Conversation

also. fuckin' ozu and how good his shot composition is. i could watch this and 'floating weeds' on the strength of the visuals alone.
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among other things, i'm fascinated by his sense of foreground and background. it gives every shot a complex, layered quality. especially when each part of the foreground/background has differently located squares, each of which could be a potential "frame."
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god the framing. the way that each family member is at a different depth and within a different vertical section.
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interesting effect from shooting these classroom scenes from the tatami level that he uses in the domestic interiors. the fact that it doesn't "fit"--the fact that you're below the action instead of with it--highlights the separation from that sphere.
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The frames you’ve shared all have a very square-on camera line of sight, aligned with one axis of the geometry of the scene. Like stage view. No oblique lines of sight at all. Is that the style or just an accident of the examples you’ve chosen?
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not sure how i would define an 'oblique' shot. he does do some shots that are more angled, or with some occlusion in the foreground, as well as lots of shots where the action is very deep in the background, even if the composition is fairly head-on. [1/2]
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