1. Continuity editing Hollywood, narrative style. Analytic editing. “Invisible” shot transitions. Shots subordinated to spatial unity of segment. Implies passive spectator.

3. Norms and modes Norms: a standard of compositional options established by fiat or practice, which may be extrinsic or intrinsic. Intrinsic norms define a pattern of coherence set by the system of individual films themselves. Extrinsic norms refers to a canonic style organizing patterns of coherence relevant to large groups of films. Codification of extrinsic norms over time may lead to the inauguration of a narrational mode: a historically distinct set of norms of narrational construction and comprehension. Norms are important in that they help us identity aesthetic innovation, deviations from set expectations within a film or as seen against the background of current practice. Modes help us understand the historical evolution of narrative practices.

4. Alternative modes of narration Art cinema High degree of stylistic self-consciousness. Elliptical and/or ambiguous narratives with weak causal links. Elliptical or nonlinear time schemes. “Expressive realism”: space treated creatively as subjective extension of character psychology. Characters observe rather than acting as causal agents Restricted narration.

5. Historical-materialist narration Rhetorical and didactic narration with high degree of overt address to the spectator. Expository titles produce an overt and self- conscious narration, supported by highly graphic and visually striking shot compositions. Plot is treated as a narrative and an argument. Poetic procedures for rhetorical ends.

6. Historical-materialist narration Montage as construction: a visible, self- conscious, and omnipotent manipulation of pro-filmic space. Omniscient narration characterized by cross-cutting and comparison. Conception of character: Narrative causality is “supraindividual.” The character as (class) type. The “mass hero.”

7. Modes of narration Knowledgeability: the extent to which the narration lays claim to a range and depth of story information. Self-consciousness: the degree to which the narration acknowledges its address to the spectator. Communicativeness: the extent to which the narration withholds or communicates story information.

8. Spatial construction in Hollywood cinema Specific spatial points as locus of action: human-centred space. Space and objects are correlatives of character traits. General but not exact continuity of graphic composition. 180 degree rule. Organization of scale in segments as inverted pyramid structure.

10. Hollywood and Ozu 1. Establishing shot 2. Long shot (master shot) 3. Medium two-shot 4. Reverse angles (over-the- shoulder shots) 5. alternating Medium Close-ups (sometimes Point-of-View shots) 6. Cut-away (or Insert) 7. alternating Medium Close- Ups 8. Re-establishing shots 1. Transition 2. Full Shot 3. Medium Shot of each individual 4. Full Shot 5. alternating Medium shots 6. new Full Shot 7. alternating Medium Shots 8. Transition

12. Ozu’s frame composition Camera movements are rare. Low camera height; almost straight-on angles Seated adults—chest height. Standing adults—waist height or lower. Long shots of interiors lower height than medium shots. Long shots of exteriors from an indeterminate height lower than subject of composition. Spatial structures not motivated by cause/effect chain of narrative. Emphasis on the power of graphic compositions.

13. Ozu’s transitions or “pillow shots” Still lives or landscapes introducing locations. Location of space with respect to dramatic action established only obliquely or retroactively. Often functions to impede the recognition and start of the following scene.

14. Ozu’s use of 360 degree space Cuts by multiples of 45 or 90 degrees. Two types of circular space: or rotational cutting: Characters or objects at center; Camera at center-characters on edge Compositional patterns providing alternative sense of continuity: Strong spatial anchors across line. Small overlaps at the edges of adjacent shots. Eyeline matches, including ambiguous and false. Matched action cuts across reversed spaces.

16. Ozu’s use of 360 degree space Compositional patterns providing alternative sense of continuity: Strong spatial anchors across line. Small overlaps at the edges of adjacent shots. Eyeline matches, including ambiguous and false.

17. Film style in Ozu Yasushiro Consequences of this strategy. Space and objects in space exist independently of characters and plot. They break the identification of characters with space. Space takes on an enhanced graphic power. Driving wedges into cause/effect chain, liberating our perception of space from that of action. Released from their dramatic function as backgrounds to action, or symbols of characters’ mental states, objects become bundles of graphic qualities which create strong geometries of line, shape, colour, size, volume, and texture.