Richie, Donald. "Shooting." Ozu. Berkeley: University of California Press, 1974. 105-158.

In this section, Richie takes apart the elements of Ozu's films through the techniques of shooting the films. He discusses composition, camera angles, symbolism, and visual aspects in general of Ozu's films.

Richie's analysis of the tracking shots Ozu uses in Tokyo Chorus reveals the parallels Ozu was attempting to make between "the lives of schoolboys, office works, and the unemployed." He also discusses Ozu's low camera position, which he states may have originated from the scene in Tokyo Chorus in which the scene was framed for the children and the audience initially only sees the parents from the waist down. Richie says this explanation may be a valid one, "for it fully accords with Ozu's unique conception of the role of composition in cinema." He contrasts the pictorial composition of Mizoguchi, which involves "the Japanese kind of nature portrait," with the pictorial compositions of Ozu--which were affected by "the great influence of American cinema on Ozu." Richie describes the Ozu set as "almost like a school [where] the director taught the actors how to do everything." This is reminiscent of Lubitsch's methods, in which he would act out the scenes for the actors to see. He quotes Chishu Ryu referring to Ozu, "Sometimes he acted out the role himself." The two directors, Ozu and Lubitsch, shared a common directing method--they were both extremely fastidious about the scene being acted out exactly as they envisioned it in their mind.

Bordwell, David. "Visual Style in Japanese Cinema, 1925-1945." Film History 7.1 (1995): 5-31.

Bordwell explores the visual styles of Japanese cinema during 1925-1945 by looking at the chombara style, piecemeal découpage, and the pictorialist approach. He also analyzes the Japanese cinema in respect to the Westernization that was going on in Japan at the time and compares the styles and techniques used by Japanese filmmakers to those used in Hollywood at the time.

In his article, Bordwell explains that Japanese was very similar to Western cinema in that "American staging and shooting techniques [were] basic to Japanese filmmaking." But rather than copy the Hollywood style completely, Japanese filmmakers adopted a style that "[resembled] the 'primitive' cinema of the West: straight-on long shots." Ozu's fixed camera position may have its roots in "primitive" Hollywood, but it seems that so did the other influential Japanese directors. Bordwell's article also reveals that Ozu's style of filming a montage of unidentified body parts rather than the entire person is not his original invention. Bordwell calls this style "piecemeal découpage" and he explains that it was modeled--by Shochiku's studio in Kamata--on Charlie Chaplin's Woman of Paris (1923) and Ernst Lubitsch's The Marriage Circle (1924). Again, though perhaps indirectly, we see the influence that Lubitsch had on Ozu's style. The way Bordwell characterizes Japanese film style at the time as "at once an assimilation of 'classical techniques seen in the West an an experimental impulse mediated by a self-conscious sense of 'Japaneseness' makes Ozu's films seem less pioneering and more adherent to the trends followed by his peer directors. However, Bordwell points out that "Ozu set himself rigorous constraints, virtually a set of private rules for staging and cutting [which] he then stretched, bent, or recast...creating in the process a rich, gamelike approach to film style." So, though many of Ozu's techniques--such as the static straight-on camera angle, the slower tempo, and the careful attention paid to the composition of a scene--shared by other Japanese directors rather than being unique to him, Ozu took these techniques to the next level, effectively creating his own signature style.

Yasujiro Ozu only developed his signature style with the making of his film Tokyo Story in 1953. To what degree do his films made prior to 1953, such as Tokyo Chorus (1933), demonstrate the influence of the Hollywood style? Ozu especially admired the films of Ernst Lubitsch; what characteristics do his early films share with those of Lubitsch's?

Wrigley, Nick. "Yasujiro Ozu." Senses of Cinema (2003). 29 Nov. 2008 <http://archive.sensesofcinema.com/contents/directors/03/ozu.html>.

This article was written one hundred years after the birthdate of Yasujiro Ozu. It gives a brief biographical background on the director, synopses and analyses of several of Ozu's films, and discusses Ozu's legacy. The bulk of the article is about Ozu's films.

The article presents some of Ozu's influences, including American films and in particular "those of Ernst Lubitsch" though "in other conversations, Ozu seems unwilling to admit influence." Wrigley includes a quote from Ozu that says "I formulated my own directing style in my own head, proceeding without any unnecessary imitation of others...for me there was no such thing as a teacher. I have relied entirely on my own strength." Though Ozu's statement may be true about his later films, I believe that his earlier films, prior to establishing his signature style in Tokyo Story (1953), demonstrate the influence Hollywood had on his films.