyclopedia

YasujirOzu(OzuYasujir,12December
190312December1963)wasaJapanesefilmdirectorand
screenwriter.Hebeganhiscareerduringtheeraofsilent
films.Ozufirstmadeanumberofshortcomedies,before
turningtomoreseriousthemesinthe1930s.

YasujirOzu

Marriageandfamily,especiallytherelationshipsbetweenthe
generations,areprominentthemesinOzu'swork.Hismost
laudedfilmsincludeLateSpring(1949),TokyoStory(1953),
FloatingWeeds(1959),andAnAutumnAfternoon(1962).
Hisreputationhascontinuedtogrowsincehisdeath,andhe
iswidelyregardedasoneoftheworld'smostinfluential
directors.Inthe2012SightandSoundpoll,Ozu'sTokyo
Storywasvotedthegreatestfilmofalltimebyworld
directors.

Contents
1 Biography
1.1 Earlylife
1.2 Enteringthefilmbusiness
1.3 Wartime
1.4 Postwar
2 Legacyandstyle
3 Tributesanddocumentaries
4 Filmography
5 Notes
6 References
7 Sources
8 Externallinks

Born

12December1903
Tokyo,Japan

Died

12December1963(aged60)
Tokyo,Japan

Occupation

Filmdirector

Yearsactive

19291963

Biography
Earlylife
OzuwasbornintheFukagawadistrictofTokyo,thesecondsonoffivebrothersandsisters.[n1]Hisfatherwas
afertilizerseller.HeattendedMeijinurseryschoolandprimaryschool.[1]InMarch1913,attheageofnine,he
andhissiblingsweresentbyhisfathertoliveinhisfather'shometownofMatsusakainMiePrefecture,where
heliveduntil1924.[1][2]InMarch1916,attheageof13heenteredwhatisnowUjiyamadaHighSchool.[n2]He
wasaboarderattheschoolanddidjudo.[1]HefrequentlyskippedschooltowatchfilmssuchasQuoVadis?or
TheLastDaysofPompei.In1917hesawthefilmCivilizationanddecidedthathewantedtobeafilm
director.[3]
In1920,attheageof17,hewasthrownoutofthedormitoryafterbeingaccusedofwritingalovelettertoa
goodlookingboyinalowerclass,andhadtocommutetoschoolbytrain.[3]
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InMarch1921hegraduatedfromthehighschool.HeattemptedtheexamforwhatisnowKobeUniversity's
economicsdepartment,[n3]butfailed.In1922hetooktheexamforateachertrainingcollege,[n4]butfailedit.
On31March1922hebeganworkingasasubstituteteacherataschoolinMieprefecture.Heissaidtohave
travelledthelongjourneyfromtheschoolinthemountainstowatchfilmsontheweekend.InDecember1922,
hisfamily,withtheexceptionofOzuandhissister,movedbacktoTokyotolivewithhisfather.InMarch
1923,whenhissistergraduated,healsowenttoTokyo.

