Composition Supremeism (3)-Label of bottle

  • 2019.06.07 Friday
  • 18:48

JUGEMテーマ:日本映画の監督

 

Label of bottle

 

 

 It is pointed out that Ozu had carefully decided on the direction of pattern of the pottery placed on the table etc(28 first collection  Movie account of a trip "An Autumn Afternoon"  Takashi Kawamata  Talk). It is not thought that he is careless in the direction of the label of the beer bottle though it is so. The work one before ¥"Fighting Friends Japanese Style¥" is a bottle that arranging flowers, and the label lends itself to the camera to avoid the three people who surround the table(06:00). However, although the shadow of the bottle on the left front stains the label of the cider bottle and leaves immatureness here.

 

 In a real pub, the label of the beer is turned towards the customer, so the label is not reflected when it is realistically taken from the front, and the red black Jar is shown strongly in the screen and the balance collapses or it becomes dirty. This is how everyone works in a regular movie. Conversely, if you are showing for advertising, the orientation of the label should be front, but Ozu is trying to balance rather than simply pointing it that way. The labels on the two beer bottles in “I Graduated, But ...” are slightly left facing from the front, but the right bottle is slightly on the front, so the two labels open and feel spread.

 

 A good example of this is the seven beer bottles placed in front of the dining table at the “An Autumn Afternoon” reunion (Fig. 1 20:30). The labels on the two sets of jars are open in the same way as those of "I Graduated, But ..." and alternate almost alternately with left, right, left. However, the innermost two labels are not visible, and these become the two previous three-dimensional shadows. And three or four bottles are back and forth, you can sense the spread and depth according to the direction of the label.

 

瓶のラベル 1
 Figure 1

 

 

 

 

 

 

 

 

 

 


 An exception is that there is a small beer bottle with no label in a room with her husband Amamiya (Toshiaki Konoe) who was waiting for her daughter Ayako (Yoshiko Tsubouchi) at the “Brothers and Sisters of the Toda Family” restaurant. (1:21:36). "A Hen in the Wind" reflects the content of the work, or because it is just after the end of the war, the label is hardly visible during the work. Especially in the room of Orie (Reiko Mizukami), there are ten beer bottles that can not all be seen (07:00). The label is reflected in a bottle with the word "Sake" at Sakurai's house (22:01) and at the workplace, in the presence of his colleague Satake (Chisyu Ryu), a bottle of Syochu (1:12: 45). Has the latter been shown to be cheap sake?
    
 In “Floating Weeds”, bottles are placed in the corridors of the inn where Kiyoshi (Hiroshi Kawaguchi) and Kayo (Ayako Wakao) stayed (Figure 2: 1:38:22, 1:40:40). It looks like a cider because it is light blue and the edges are vertical, but all other shots are lemonade. Why did you change it into cider bottles only here? The label is visible only at the end, but it looks like a giraffe. There was an early bottle of "kirin Lemon" in a book with a retro item, but after all it was a blue color and the label was the same picture as a beer, so the two seem to be the same thing. Beer bottles never come out in "Floating Weeds", so was this label projected as a consideration for the manufacturer?

瓶のラベル 2
 Figure 2

 

 

 

 

 

 

 

 

 

 

 

 According to the manufacturer's site information, even after the label in 1927, the label is a silhouette or a clip-like design, and in 1933 it turned into a yellow paint as a whole. It seems like However, the change was remarkable, and even what was on the book had the same design as beer, and a red band similar to a movie would have been put on the neck of the bottle. In the meantime, things with the same design may not have been sold. In the case of beer, it turned out that a similar label was replaced from blue in 1935. Since the production of "Floating Weeds" was in 1955, it seems that we used what was sold until several years ago.

Written notice.

I translated from Japanese original in machine translation software on the Internet. I translated it into Japanese with the same software and confirmed it, but I think there are still imprecise and unclear places. 

 

The original text is below.

◆構図至上主義(3)−瓶のラベル

 

(The text ends here)


 

 

Composition Supremeism (2)-The famous scene of "Tokyo Story"

  • 2019.05.25 Saturday
  • 12:18

JUGEMテーマ:日本映画の監督

 

The famous scene of "Tokyo Story"

 

Triangle composition

 

 Every member of the Hirayama family who surrounds the mother's corpse in "Tokyo Story" has a beautiful composition pointing to the right of the screen (Fig. 1: 1:48:16). It is sometimes described as being in a similar shape, but here, not all people are the same shape, but one of each of the two types in pairs is alternately arranged. And the surrounding four people are in a forward-looking posture so that it becomes a triangle with the lamp at the top. It can be said that this is more effective as a composition. In this scene, including other shots, it is a major feature that each person's character is placed so as not to overlap with others, and it plays the role of a piece that becomes a whole triangle.

