Formal and Narrative Elements in Late Spring and Ikiru

                In Ozu’s Late Spring and Kurosawa’s Ikiru, formal devices are used to construct the stories and communicate emotions to the audience. The directors use unique filming and editing techniques to construct their stories. They use narrative elements to communicate plot elements. Although the techniques used by the two directors differ, they are ultimate used to effectively communicate with the viewer.

                Mise en scene elements are used in Late Spring. The movie is in black and white, which separates the current audience from the culture and time period that the movie took place in.  It also accentuates action and draws the focus towards the plot and the aesthetics. Despite the American occupation, Ozu was able to use several scenes to express Japanese nationalism. The tea ceremony was a reference to Japanese tradition. The film shows traditional Japanese temples and pagoda roofs. The noh scene references traditional and cultural entertainment and storytelling (Bordwell, 309).

A shot of a Japanese temple. 

                Ozu uses filming angles and techniques as constructive elements in his film. He frequently used low angle shots. Occasionally these shots would take the point of view of another character, allowing viewers to identify with that individual. Low angle shots were a unique way for Ozu to distinguish himself as an artist and create a new aesthetic view. Rather than panning, Ozu preferred static shots framed in such a way that the focus remained on the characters. He did not use dissolves or dollys but instead had the cameraman follow the characters at the exact same speed if movement was necessary (Bordwell, 311).

            The emotions and everyday interactions of the characters are central to Ozu's film. They are supported through every formal, stylistic, and narrative choice that Ozu makes. Noriko is characterized by her relationships. She is very close to her father and takes care of him. She worries about him. She also faces a conflict between traditional and modern values and embodies this theme throughout. Somiya Shukichi also worries about his daughter. Although he is conflicted and does not want her to leave, he knows that society expects her to marry and that she will be without him someday. It is implied that he lies about getting remarried in order to convince his daughter to take a husband. These characteristics are evident through slow pacing techniques that force the viewer to observe interactions and consider themes and the low angles that show emotion in the characters. 

In this scene, Noriko and her father have dinner. Low camera angles put the viewer on the same level as them as they are sitting on the floor. Noriko prepares dinner in the beginning and it is clear that she cares for her father. It is here that her father begins to pressure her about getting married while still offering her a choice, demonstrating the conflict of traditional vs. modern values.




\

A low angle shot looking up at Noriko.

This low angle show has the camera on the floor just as Noriko is on the floor.    

            Ozu used unique transition shots to construct his narrative. He would use pillow shots, often showing a building before a character would enter or show a landscape rather than using dissolve techniques. His narrative often left seemingly significant events out. He did not show Noriko’s wedding and the audience never sees her fiancé (Bordwell, 310). This allows the focus to be ok Noriko’s emotions and her relationships with father, her aunt, and Aya. It emphasized themes such as the tension to embrace both traditional and modern practices. Seemingly insignificant or irrelevant scenes are shown such as the long train ride, but this scene conveyed the connection between Noriko and her father and the pace focused on emotion and character development.

A pillow shot of the train station right before Noriko and her father board the train.

                In Ikiru, Kurosawa also focuses on aesthetics to construct his scenes and add to plot development. In the beginning of the film, Wantanabe Kanji is a very serious man who is described as a corpse, emotionally dead. He does not enjoy life but instead focuses on his job. He is first seen in his office. His desk is cluttered with stacks of documents and the room seems tight and oppressive. Like Kanji, it is stuffy and dark. The job seems tedious as workers repeat the same motions over and over again. Kanji appears lifeless and apathetic. After learning that he only has a short amount of time to live, he tries to embrace life and is often shown outside where there is more space and freedom. He is not shown in his office again (Goodwin, 150).

          Here, Kanji begins to seek out other opportunities after receiving his diagnosis. He is still a little unsure , but eventually begins to relax. The space is very open compared to his office. 

Kanji when he is first shown in his cramped and oppressive office.

                The narrative begins not with a shot of Kanji but a shot of his stomach and the cancer within. The narration foreshadows events to come. A narrator explains that the protagonist has cancer and acts as an outside observer. When the camera finally focuses on Kanji, the narrator continues to talk about the monotonous life that he lives. Kurosawa also uses a narrative montage effect is used to demonstrate the frustrations of the women who attempt to get someone to address environmental problems. Flashbacks are used as a narrative device to explain events and to reveal the emotional state that Kanji is in. (Goodwin, 160).

                Kurosawa often uses close ups to emphasize the emotions being experienced by the characters. a close up shot is shown in the photo below. You can clearly see the emotion in Kanji's face. Kurosawa also uses dissolves to transition into narrative flashbacks. Dolly shots and pans follow the characters as they move (Goodwin, 161). 

A close up show of Kanji that clearly demonstrates emotion.

      Both Ozu and Kurowasa use formal and narrative elements to construct their stories in a unique manner. They differ in technique, with Ozu focusing on low angle shots and avoiding pans while Kurowasa using close ups and panning shots. Kurowasa alternatively uses narration and flashbacks. Regardless of differences, both directors use every detail to convey a their messages to the audience, using different techniques that are characteristic of their films.