Enteringthefilmbusiness
Withhisuncleactingasintermediary,OzuenteredtheShochikuFilmCompanyasanassistantinthe
cinematographydepartmenton1August1923,againstthewishesofhisfather.[3]Hisfamilyhomewas
destroyedintheearthquakeof1923,butnomembersofhisfamilywereinjured.
On12December1924,Ozustartedayearofmilitaryservice.[3][n5]Hefinishedhismilitaryserviceon30
November1925,leavingasacorporal.
In1926hebecameathirdassistantdirector.[4]In1927hewasinvolvedinafracaswherehepunchedanother
employeeforjumpingaqueueatthestudiocafeteria,andwhencalledtothestudiodirector'sofficeheusedit
asanopportunitytopresentafilmscripthehadwritten.[4]InSeptember1927hewaspromotedtodirectorin
thejidaigeki(periodfilm)department,anddirectedhisfirstfilm,SwordofPenitence,nowlost.Ozu'sstorywas
dramatizedbyKogoNoda,whowouldbecomehiscowriterfortherestofhiscareer.On25Septemberhewas
calleduptomilitaryreservesuntilNovember,andthefilmwaspartlyfinishedbyanotherdirector.[4]
In1928,ShiroKido,theheadoftheShochikustudio,decidedthatthecompanywastoconcentrateonmaking
shortcomedyfilmswithoutstaractors.Ozumadeaseriesofthesefilms.ThefilmBodyBeautiful,releasedon1
December1928,wasthefirstOzufilmtousehistrademarklowcameraposition.[4]Afteraseriesof"nostar"
pictures,inSeptember1929Ozu'sfirstfilmwithstars,Igraduatedbut...,starringMinoruTakadaandKinuyo
Tanaka,wasreleased.InJanuary1930hewasentrustedwithShochiku'stopstarSumikoKurishimainhernew
yearfilm,AnIntroductiontoMarriage.Hissubsequentfilmsof1930impressedShiroKidoenoughtoinvite
Ozuonatriptoahotspring.InhisearlyworksOzuusedthepseudonym"JamesMaki"forhis
screenwriting.[5]HisfilmYoungMiss,withanallstarcast,wasthefirsttimeheusedthepennameJames
Maki,[n6]andwasalsohisfirstfilmtoappearinfilmmagazineKinemaJumpo's"BestTen"atthirdposition.[6]
In1932,hisIWasBorn,But...,acomedywithseriousovertonesonadolescence,wasreceivedbymoviecritics
asthefirstnotableworkofsocialcriticisminJapanesecinema,winningOzuwideacclaim.[7]
In1935Ozumadeashortdocumentarywithsoundtrack:KagamiShishi,inwhichKokiguroVIperformeda
Kabukidanceofthesametitle.ThiswasmadebyrequestoftheMinistryofEducation.[8]:p.221Liketherestof
Japan'scinemaindustry,Ozuwasslowtoswitchtotheproductionoftalkies:hisfirstfilmwithadialogue
soundtrackwasTheOnlySonin1936,fiveyearsafterJapan'sfirsttalkingfilm,HeinosukeGosho'sThe
Neighbor'sWifeandMine.

Wartime
On9September1937,atatimewhenShochikuwasunhappyaboutOzu'slackofboxofficesuccess,despite
thepraisehereceivedfromcritics,thethirtyfouryearoldOzuwasconscriptedintotheImperialJapanese
Army.HespenttwoyearsinChinaintheSecondSinoJapaneseWar.HearrivedinShanghaion27September
1937aspartofaninfantryregimentwhichhandledchemicalweapons.[9]Hestartedasacorporalbutwas
promotedtosergeanton1June1938.[9]FromJanuaryuntilSeptember1938hewasstationedinNanjing,
meetingSadaoYamanaka,whowasalsostationednearby.InSeptember,Yamanakadiedofillness.[9]In1939,
OzuwasdispatchedtoHankou,wherehefoughtintheBattleofNanchangandtheBattleofXiushuiRiver.In
June,hewasorderedbacktoJapan,arrivinginKobeinJuly,andhisconscriptionendedon16July1939.[9]
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In1939,hewrotethefirstdraftofthescriptforTheFlavorofGreenTeaoverRicebutshelveditdueto
changesinsistedonbymilitarycensors.[9]ThefirstfilmOzumadeonhisreturnwasthecriticallyand
commerciallysuccessfulBrothersandSistersoftheTodaFamily,releasedin1941.Hefollowedthiswith
ChichiAriki(ThereWasaFather,1942),describingthestrongbondsofaffectionbetweenafatherandson
despiteyearsofseparation.
In1943,OzuwasagaindraftedintothearmytomakeapropagandafilminBurma.However,hewassentto
Singaporeinstead,tomakeafilmcalledDeruhie,Deruhie(translation"ToDelhi,toDelhi")withChandra
Bose.[10]DuringhistimeinSingapore,havinglittleinclinationtowork,hespentanentireyearreading,playing
tennis,andwatchingAmericanfilmsprovidedbytheArmyinformationcorps.Hewasparticularlyimpressed
byCitizenKane.[11]HeoccupiedafifthfloorroomfacingtheseaintheCathayBuildingwhereheentertained
guests,drewpicturesandcollectedcarpets.WiththeendoftheSecondWorldWarinAugust1945,Ozu
destroyedthescriptandfootageshotofthefilm.[10]Hewasdetainedasacivilianandworkedinarubber
plantation.Ofhisfilmteamof32people,therewasonlyspacefor28onthefirstrepatriationboattoJapan.
Ozuwonalotterygivinghimaplace,butgaveittosomeoneelsewhowasanxioustoreturn.[10][11]