 

「東京物語」の名場面 1
 Figure 1

 

 

 

 

 

 

 

 

 

 

 

 

 Also, in the shots surrounding the ruins, it is said that even if there are several movements, there is no change in the basic pattern, but it should be considered as if the change is considered inconspicuous. It is sometimes done at the expense of the nature of the play. While this scene is over and the funeral starts, four people are moving in and out of the room, but they are acting not to break the composition. There are a total of five people who surround the dead, but this is also limited to only three or four at a time for composition.

 

 Looking at the first shot from the left, eldest son Koichi (Sou Yamamura) is in the foreground, Noriko (Setsuko Hara) is the back, eldest son Shige (Haruko Sugimura) is the mother, Kyoko (Kagawa Kyoko) is the first Going back and forth in a zigzag while approaching the ruins. The whole is arranged towards the mother, but Koichi alone creates a sense of stability that matches the character by leaving him parallel to the mother.


 The triangular composition with the lamp at the top is familiar in the Otsu movie, but here you can see that it is emphasized by being forward-looking. However, the inclination is not uniform, and it becomes gradually loose from the left end Koichi, and the last Kyoko becomes almost vertical. Therefore, the similarity is not appropriate. Although Ozu's works often point out similar forms, it is more important to look at the overall composition of them, even if they are similar in form.


 In this scene, when all the members are visible, the vertex is on the right, the others are on the left, and the head of the person speaking is in almost the same position, so you can see without changing the viewpoint. This left-over, head-over-headed conversation is a trend from the early silent beginning of Ozu (see "Grant to Ozu's Grammar (1)-Conversation" below).


 The composition is disturbed by Kyoko standing to receive Keizo (Osaka Shiro), but she leaves the room with anteversion so that it does not stand out (1:49:47).At the front door, put the coffin on the side, take down shoes while taking a seat and show Kiyo's back, and when Kyoko appears and he turns up and turns it becomes a triangle (1:49:54). When the camera is facing from the back yard, they will add a leaf chicken head to the garden and keep the triangle (1:50:08). The composition is not disturbed here because Keizo goes straight to the back.


 The direction to reflect the room in the next shot is from the edge, Keizo who entered the room from the left hand is standing facing right, Noriko is in front of the right side with Shiichi and Koichi between him, these three are Keizo Turn to (1:50:25). Here, with the two lamp lights on the left side, the space between the triangles is filled. As Keizo sat down, the clothes hung from the lintel will make up for it by connecting. In addition to this, Noriko further bows down to match his bow (1:50:37).


 When Shige teaches Keizo the time of his mother's death, she and Noriko make it more triangular in the backyard Hageito. In Keizo's close-up, he forcibly leans his neck to a nearly triangular position on the left side opposite to the body's inclination to the next shot (Fig. 21: 50: 52). And, as an exception, by turning his head to the right, the vertex also overlaps with the light that will be reflected in the next shot (see Figure 3 below, which is about the same type). That's because it gives priority to the flow that follows the conversation with the mind here. As it is the only work dealing with the death of the mother in the Ozu movie, it seems that the method of connecting this shot that broke the prohibition is not something else.

 

「東京物語」の名場面 2
 Figure 2

 

 

 

 

 

 

 

 

 

 

 

 At the shot which comes to the next, in order to compensate Kyoko's omission, Keizo is in a right end (1:50:59). 
If he approaches for worshipping a mother's face, in order to prepare disorder of a form, the upper part of the body is bent still more unnaturally, and it inclines to the right (1:51:20). This is also a place which Tadao Sato points out. 

As prompted by Koichi, Noriko stands up to inform Shukichi (Chisyu Ryu) the arrival of Kei3. And while she gets down to the porch, she sees his whereabouts as left and right, and leaves for the right(Figure 3 1:51:51). When I look carefully, I find that during this time, she is trying not to overlap with other people as much as possible by continuing to lean forward to the right which does not disturb the composition even if she is positive or turned back. In a word, it takes the posture that the spine is stretched and the waist is bent, and ' L ' is rotated to the right. The attitude of this movement reminds me of Cezanne's large bathing. Especially in the Philadelphia Museum of Art, the Noriko is like a nude with no fifth face drawn from the left (Figure 4 1898-1905).

