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)
 


 

 

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  • 2020.07.22 Wednesday
  • 08:57
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