Postwar
OzureturnedtoJapaninFebruary1946,andmovedbackinwithhismother,whohadbeenstayingwithhis
sisterinNodainChibaprefecture.HereportedforworkattheOfunastudioson18February1946.Hisfirst
filmreleasedafterthewarwasTheRecordofaTenementGentlemanin1947.Aroundthistime,the
Chigasakikan[n7]ryokanbecameOzu'sfavouredlocationforscriptwriting.
TokyoStorywasthelastscriptwrittenatChigasakikan.Afterthat,OzuandNodausedasmallhouseinthe
mountainsatTateshinainNaganoPrefecturecalledUnkos[n8]towritescripts,withOzustayinginanearby
housecalledMugeis.[n9][12]
Ozu'sfilmsweremostfavourablyreceivedfromthelate1940s,andthesocalled"Norikotrilogy"(starring
SetsukoHara)ofLateSpring(1949),EarlySummer(1951),andTokyoStory(1953),hascometobeseenashis
masterpiece.[13]ThesethreefilmswerefollowedbyhisfirstcolourfilmEquinoxFlowerin1958,Floating
Weedsin1959,andLateAutumnin1960.OzuoftenworkedwithscreenwriterKogoNodaotherregular
collaboratorsincludedcinematographerYuharuAtsutaandtheactorsChishRy,SetsukoHara,andHaruko
Sugimura.
Hisworkwasonlyrarelyshownoverseasbeforethe1960s.Ozu'slastfilm
wasAnAutumnAfternoonin1962.
HeservedaspresidentoftheDirectorsGuildofJapanfrom1955tohis
deathin1963.[14]
Ozuwaswellknownforhisdrinking.Heandhisscreenwriting
collaboratorKogoNodameasuredtheprogressionoftheirscriptsbyhow
manybottlesofsaketheyhaddrunk.Ozuremainedsinglethroughouthis
lifeandlivedwithhismotheruntilshedied,lessthantwoyearsbeforehis
owndeath.

Ozu'sgraveatEngakuji

Ozudiedin1963ofcanceronhis60thbirthday.ThegraveheshareswithhismotheratEngakujiinKamakura
bearsnonamejustthecharactermu("nothingness").[15]

Legacyandstyle

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Ozuisprobablyaswellknownforthetechnicalstyleandinnovationofhis
filmsasforthenarrativecontent.Thestyleofhisfilmsismoststrikingin
hislaterfilms,astylehehadnotfullydevelopeduntilhispostwar
talkies.[16]HedidnotconformtoHollywoodconventions.[17]Ratherthan
usingthetypicalovertheshouldershotsinhisdialoguescenes,thecamera
gazesontheactorsdirectly,whichhastheeffectofplacingtheviewerin
themiddleofthescene.[17]Ozudidnotusetypicaltransitionsbetween
scenes,either.Inbetweensceneshewouldshowshotsofcertainstatic
objectsastransitions,orusedirectcuts,ratherthanfadesordissolves.
Mostoftenthestaticobjectswouldbebuildings,wherethenextindoor
scenewouldtakeplace.Itwasduringthesetransitionsthathewoulduse
music,whichmightbeginattheendofonescene,progressthroughthe
statictransition,andfadeintothenewscene.Herarelyusednondiegetic
musicinanyscenesotherthaninthetransitions.[18]Ozumovedthecamera
lessandlessashiscareerprogressed,andceasedusingtrackingshots
altogetherinhiscolourfilms.[19]However,DavidBordwellarguesthatOzu
isoneofthefewdirectorsto"createasystematicalternativetoHollywood
continuitycinema,buthedoessobychangingonlyafewpremises."[20]

YasujirOzu(farright)on
locationofTokyoStory(1953)

Heinventedthe"tatamishot",inwhichthecameraisplacedatalowheight,supposedlyattheeyelevelofa
personkneelingonatatamimat.[21]Actually,Ozu'scameraisoftenevenlowerthanthat,onlyoneortwofeet
offtheground,whichnecessitatedtheuseofspecialtripodsandraisedsets.Heusedthislowheightevenwhen
therewerenosittingscenes,suchaswhenhischaracterswalkeddownhallways.
Ozueschewedthetraditionalrulesoffilmicstorytelling,mostnotablyeyelines.InhisreviewofFloating
Weeds,filmcriticRogerEbertrecounts
[Ozu]oncehadayoungassistantwhosuggestedthatperhapsheshouldshootconversationssothat
itseemedtotheaudiencethatthecharacterswerelookingatoneanother.Ozuagreedtoatest.
Theyshotascenebothways,andcomparedthem."Yousee?"Ozusaid."Nodifference!"[22]
OzuwasalsoaninnovatorinJapanesenarrativestructurethroughhisuseofellipses,orthedecisionnotto
depictmajoreventsinthestory.[23]InAnAutumnAfternoon(1962),forexample,aweddingismerely
mentionedinonescene,andthenextsequencereferencesthiswedding(whichhasalreadyoccurred)the
weddingitselfisnevershown.ThisistypicalofOzu'sfilms,whicheschewmelodramabyelidingmomentsthat
wouldoftenbeusedinHollywoodinattemptstostiranexcessiveemotionalreactionfromaudiences.[23]
Ozubecamerecognizedinternationallywhenhisfilmswereshownabroad.[24]Influentialmonographsby
DonaldRichie,[8]PaulSchrader,[25]andDavidBordwell[26]haveensuredawideappreciationofOzu'sstyle,
aestheticsandthemes.