 

「東京物語」の名場面 3 「東京物語」の名場面 4
 Fig. 3  Fig. 4 Cézanne "The Large Bathers"

 

 

 

 

 

 

 

 

 

 


 It was also in Kyoko to leave the room in a forward-looking position. However, she was sitting near the front, so there was little to no apparent slope and it was natural as it would just keep it standing up. As Noriko's body bends deeply, unnaturalness is noticeable because it is a movement from a distant place on the left. Right after this, Kyoko appears from the right hand and reshapes the triangle by sitting in a new vacant place (1: 52: 19). There is no need to go back to the place where she used to be, because Keizo burys the front.

 

 Next is the most famous scene of all Otsu movies. Here, not the triangles used in the previous shots, but a distinctive composition appears. This makes this scene stand out in conjunction with being outdoors. There are torii and a belfry at both ends, and there are two stone lanterns between them, and Shukichi stands on its right side to see the rising sea of ​​the morning sun. Noriko, who has already stretched out there, completes a concave composition with a curved upper side while approaching to fill the gap between him and the left stone lantern (1: 52: 24).

 

 And Noriko comes out in front of Shukichi, telling him that Keizo came (1: 52: 33). Here are three vertical lines, with the stone lanterns at the far right and Shukichi and Noriko equally lined, creating a beautiful quadrilateral with the upper side inclined even though it is to the right. Noriko slightly retreats to the left and looks in the same direction as Shukichi looking at the sea (Fig. 5 1: 52: 48). As she gets out of balance, the right and left balanced shapes appear, and the composition here is completed. Back home with the next shot Shukichi and Noriko approach the camera, but continue to hold the concave with the upper side curving side by side (1: 52: 53).

 

「東京物語」の名場面 5
 Figure 5

 

 

 

 

 

 

 

 

 

 

 

 

 

Strange behavior

 

 In the Hirayama family during the return of the two, Keizo moved to the right back of the room where Kyoko was sitting in the beginning, but this changed its position in order to reflect his face and mother's figure again (1:53:03). Keizo appears from the second half of the story, and as well as prioritizing the flow to the conversation, it is also a shot to bring out the presence that leads to leaving at the funeral here. However, there is no reason as a play, and Shukichi and Noriko will soon make short cuts and come in from the back side or the corridor, so Keizo will be the most disturbing place.


 Another question is when Kyoko's return after meeting Keizo. What was she doing up to that? It is about two minutes before she appears from the hallway after Keizo starts to move backwards from the entrance to the viewing time (1:50:16 to 1:52:08). The screenplay - written as "147 living room parlor Keizo," Hello "and Haii' come along with Kyoko." After that, there is no description about Kyoko until it moves to the funeral scene, and the last shot that Keizo changed position is not in the script itself. These show that the strange behavior of him and Kyoko was decided by giving priority to the composition at the time of shooting.


 Until Keizo comes, there is a space for him to sit, but her face is before the lamp (Figure 1). After he sat down, Shige had retreated a bit, and her face came just below the light (Figure 31: 50: 59). It is because the front of the mind is too empty to have been here since the beginning. Normally, after this, Keizo should move when he approaches the mother's bedside, but it would not look good, so he would have fallen in advance before he appeared. In fact, in the shot that reflects him entering the room from the outskirts, the face of the spirit is already under the light.


 However, if you look closely, Noriko behind her moves a little to the left after the appearance of Keizo, and the position of Shoji and the glass door also changes accordingly. And since Koichi on the left is not moving, he and Noriko are equally packed between the three. Here, too, Noriko was moved to the middle of Shinichi and Koichi for composition. Furthermore, after Keizo sits down, the cocoon is opened to the right, and the mosquito coil in front of it moves to the left. This is also to expand his whereabouts.


 After Keizo approached her mother's bedside, when Noriko and Kyoko left the room, Kyoko sat a little to the right and the space between her and her mind clogged up. This is a remake of the composition that has been disturbed by Keizo's forward movement, as there is a gap with him. However, even if there are no composition problems, it is often the case that if you take several similar shots in Ozu, you will change the shape to prevent this from becoming monotonous.


 For example, there are three shots where Keizo sits on the mother's bedside in this scene (approaching the bedside 1:51:20, Noriko and Kyoko exchange figure 3 1:51:43, move to the back of the room 1 : 53: 03) Besides the movement of the clearly shown person, the height and direction of the camera and the distance to the subject are also changing. The position of the chopsticks and chopsticks at the bottom of the screen is higher in the second shot, and the width of the chopsticks on the right and how the chopsticks appear are all different in three shots. A whale and a whale will also be moving. As the last shot was moved to the back by Keizo, the mosquito coil was in the way, so it was placed beside the ashtray prepared before Koichi before long, and Kyoko moved a little to the left, Noriko You can see that you are in the same place where you were sitting and you are composing.


