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Hace 1 día · I, a Japanese researcher, explain life and works of Yasujiro Ozu based on Japanese sources. Yasujiro Ozu was a Japanese film director (1903-1963). He began with light, funny silent films and moved on to talkies that focused on the domestic life of ordinary people. After the war, he continued to depict mainly Japanese domestic life. In his final years, his achievements were recognized to the ...
Hace 3 días · This film studies book, a translation of a landmark monograph from the 80s, was not only brilliant but kicked off a revisit in the work of the great director Yasujiro Ozu. In a sense, the synonym for cinema is the name Ozu.
Hace 1 día · Yasujirô Ozu. Dos hermanas, de carácter muy distinto, que viven juntas y se encargan de un bar en Tokio, deben hacer frente a muchos problemas: el marido de una de ellas es casi alcohólico, por lo que las relaciones entre los tres son difíciles y las deudas se acumulan.
10 de jun. de 2024 · If there had ever been a director who charted the changing of society and culture in Japan from the late 19th century into the modern age, then it was Yasujiro Ozu. Known and championed for his family dramas of emotional weight and stunning artistic quality, Ozu’s 1953 film Tokyo Story is widely considered the iconic director’s ...
4 de jun. de 2024 · Yasujirō Ozu es un Director de Tokyo, Tokyo Prefecture, Japan. Descubre su biografía, filmografía, imágenes, vídeos, el detalle de sus años de carrera, dónde ver sus películas o series y ...
10 de jun. de 2024 · Ozu Yasujirō was a motion-picture director who originated the shomin-geki (“common-people’s drama”), a genre dealing with lower-middle-class Japanese family life. Owing to the centrality of domestic relationships in his films, their detailed character portrayals, and their pictorial beauty, Ozu was.
15 de jun. de 2024 · The Only Son, Japanese director Yasujirō Ozu’s first talkie (and 35th film) u, opens with this brief, unattributed axiom. A brief prologue introduces us to Ozu’s famous style and tone— shooting subjects head-on, looking directly into the camera to confront the viewer with their emotional culpability.