Tributesanddocumentaries
IntheWimWendersdocumentaryfilmTokyoGa,thedirectortravelstoJapantoexploretheworldofOzu,
interviewingbothChishRyandYuharuAtsuta.
In2003,thecentenaryofOzu'sbirthwascommemoratedatvariousfilmfestivalsaroundtheworld.Shochiku
producedthefilmCafLumire(),directedbyTaiwanesefilmmakerHouHsiaoHsienashomageto
Ozu,withdirectreferencetothelatemaster'sTokyoStory(1953),topremiereonOzu'sbirthday.

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Ozuwasvotedthetenthgreatestdirectorofalltimeinthe2002BritishFilmInstitute'sSight&Soundpollof
Critics'toptendirectors.[27]Ozu'sTokyoStoryhasappearedseveraltimesintheSight&Soundpollofbest
filmsselectedbycriticsanddirectors.In2012,ittoppedthepolloffilmdirectors'choicesof"greatestfilmof
alltime".
In2013,directorYojiYamadaoftheOtokowaTsuraiyofilmseriesremadeTokyoStoryinamodernsettingas
TokyoFamily.[28]

Filmography

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FilmographyofYasujirOzu[29][30]
Year

JapaneseTitle

Rmaji

EnglishTitle

Notes

Silentfilms
1927

Zangenoyaiba

SwordofPenitence

Lost

Wakdonoyume

DreamsofYouth

Lost

Nybfunshitsu

WifeLost

Lost

Kabocha

Pumpkin

Lost

Hikkoshiffu

ACoupleontheMove

Lost

Nikutaibi

BodyBeautiful

Lost

Takaranoyama

TreasureMountain

Lost

Gakuseiromansu:
wakakihi

StudentRomance:Daysof
Youth

Ozu'searliestsurvivingfilm

Waseikenkatomodachi

FightingFriendsJapanese
Style

14minutessurvive

1928

1929

1930

Daigakuwadetakeredo IGraduated,But...

Kaishainseikatsu

TheLifeofanOfficeWorker

Tokkankoz

AStraightforwardBoy

Kekkongakunymon

AnIntroductiontoMarriage

Hogarakaniayume

WalkCheerfully

Rakudaiwashitakeredo IFlunked,But...

Sonoyonotsuma

ThatNight'sWife

Erogaminoonry

TheRevengefulSpiritofEros

Lost

Ashinisawattakun

TheLuckWhichTouchedthe
Leg

Lost

Ojsan

YoungMiss

Lost

Shukujotohige

TheLadyandtheBeard

Bijintoaishu

Beauty'sSorrows

Tokyonokrasu

TokyoChorus

Haruwagofujinkara

SpringComesfromtheLadies

Umaretewamitakeredo IWasBorn,But...

Seishunnoyumeima
izuko

WhereNowAretheDreams
ofYouth?

Mataauhimade

UntiltheDayWeMeetAgain

Tokyonoonna

WomanofTokyo

Hijsennoonna

DragnetGirl

Dekigokoro

PassingFancy

Hahawokowazuya

AMotherShouldbeLoved

Ukigusamonogatari

AStoryofFloatingWeeds

Hakoirimusume

AnInnocentMaid

Tokyonoyado

AnInninTokyo

Daigakuyoitoko

CollegeisaNicePlace

1931

1932

1933

1934
1935

1936

10minutessurvive
Lost
Shortfilm
Lost

Lost

Lost

Lost

Lost
Lost

Sound,blackandwhitefilms

Kagamijishi

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Kagamijishi

Documentary
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1936

YasujirOzuWikipedia,thefreeencyclopedia

Hitorimusuko

TheOnlySon

1937

Shukujowananiwo
wasuretaka

WhatDidtheLadyForget?