 While the doctor the night before, there are five people in the room, including him, and it is shaped like a pentagon, baseball home base, not triangular (Figure 61: 1 42: 52). Nevertheless, Kyoko is scratching the ice in the kitchen and does not enter the room until the doctor returns, preventing further disturbance. When only the doctor and Koichi appear, the interval gets clogged, and accordingly the opening of the window is reduced (figure 7: 1:43:12). At this time, you can see the fan's fan on the left, but she and Shukichi on the right are not visible, so they are away from the mother's futon, Shige is in front of the left hand and Shukichi is back in front of the right Become.

 

「東京物語」の名場面 6 「東京物語」の名場面 7
 Figure 6  Figure 7

 

 

 

 

 

 

 

 

 

 


 It was already done by two children at the scene of "Early Summer" dinner of two years ago that the distance of the two reflected in the center was changed by such a close and pull (1: 57: 42). There are two shots from the front and the back, and their positions are slightly shifted so that the heads of all seven family members can be seen even if the bodies overlap. If two children are close to each other, the left and right characters (Kuniko Miyake, Shiroi Ichiro) appear only at the knees, and the movement of their hands suddenly stops.

 


Late night movement

 

 Let's go back to "Tokyo Story". After the doctor has returned, the four people will sit at the end of this scene from the far left: Kyoko, Koichi, Noriko, and Shukichi (1:47:23). Shige is taken to Koichi, and after coming out between Shukichi and the three, it does not return to the room yet. While she was leaving, they sent out a doctor and then returned to Noriko, where they were taken away, so would they both be replaced as they were before? On the next morning, Shukichi came off, and Noriko and Kyoko from the far left. Then Koichi sits down in front of the screen (Figure 1). In other words, everyone was changing their place. However, if Shige and Noriko were replaced at night, only Shige did not move.


 So how did they move? As an example, Shige and Noriko had returned to their original places, 12 and Koichi saw her mother's last, and since it was not on the bowl the night before, so it was not Kyoko stood up to prepare, followed by Koichi 3 moving to a place with a bath, then Kyoko 4 moving there to organize her mother's bed, and Noriko had her after helping Kyoko. 5 and Shukichi were 6 leaving the room at dawn. In any case, the ones that actually reflected the movement are likely to get considerably worse.

 

 

Evening:     Next morning:
 Kyoko     Koichi       Noriko (5)   Kyoko  (4)

 Mother Tomi  

Tomi's dead body  
 Noriko     Shukichi       Shige  (1) (Shukichi (6))
 Shige        (Noriko (2))
    Koichi (3)


 So why has it changed to such an arrangement? In order to identify it, let's follow the transition from the next morning until the end of the scene (blue = entrance, red = exit, green = movement). From the next morning, only Kyoko 15 and Noriko 3 who are in the back come and go, and Koichi and Shige of the front do not move. And in front of Shige is a space for Kei3 to sit. It turns out that the movement at night was prepared for the 6 steps of changing places after he appeared. These are all for suppressing the disorder of the composition.

 

 

From the next morning to the end of the scene:
 
(1) (1:48:16)    (2) (1:49:53)    (3) (1:51:20)
  Noriko  Kyoko     Noriko     Noriko 
Tomi's dead body       
  Shige     Shige     Shige  Keizo 
  Koichi     Koichi     Koichi 
       
(4) (1:52:07)    (5) (1:52:18)    (6) (1:53:03)
     Kyoko     Kyoko  Keizo 
        
  Shige  Keizo     Shige  Keizo     Shige 
  Koichi     Koichi     Koichi 

 

 Another consideration is that people do not move in front of the screen when they enter or leave the room. When Keizo enters the room, he takes him from the other side and makes him far. A doctor is in the inside near a front door from the beginning in the previous evening, so he stands up and leaves just as it is. Noriko went almost straight back and after him, the two took a forward-looking posture (1 : 43: 50). This is also a performance suitable for the scene that Noriko speaks to a doctor, but Noriko, which is the same as Kyoko and Noriko in the next morning, has a deeper slope and its angle is also adjusted to the overall composition. is. Subsequently, Kyoko's entry, which was scratching the ice, moved boldly across the front of the camera and into the back of the room, but here the change was suppressed by using the same shot from the doctor's exit.


