Composition Supremeism (5)-Divided and dizzy shots

  • 2020.03.14 Saturday
  • 22:41

JUGEMテーマ:日本映画の監督

 

Divided and dizzy shots

 

 

Divided shot

 

 In a scene where a couple rumors about a three-wheeled mother and daughter while holding a dining table at `` Late Autumn '' Mamiya's house, props appear and disappear as if they divided the middle of the two (29:12 ). On the side of Shin Saburi, there are medicine and newspapers, cold cups, and Fumiko (Sadako Sawamura) has two dishes with fruits and a cup of tea. Both show only these close objects when shot from the front. In a shot where the camera was pulled from the side of the two, the right arm of the husband placed on the table extended to the side of his wife's cup (Fig. 1 29:48), but when the wife was in front Does not appear in the image (Fig. 2 29:54).

 

分断と目眩ましショット1 分断と目眩ましショット2
 Figure 1  Figure 2

 

 

 

 

 

 

 

 

 

 

 

 

 

 A similar split shot has already appeared in a conversation between Mariko(Hideko Takamine) and Tashiro(Ken Uehara) at the Tsukiji inn at "The Munekata Sisters" (40:08). For Mariko, a teapot and teacup, a confectionery dish, and for Tashiro, an ashtray and a vase. This work is generally regarded as a failed work. However, in the production, there are other new attempts that lead to later works (See "Ozu Grammar (1)-Conversation" below).

 

 Such a bold shot has not yet been seen in the previous work "Late Spring", and everything placed on the dinner table is reflected only on the side of Noriko's father Shukichi (Chisyu Ryu) (30:58). Is this to make Noriko (Setsuko Hara) more beautiful? Or is it because the accessories don't fit the bright clothes she wears? However, when Noriko and his friend Aya (Yumeji Tukioka) talk up, the tea pots, tea cups, etc. brought by Shukichi disappear along with the tray. Instead, a small number of different cups appear near the edge of the screen (39:24). The production here is more random than bold.

 

 In the divided shot of the couple sipping rice at the home of "The Flavor of Green Tea over Rice", small items on the dining table increase, decrease, move, and even transform (1:46:46). In the shot of the distant view, after each item is projected, Taeko (Michiyo Kogure) side has a teapot (1:46:48), Satake (Shin Saburi) side has a bowl of rice, chopsticks, soy sauce plate, small plate, soy sauce jar (1:47:17). Next, a soy sauce jar suddenly appears to Taeko (1:47:43).

 

 After that, the soy sauce dish on Satake's side moves to the right and the soy sauce jar disappears as if it were pushed out of it (1:48:23). A small bottle of white seasoning is not visible in either close-up and moves to the right in the shot in between (1:46:56). When the two of them appear, the soy sauce dish is white, and when Satake is alone, it has a stripe on the edge and is different. In the last middle shot, the soy sauce dish is hidden behind the bowl and the small dish disappears (1:48:29).

 

 The shot of Wataru Hirayama (Shin Saburi) and Fumiko Mikami (Miko Kuga) at a Chinese restaurant in "Equinox Flower" is not interesting because props are not moved, are not divided and are taken normally. Is this because there is only one item on the table at a time, or has it been done enough in other situations? However, when her boyfriend (Fumio Watanabe) appears and Fumiko notices it and gets up, the seasoning on the table behind her moves or transforms (1:04:42). When Hirayama sits back alone, the props on the front and back tables also move and transform (1:05:41).

 

 A conversation between Soichi Mamiya (Shin Saburi) and Akiko Miwa (Setsuko Hara) at the "Late Autumn" eel shop, which was seen on "moving props", is also a split shot (25:10). After all, only the close thing is reflected there. 

 

 

Dazzling shot

 

 In the scene where Koichi Hirayama (Keiji Sada) and Miura (Teruo Yoshida) of "An Autumn Afternoon" eat, when the two are close-up, the position where the beer bottle can be seen is always at the left edge of the screen. So it seems as if it is moving right, left, right. In contrast, there is only one sauce bottle near Hirayama, so it looks right and left each time you switch back (Fig. 3, 4 1:23:00). When you look at the fast forward, you can see these things clearly, especially the sauce bottle is quick. Boardwell also points out the playfulness here ((24) p.594), but also because of Ozu's compositionalism.

 

分断と目眩ましショット3 分断と目眩ましショット4
 Figure 3  Figure 4

 

 

 

 

 

 

 

 

 

 

 

 

 

 In fact, there are two beer bottles, one of which Miura has at the beginning of this scene, which he has on himself, poured it into Hirayama and himself and put it back in its original place (1:22:53 ). At this time, the label on the bottle is facing left. A beer bottle is also located on the left side of Hirayama, and the label is facing the same direction. In both shots from the front, the opponent's bottle on the right side, facing the screen, is assumed to be outside, and both will not be reflected at the same time.

 

 If you look at his bottle in a pull shot with Hirayama reflected in front, you can see that the label is facing left and the bottle is near the edge of the table (1:23:57). Considering the movement of the camera and the placement of props on the dining table, it is likely that these three shots, consisting of two close-ups and one long shot, were taken together of the same type. Of course, the same is true for earlier split shots and other conversations. Photographer Yuharu Atsuta called this kind of shooting as a "nakanuki".

 

 In this scene, Hirayama started to eat tonkatsu and cabbage with the last shot diagonally left, and the amount of beer in the cup was the smallest, so this type of shot should have been taken last. Before that, the shot was taken from the front of Hirayama, where the camera was close, and the first shot was from Miura.

 

 There is a similar dizzying shot at a drinking party inviting a teacher (Eijiro Higashino). There are other small items here, but Kawai (Nobuo Nakamura) has a bottle on the left and a bowl on the right. In the following Syuhei Hirayama (Chisyu Ryu), bottle and bowl are placed in the same way (1:06:47). Then, when the teacher becomes drunk and the conversation is between the two, this repetition is performed continuously (1:08:03).

 

 In the previous "An Autumn Afternoon", a long shot of a scene with a beer bottle blinding shot, the sauce bottle was placed quietly in the corner of the dining table next to nobody. In the late Autumn mother and daughter (Setsuko Hara, Yoko Tukasa) eating out scenes, there is a seasoning bottle on the edge of the table in front of no customers (41:52). As you can see, in Ozu film, there are countless other unnatural shots of props placed on the edges and corners of empty tables, etc., reflected on the edges of the screen. If you find one, you can think of it as thirty times lurking. For example, when the wife of Tokyo Story Fumiko (Kuniko Miyake) receives a telegram from Onomichi, she sees a soy sauce jar on the dining table (1:34:05).

 

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(5)−分断と目眩ましショット

 

(The text ends here)

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  • 2020.07.22 Wednesday
  • 22:41
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