1941

Todakenokyodai

BrothersandSistersofthe
TodaFamily

1942

Chichiariki

ThereWasaFather

1947

NagayaShinshiroku

TheRecordofaTenement
Gentleman

1948

Kazenonakano
mendori

AHenintheWind

1949

Banshun

LateSpring

1950

Munekatakydai

TheMunekataSisters

1951

Bakushu

EarlySummer

1952

Ochazukenoaji

TheFlavorofGreenTeaover Adaptedfromcensored1939
Rice
script

1953

Tokyomonogatari

TokyoStory

1956

Sshun

EarlySpring

1957

Tkyboshoku

TokyoTwilight

Ozu'sfirstfilmwith
SetsukoHara

Colourfilms
1958

Higanbana

EquinoxFlower

Ohayo

GoodMorning

Ukigusa

FloatingWeeds

1960

Akibiyori

LateAutumn

1961

Kohayagawakenoaki

TheEndofSummer

1962

Sanmanoaji

AnAutumnAfternoon

1959

Ozu'sfirstfilmincolour
RemakeofAStoryof
FloatingWeeds
Ozu'slastfilmwithSetsuko
Hara
Ozu'sfinalwork

Notes
1.TheJapanesenameending"jiro"indicatesasecondson.
2.
3.,KobeKosho
4.,Miekenritsushihangakko
5.Ozu'smilitaryservicewasofaspecialtypecalledichinenshiganhei()wheretheusualtwoyeartermof
conscriptionwasshortenedtooneyearonconditionthattheconscripteepaidforhimself.
6.
7.
8.
9.

References
1.Hasumi2003,p.319
2.Weston,Mark(1999).GiantsofJapan.Kodansha
International.p.303.
3.Hasumi2003,p.320
4.Hasumi2003,p.321
5.Shindo2004,p.11
6.Hasumi2003,p.322
https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu

7.Scott,A.O.(24June2010)."RevengeontheBully,
Silently,inJapan".NewYorkTimes.NewYorkTimes
Company.Retrieved19May2015.
8.Richie,Donald(July1977).Ozu.Universityof
CaliforniaPress.ISBN0520032772.
9.Hasumi2003,p.327

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10.Shindo,Kaneto(21July2004).ShinarioJinsei[Alife
inscriptwriting].IwanamiShinsho(inJapanese)902.
Iwanami.ISBN4004309026.
11.Hasumi2003,p.329
12.Shindo2004,pp.3132
13.Parkinson,David."YasujiroOzuTheNoriko
Trilogy".MovieMail.MovieMailLtd.Retrieved
19May2015.
14."Nihoneigakantokukykainenpy"(inJapanese).
Nihoneigakantokukykai.Retrieved17August
2010.
15.Easterwood,Kurt(2004)."YasujiroOzu'sgravesitein
KitaKamakura:Howtogetthere(PartTwo).".
Retrieved20090820.
16.Miyao,Daisuke."TheSceneattheKyotoInn:
TeachingOzuYasujirosLateSpring"(PDF).
ColumbiaUniversityintheCityofNewYork.
ColumbiaUniversity.Retrieved19May2015.
17.Ebert,Roger,"Ozu:TheMasterpiecesYou've
Missed"(http://www.rogerebert.com/rogersjournal/o
zuthemasterpiecesyouvemissed),retrieved8June
2014.
18.Schilling,Mark."ReexaminingYasujiroOzuon
film".JapanTimes.Retrieved19May2015.
19.Magill,FrankNorthen(1985).Magill'ssurveyof
cinema,foreignlanguagefilms,Volume6.Englewood
Cliffs,N.J.:SalemPress.p.2542.
ISBN0893562432.