 With Koichi, Shukichi and Shige leaving, only Koichi moves from the front with the camera facing in the opposite direction, and when the two in the back stand up, they immediately leave the room behind him (1: 44: 40). When they return, they will be one by one, and they will not take the movement of Shige because they are so many of them (1:46:29). And after Koichi and Shukichi leave the room, they will be a while to reflect the sleeping room of their mother. It's common for people in the Ozu movie to go in and out of the room, waiting for the appearance of a person, but taking pictures in this room prevents the composition from being disturbed by omitting the movement into the room. Koichi turned to the back after showing his back, and Shukichi just advanced a few steps from there and sat down (1:47:15).

 
 Other works of the same type have a different nature from this. At "Early Spring" Sugiyama (Ryo Ikebe) leaves Chiyo (Keiko Kishi) in the ryokan room for going to work (47:46). Sho Hirayama (Shin Saburi) of "Equinox Flower" falsely goes to the bathroom to resume work, and leaves the room, stopping Hatsu Sasaki (Chieko Naniwa) from stopping to follow (21: 51). In the former, Chiyo who became alone appears for a while, and when the shot changes, Sugiyama has already walked in the corridor. Hirayama sees the door knob soon after Hirasawa sees away, and the shot changes soon after Sasaki is alone, so the latter does not show where it is coming out. These two are not a problem of composition, but can be said to be an expression of place and place to contrast the people left in the room with the people leaving.

 

Written notice.

I translated from Japanese original in machine translation software on the Internet. I translated it into Japanese with the same software and confirmed it, but I think there are still imprecise and unclear places. 

 

The original text is below.

◆構図至上主義(2)−「東京物語」の名場面

 

(The text ends here)
 


 

 

Composition Supremeism (1)-Commuting train for "Late Spring"

  • 2019.05.19 Sunday
  • 08:57

JUGEMテーマ:日本映画の監督

 

Commuting train for "Late Spring"

 

 

   Ozu is said to have decided the composition by himself in all shots (14 . Yuharu Atsuta interview p. 261). Perhaps, as a general matter, it is obvious that the actual image is not given much attention. For example, the unusual feeling of movement of the train during commuting at "Late Spring", which is pointed out by Shigehiko Hasumi (14. To stop - Otsu-like movement), the composition in the car can be said to be one of the factors.


   At the beginning, It take a picture of the inside of the car by pulling it wide and reflect the profile of the five members of the seat among the passengers caught on the left side strap (Figure 1  11:00). The female customer in the front is the lowest because she is reading and listening, but the other customer is facing forward and draws a smooth curve due to the difference in seating height. The next shot shows Noriko (Setsuko Hara) and father Shukichi (Chisyu Ryu), who are seized on the right side of the strap on the right (11:06). Both are right-handed, but both hold on to the left with the left-handed leather and show their face well. Is their body slightly oriented towards the camera?

 

Commuting train for Late Spring 1
 Figure 1

 

 

 

 

 

 

 

 

 

 


   After showing the passage of time on the run of the train, this time, in a close-up, Noriko alone hung on the strap (Fig. 2 11: 35) and Shukichi sits in a vacant seat(Fig. 3 11: 41), and the right and left passengers are crawling to emphasize him. Here, Shukichi and Noriko perform Ozu's original conversation in the same direction and with the same line of sight (refer to "Ozu Grammar (1)-Conversation" described later).

 

Commuting train for Late Spring 2 Commuting train for Late Spring 3
 Figure 2  Figure 3

 

 

 

 

 

 

 

 

 

 

 

   After a long period of time due to the two-shot train running, Noriko will sit next to Shukichi a little while in the car (Fig. 4 12: 26). She stands out lower than Shukichi and other passengers in the back so that the students in the front are deeper than before, and she composes as much as she does. Here, the first shot is symmetrical with the difference between pull and closeness, and the same composition is taken at the end after showing the sliding of the train again (12:47).

 

Commuting train for Late Spring 2
 Figure 4

 

 

 

 

 

 

 

 

 

 

 

   By the way, the student in front of Noriko should have been next to Shukichi, Perhaps this was because the other side was open, and he moved sideways trying to make her sit next to Shukichi. Or, the student here are not clearly shown their faces, but they may be different people. If that is so, as Hasumi points out, a similar student will be sitting next to it, just as Noriko would have been sitting down due to a large number of guests getting on and off. Or did two students sit from the beginning? In any case, the left and right passengers look the same as Shukichi's, so they are inconspicuous, strongly suggesting that Noriko has sat.

