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The Continuous Present in Ozu Yasujiro's Late Spring

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Ozu Yasujiro's Late Spring uses time in a very distinct and compelling way. It effectively tenses the image as the 'continuous present'. Through the use of unconventional (by Western standards) editing strategies and cinematography, the characteristic durations of objects, places and people are foregrounded, and a peculiarly affecting sense of time is created. This paper constitutes an attempt to understand the way in which this specific sense of time is constructed in the film, by analyzing the editing, mise-en-scène, and sound of two scenes in very close detail.

Affiliations: 1: Film and Television Studies Department, University of Warwick, Coventry, CV4 7AL, UK;, Email: michael@lightborne.co.uk

10.1163/156852408X323193
/content/journals/10.1163/156852408x323193
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/content/journals/10.1163/156852408x323193
2008-01-01
2016-07-27

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