20.Bordwell,David."Konbanwa,Ozusan"(PDF).
21.Ebert,Roger."Ozu:TheMasterpiecesYou've
Missed".RogerEbert'sFilmJournal.Retrieved
19May2015.
22.Ebert,Roger."FloatingWeeds(1959)".ChicagoSun
Times.Retrieved22August2012.
23.Desser,David(1997).Ozu'sTokyoStory.Cambridge
&NewYork:CambridgeUniversityPress.pp.67.
ISBN0521482046.
24.Anderson,Lindsay(Winter1957)."Twoinchesoff
theground".Sight&Sound.
25.Schrader,Paul(1972).TranscendentalStyleinFilm:
Ozu,Bresson,Dreyer.ISBN0306803356.
26.Bordwell,David(1988).OzuandthePoeticsof
Cinema.PrincetonUniversityPress.ISBN0691
008221.
27."BFISight&SoundTopTenPoll2002TheCritics'
TopTenDirectors".2August2011.Retrieved
22August2012.
28.Elley,Derek."TokyoFamily".Retrieved14April
2015.
29.Hasumi1998,p.229
30.Sato1997b,p.280

Sources
Bock,Audie(1978)."YasujiroOzu".JapaneseFilmDirectors.Kodansha.pp.6998.ISBN087011
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Ceccatty,Paris:Cahiersducinma,ISBN2866421914
Hasumi,Shiguhiko(2003).KantokuOzuYasujiro[DirectorYasujiroOzu](inJapanese)(Enlargedand
definitiveed.).ChikumaShobo.ISBN4480873414.
Inoue,Kazuo(2003).OzuYasujirZensh[CollectedWorksofOzuYasujiro(twovolumeboxedset)](in
Japanese).Tokyo:Shinshokan.ISBN4403150012.
Rothman,William(2006).JeffreyCrouse,ed."NotesonOzu'sCinematicStyle".FilmInternational
(StanleyCavellspecialissueed.)4(22).
Sato,Tadao(1997b),LeCinmajaponaisTomeII,translatedbyKarineChesneau,RoseMarie
MakinoFayolle,TanakaChiharu,Paris:CentreGeorgesPompidou,ISBN2858509301
Shindo,Kaneto(21July2004).ShinarioJinsei[Alifeinscriptwriting].IwanamiShinsho(inJapanese)
902.Iwanami.ISBN4004309026.
TorresHortelano,LorenzoJ.,PrimaveratardadeYasujiroOzu:cineclsicoypoticazen(http://ww
w.scribd.com/doc/2212777/PrimaveraTardiadeYasujiroOzucineclasicoypoeticaZen),CajaEspaa
(Len),ObraSocialyCultural,ISBN9788495917249
Yoshida,Kiju(1998).Ozu'sAntiCinema.CenterforJapaneseStudies,UniversityofMichigan.ISBN1
929280270.
Ozu,Yasujiro(2016),Scrittisulcinema,editedbyFrancoPicolloandHiromiYagi(inItalian),Rome:
Donzelli,ISBN9788868434816

Externallinks
YasujiroOzu(http://www.imdb.com/name/nm0654868/)attheInternetMovieDatabase
DigitalOzu(http://www.um.utokyo.ac.jp/publish_db/1999ozu/)notesfromanexhibitionatTokyo
University.
https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu

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DirectionsforfindingYasujiroOzu'sgraveatEngakuji(http://www.easterwood.org/ozu/gravesite/directi
ons.htm)
Thequietmaster(http://film.guardian.co.uk/features/featurepages/0,4120,1503313,00.html)atThe
Guardian
Ozu'sAngryWomenbyShigehikoHasumi(http://www.rouge.com.au/4/ozu_women.html)
YasujirOzu(http://www.findagrave.com/cgibin/fg.cgi?page=gr&GRid=10657435)atFindaGrave
Ozusan.comAWebsiteDedicatedtoOzuYasujiro(http://www.ozusan.com)
YasujirOzu(http://www.jmdb.ne.jp/person/p0177490.htm)attheJapaneseMovieDatabase(Japanese)
OZUYasujiroStory(https://www.youtube.com/watch?v=aapd2gGuuc)onYouTube
YasujirOzuandtheSearchforCinematicPurity(http://www.dannyhahn.com/yasujiroozuandthesear
chforcinematicpurity/)fromthebookPrimevalCinemaAnAudiovisualPhilosophy
Retrievedfrom"https://en.wikipedia.org/w/index.php?title=Yasujir_Ozu&oldid=726654817"
Categories: 1903births 1963deaths PeoplefromTokyo JapanesemilitarypersonnelofWorldWarII
Japanesefilmdirectors DeathsfromcancerinJapan
Thispagewaslastmodifiedon23June2016,at14:31.
TextisavailableundertheCreativeCommonsAttributionShareAlikeLicenseadditionaltermsmay
apply.Byusingthissite,youagreetotheTermsofUseandPrivacyPolicy.Wikipediaisaregistered
trademarkoftheWikimediaFoundation,Inc.,anonprofitorganization.

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