 

   In addition, the passenger in the seat notices that the appearance of the left side (Figure 1) that appears first, and Shukichi sitting alone (Figure 3) and the last right side (Figure 4) are similar (arrows respectively) ). The female customer who was reading and reading the former and the customer who is on the left of Shukichi in the latter have similar postures, hairstyles and clothes, and in addition the right of one of the former and the right of Shukichi or Noriko in the latter. A student with a similar atmosphere sits in the room. Furthermore, the five passengers drawing smooth curves on the left side are the tallest when the second woman from the back pulls the man next to them. Is she even making a rug under the buttocks? On the other hand, the innermost man is quite low, so it may be sitting on the back with his shoulders shallow.

 

   Anyway, it is clear that these casual unnaturalness represents a sense of unity in the scene. It can be said that the directional conversation that matches the gaze that was on the way is also a major factor. The person whose face is projected has an accent slightly to the left from the front, only when Shulkichi on the slings speaks to Noriko, but the others are from the beginning to the right for the first six shots, and finally Noriko When I sit down, all of them turn to the left and put end.

 

Written notice.

I translated from Japanese original in machine translation software on the Internet. I translated it into Japanese with the same software and confirmed it, but I think there are still imprecise and unclear places. 

 

The original text is below.

◆構図至上主義(1)−「晩春」の通勤電車

(The text ends here)
 


 

 

Ozu and Soseki (1)-individualism and contradiction A. Borrowing the scene

  • 2019.05.13 Monday
  • 22:47

JUGEMテーマ:日本映画の監督

 

 Yasujiro Ozu and Soseki Natsume are very similar. To some extent, everyone will think if you read Soseki after getting familiar with Otsu movie. There are words that are likely to appear in the Otsu Bunko, a lot of words and lines familiar with Ozu movie, and scenes that Ozu seems to have borrowed.


 Here, they are divided into “A. scene borrowing”, “B. speech borrowing” and “C. word borrowing” from the ones with high similarity, and the corresponding places of the two are extracted in order of production after Soseki “The Three-Cornred World”. I extracted the corresponding place of both sides. Of course, not all can be borrowed, but since A is carefully selected and narrowed down to six, the possibility is quite high, and B 81 and C 30 have you will see Otsu and Soseki look similar, even though they are not borrowed.


[[......]] is a Soseki work, [......] Otsu work. If there is a comment, it is written with * after that. In the Otsu movie, only "Beauty's Sorrows" refers to the script because the film does not exist.


※ For citation and search of literary works, we use the Internet digital library, Aozora Bunko http://www.aozora.gr.jp.
※ A long one without chapters such as Soseki's "The Miner" and lecture notes indicates the corresponding part when the whole is taken as 100 ([[The Miner 36/100]] is 36), and that in Otsu movie The position is expressed as hours, minutes and seconds.

 

Written notice.

I translated from Japanese original in machine translation software on the Internet. I translated it into Japanese with the same software and confirmed it, but I think there are still imprecise and unclear places.
 

 

The original text is below.

◆小津と漱石(1)−個人主義と矛盾A 場面の拝借


 

 

A. Borrowing the scene

 

1. Contradiction and God
[[The Miner 36/100]] Human character changes hourly. It is natural to change, and contradiction should come out when it changes, meaning that there are many contradictions in human character. A contradiction results in the same thing with or without a personality. ...... I can not understand for more than a minute when I heard from God. The god who understands this temple is only in his belly.

[Equinox Flower 1:23:51] "Whoever is such a contradiction? Even God is not. Life is full of contradictions. Everybody is. So ... even a scholar who said that the total contradiction is life." is there" 

* A is a scene borrowing, but only here is a line borrowing. In the similarity between Ozu and Soseki, the most important contradictions (see “Ozu, Soseki and Dostoyevsky” below) and God are taken up and the possibility is high.

 

2. It's all right now 
[[Kokoro my parents and I]] On the next day my father was better than I thought. I walked to the bathroom without asking him to stop. “It's all right,” I didn't feel like I was going to be in Tokyo at the end of the day when I left home because of my anxiety. I asked my mother, "Shall I look after a little more?" My mother asked, "Please do so."

[The End of Summer 1:04:05] "If you do that, I want you, my aunt, my uncle. What time will it be, I still know." (Father returns to sanity) " "Oh, I went to bed. A little shit," "I'm worried about it, but I can't wait."

