1300 words, Film "three times" research paper

Film name: Late Spring

directed by Yasujirō Ozu

running time：23:09-24:17

The first shot is a 15-second long shot. From 23:09 to 23:24, Noriko and Hattori walked side by side to the sea. The lens did not move. The prospect is that the two bicycles are parked together, with melodious music, giving viewers a very comfortable feeling. After that, rough cut to the second act, an eight-second three-quarter shot was taken from the back of Noriko and Hattori. Noriko asked Hattori what kind of person she was. After Hattori said, "You are not a jealous one," the lens has another rough cut to Noriko's close up. Noriko smiled and said, "On the contrary, I am." This shot is also the POV of Hattori.

After that, the view cut to close up of Hattori, which is also Noriko's POV. Because we can see that the lens here is slightly up, a low angle shot shows us this is what Noriko sees. Then the shots turned back to the same angle as the second shots. A 12-second three-quarter shot shows Noriko and Hattori from the back. The lens still has not moved. After this shot, the director cut back to Hattori's close up. And the lens switches again between the close up of Noriko and Hattori. Noriko said "so" and laughed. With her laughter, the camera once again cuts to the angle that same as the beginning shot in 23:13. A 12-second long shot showed the back of the two people and didn't move.

The two of them continued to walk to the sea as they did at first as if nothing had happened. All the shots in this scene seem to echo with each other, and there is not much camera move happened. The director ends the scene, just like how they start it. The composition of the picture is always simple, almost always a fixed position. Although the photographic lens does not move, he always makes the object itself move. In line with the story itself and the background, this style shows a gentle and calm Japanese feeling. When people appear on camera, the distance between camera and character is not too far or too close. Generally, only the side face of the character is seen, a fair degree of the movement. The characters are few and very simple. When two people talk, one person always asks the same question repeatedly. The same answer is there, but it is not the same every time. Repeatedly, the tone changed. It also slowed the story slowly but added a little rhythm.

In the three-quarter shot at 23:24, Hattori and Noriko were not close. Looking at them from the back is not awkward. The lens changed from 23:44 to 23:56. Hattori leaned back like Noriko, and the whole picture was coming out. The distance not far from near seems to imply the relationship between them. The conversation between them also tells us maybe they are not as simple as friends. The director here intends to guide the audience to think that there is something between the two. The next scene of aunt and dad's conversation about Noriko's marriage made the audience look forward to the story of Hattori and Noriko. The director seems to be suggesting to the audience that something will happen between Hattori and Noriko. But unfortunately, we will soon know that Hattori already has a fiancee. And just when we thought that Noriko and Hattori might be real friends, the director arranged a story that Hattori invited Noriko to listen to the concert. We understand that they do have a feeling about each other in their hearts, and the ambiguous atmosphere on the beach is real. The director repeatedly hinted at the audience and broke it. This kind of skill makes the audience also became more involved in the story.