* In this part of “The End of Summer” Noda Kougo's “A father of a certain girl who often came to play in acupuncture and moxibustion department suddenly collapsed in myocardial infarction, and when sons and daughters were tense and gathered, overnight The story was based on the fact that he had healed and healed it (3) (Speaking all about his own works & critiques), but the actual scene making might have been borrowed from Soseki.

 

3. propose 
[[Kokoro teacher and testimonials forty-five]] I suddenly said, "Please give me your wife and grandmother." Unlike a normal woman, a certain wife who was clearly determined to be a man, like a man, was a person who can speak very well in such a case. "Good morning, let's give it to me," he said. “It's not a terrific situation to give, but please do not hesitate. As you know, I'm a lone child without a father,” he asked afterward. ...... / I think that if you imagine me listening to a story from a distance, I think that I can not calm down somehow. At last I put on my hat on the front. Then again I met my grandmother under the slope. The lady who knew nothing was surprised to see me. When I take off my hat and ask, “Go home now,” I wondering if I had already recovered from my illness. I answered, "Yes healed, healed", and I turned to Zun Zu Suidobashi Suidobashi.

[Early Summer 1:26:06] "No, it's a good story about insects, but I think it would be good if you like Akikichi's bride to be like you." "Yes" ...... "Hey small mother, I like the rest of the market I like the rest" "Hey" "If I like it" "True" "Yes" ...... "Oh, it was good, it was good. I'm completely relieved No, I will not eat, I will not spare, "No, I'm going to spare," "Why, wait a little more. I'll be back, Yukichi." "But I'm not going back," " "Goodbye," "Good night, Good night, Thank you, thank you." (Excludes the entrance and passes by Okikichi) "Go back," "Dearly yesterday," ......, "Well, good night," "Well, Good night. "

* The proposed scenes are both Soseki and Ozu, which are the only ones listed here, and they are very similar. The main character is humble at the other party's home, not the person but his mother, while the other person is away, and the person who received it is humbled, and then encounters the other party because he can not calm down I pass each other. "Kokoro" heard the voice of the grandmother in Noriko (Haruko Hara). This scene is a climax I've read in a textbook, but it's hard to remember because it's a painful incident soon after.

 

4. How many years were born
[[Floating Weeds 5]] “Why not go away? It's 16 times different from Ken-chan, my sister is. Good man I'm Mishima's sheep, and my sister's four green. Ken-chan's melancholy Seven red Shichishiki "" I do not know what it is, but anyway it is 36 "

[Brothers and Sisters of the Toda Family 02: 05] "Jamea 4th Year" "That will be 5 years, what is your father," "But why are there many differences between your father and mother?" "8 Tsuyeo "Oh, my father sixty-nine" "Yes" "Hey, then my mother, I wonder if it is so," "Yes, it's a three-legged trap above me."

* The voice of Kazuko (Miyake Kuniko) and Ayako (Tsubouchi Yoshiko) were heard on this scene of "Floating Weeds".
Otsu has borrowed the details of "Brothers and Sisters of the Toda Family" from Satomi Ton's novel, so at a discussion meeting with Satomi who is watching this work, it becomes painful in front of him I confessed it myself. When Shojiro who has been cut by "Hat" censor crying, "Anjo's Brother" title and opening photo, "Amakara World" I can not sleep when I bite Gyokuro, "There are still many". Having received this, Satomi points out that the master of "Brothers and Sisters of the Toda Family" died and relatives appeared one after another at the beginning of his own "Four Leaves Clover" However, I have confessed that this person is actually a loan from Frobel (1 "Brothers and Sisters of the Toda Family" examination).

 

5. Light the other's cigarette with two small pieces of phosphorus
[[Light and Darkness, a novel 16]] Yoshikawa had a little surprising face and spit out the after-meal small dumplings he had used until now. Then I tried to take out the cigarette with a bag inside. Tsuda immediately rubbed the match on the ashtray. The first sight is useless and disappears quickly, as it was rushed to do so much. He rushed and rubbed the second, taking it to the end of Yoshikawa's nose.

[Floating Weeds 1:53:58] (As Juro Arashima searches for the size while smoking with tobacco, Sumiko walks up with Koma Juro and lights up the tobacco that he carries with his own. The first shot does not score because the opponent hates, but in the second shot, Koma Juro defeats and succeeds)

* "Floating Weeds" is a remake of the silent "A Story of Floating Weeds", and the silent one has the same scene as this, but it does not light the cigarette of the other party's cigarette, but the phosphorus size He is offering his stuff to him who is looking for, and the fire is lit by Kihachi (1:22:40). Ozu produced "Floating Weeds" after reading Soseki's "Light and Darkness, a novel" (to be precise before "Tokyo Story" starts shooting-see "Summary" below), so "A before remake" It seems that this difference with the Story of Floating Weeds has appeared. Furthermore, the influence is seen in the next "The End of Summer".

 

6. Newcomers to the meeting place
[[Light and Darkness, a novel hundred sixty-one]] [I--] / When Tsuda spoke, a newcomer with a footsteps approaching came to a stand by their dining table. ...... / When I realized that it was a long-haired young man who had been with Kobayashi in the corner of Odori last time, Tsuda was even more astonished. ...... "Hara-kun, draw a good picture, you. Buy a piece and do it now. I'm troubled now, I feel sorry." ...... "I don't know anything about it." "No, that's not it, hey. Hara: Take it and see if it happens.

[The End of Summer 04: 27] (appears after taking a seat off for matching work) "Hey, I do not have Kitagawa" ... "Hello, I'm helping out of my friend's art gallery" "Ah, yes, isn't it?" "Do you have a picture of a cow in your shop?" "Are you a Japanese painting or is it?" "I will leave it to you "Oh, I will look for you"

* After Hara of "Light and Darkness, a novel" disappeared once, I felt suspicious when I appeared as a newcomer, but if I thought that there would be no talk of selling or buying pictures, I still thought It came out. It is also similar to hesitation that the other party of the first meeting is made to buy. A painter named Hara will be the original material of Kohayagaw Akiko (Hara Setsuko) who is helping the gallery at "The End of Summer". In fact, that is quite unnatural. The participants in the art gallery have not appeared at all, and the content seems to be only for this scene. At "Late Autumn" Akiko Miwa (setuko Hara) works at the Fashion Academy, but this involves a story of a photo with the director's couple.

  (The text ends here)


 

 

ねぎの効能−風邪の予防と治療(2)

  • 2018.12.23 Sunday
  • 20:10

JUGEMテーマ:健康のためにやっていること

 


今年もねぎの季節がやってきました。暖冬なのかいつもなら昼も食べている頃ですが、まだ朝と晩だけで済んでいます。しかしねぎのおかげで、これからの時節が一番体調が良い。

 

あるサイトには「確かにネギを食べるだけで風邪が治癒することはないですが」とありますが、違います! ねぎを食べるだけで風邪は治ります。他には何も要りません。ねぎだけでは効かないというのなら、それは食べ方と量に問題があります。適量を生のまま食べれば良いのです。過去の記事にも書きましたが、朝昼晩たべるようになると一日一本程度、晩に多くとります。割合は1:2:3、あるいは2:3:5。
 

         図1

 

ありがたいことに、ねぎのはやりの季節と合っているので(偶然ではないのかも知れませんが)、安いものを探せば一週間で500円もかかりません(首都圏等ではこのくらいか)。参考までに一回にどの程度食べるのか写真で示してみます。これは晩の分です。

 

まな板のねぎ      調理後のねぎ

 

今季は厚めに一口サイズで食べています。普通に薄く切るよりこの方が効くでしょう。本当は左の絵のまま食べてしまえばいいのでしょうが。ちなみに写真のはかなり太いやつで一日一本では多すぎで(多くてもかまわないのですが)日に7割程度。

 

今度、熱がでたら普段の対処に加えてねぎを食べてみて下さい。きっとその違いに驚くでしょう。数時間で治ってしまいますから。さらにねぎを食べ続けると、以下のようになっていくでしょう。

 

・数時間で治ってしまうのですから、マスクは直ぐかけなくなります。

・風邪薬を飲むには食事の時間まで待つことになりますが、ねぎなら待つ必要はありません。すぐたべておけば薬を飲む前に熱は下がってしまうので、薬も飲まなくなります。

・氷枕をして寝ても、氷が解けきる前に熱は下がります。これでは平熱で頭を冷やしてしまうことになるので氷枕もやらなくなります。

・昼間熱をだして寝てしまうと夜眠れなくなるので、風邪だといって寝ることもなくなります。安静にしていれば良いのです。

・体温を測っても風邪に効くわけではないので、これもやらなくなります。

・数時間で治ってしまうので当然、医者にもかからなくなります。

 

結局、風邪の予防や治療にはねぎだけが残ります。他には何も要りません。

 

 (本文ここまで)