View source for Yasujirō Ozu

{{Short description|Japanese filmmaker (1903–1963)}}
{{Use dmy dates|date=December 2017}}
{{Use British English|date=March 2016}}
{{Infobox person
| name               = Yasujirō Ozu
| image              = Yasujiro_Ozu_01.jpg
| caption            = Ozu in 1951
| native_name        = 小津 安二郎
| native_name_lang   = ja
| birth_date         = {{Birth date|df=yes|1903|12|12}}
| birth_place        = Fukagawa, [[Tokyo City]], [[Empire of Japan]]
| death_date         = {{Death date and age |df=yes|1963|12|12|1903|12|12}}
| death_place        = [[Bunkyō|Bunkyō City]], Tokyo, Japan
| resting_place      = [[Engaku-ji]], [[Kamakura]], Japan
| other_names        = James Maki
| occupation         = Film director, screenwriter
| years_active       = 1929–1963
| movement           = ''[[Shomin-geki]]''
| spouse             = 
| module             = {{Infobox Chinese
| child         = yes
| hiragana      = おづ やすじろう
| katakana      = オヅ ヤスジロウ
| romaji        = Ozu Yasujirō
}}
}}

{{Nihongo|'''Yasujirō Ozu'''|小津 安二郎|Ozu Yasujirō|12 December 1903 – 12 December 1963}} was a Japanese filmmaker. He began his career during the era of [[silent films]], and his last films were made in colour in the early 1960s. Ozu first made a number of short comedies, before turning to more serious themes in the 1930s.
The most prominent themes of Ozu's work are family and marriage, and especially the relationships between generations. His most widely beloved films include ''[[Late Spring]]'' (1949), ''[[Tokyo Story]]'' (1953) and ''[[An Autumn Afternoon]]'' (1962).

Widely regarded as one of the world's greatest and most influential filmmakers, Ozu's work has continued to receive acclaim since his death. In the 2012 ''[[Sight & Sound]]'' poll, Ozu's ''Tokyo Story'' was voted the third-greatest film of all time by critics world-wide. In the same poll, ''Tokyo Story'' was voted the greatest film of all time by  358 directors and film-makers world-wide.<ref name="director2012">{{cite web |url=http://www.bfi.org.uk/news/sight-sound-2012-directors-top-ten |archive-url=https://web.archive.org/web/20120803032035/http://www.bfi.org.uk/news/sight-sound-2012-directors-top-ten |archive-date=3 August 2012 |title=Directors' 10 Greatest Films of All Time |work=Sight & Sound |publisher=British Film Institute |date=December 4, 2014}}</ref>

==Biography==
===Early life===
Ozu was born in the [[Fukagawa, Tokyo|Fukagawa]] district of [[Tokyo City|Tokyo]], the second son of merchant Toranosuke Ozu and his wife Asae.<ref name=":0">{{Cite book |last1=Chiba |first1=Nobuo |title=Ozu Yasujirō to 20-seiki |last2=千葉伸夫 |date=2003 |publisher=Kokusho Kankōkai |isbn=4-336-04607-7 |edition=Shohan |pages=16, 20 |oclc=54757823}}</ref> His family was a branch of the Ozu Yoemon merchant family from [[Ise, Mie|Ise]], and Toranosuke was the 5th generation manager of the family's fertilizer business in [[Nihonbashi]].<ref name=":1">{{Cite book |last=Matsuura |first=Kanji |title=Ozu Yasujirō, taizen = Ozu |date=2019 |others=Miyamoto Akiko |isbn=978-4-02-251599-5 |pages=154–158 |publisher=朝日新聞出版 |oclc=1101101857}}</ref> Asae came from the Nakajō merchant family.<ref name=":0" /><ref name=":1" /> Ozu had five brothers and sisters. When he was three, he developed [[meningitis]], and was in a coma for a couple of days. Asae devoted herself to nursing him, and Ozu made a recovery.<ref name=":0" /> He attended Meiji nursery school and primary school.<ref name="Hasumi-319">{{harvnb|Hasumi|2003|p=319}}</ref> In March 1913, at the age of nine, he and his siblings were sent by his father to live in his father's home town of [[Matsusaka, Mie|Matsusaka]] in [[Mie Prefecture]], where he remained until 1924.<ref name="Hasumi-319"/><ref>{{cite book|first=Mark|last=Weston|title=Giants of Japan|url=https://archive.org/details/giantsofjapanliv00west|url-access=registration|publisher=Kodansha International|year=1999|page=[https://archive.org/details/giantsofjapanliv00west/page/303 303]|isbn=978-1-56836-286-1}}</ref> In March 1916, at the age of 12, he entered what is now Ujiyamada High School.<ref group="n">宇治山田高等学校</ref> He was a boarder at the school and did judo.<ref name="Hasumi-319"/> He frequently skipped classes to watch films such as ''[[Quo Vadis (1913 film)|Quo Vadis]]'' or ''[[The Last Days of Pompeii (1913 film)|The Last Days of Pompeii]]''. In 1917, he saw the film ''[[Civilization (film)|Civilization]]'' and decided that he wanted to be a film director.<ref name="Hasumi-320">{{harvnb|Hasumi|2003|p=320}}</ref>

In 1920, at the age of 17, he was thrown out of the dormitory after being accused of writing a love letter to a good-looking boy in a lower class, and had to commute to school by train.<ref name="Hasumi-320"/>

In March 1921, Ozu graduated from the high school. He attempted the exam for entrance into what is now [[Kobe University]]'s economics department,<ref group="n">神戸高商, Kobe Kosho</ref> but failed. In 1922, he took the exam for a teacher training college,<ref group="n">三重県立師範学校, Mie-ken ritsu shihan gakko</ref> but failed it too. On 31 March 1922, he began working as a substitute teacher at a school in [[Mie Prefecture|Mie prefecture]]. He is said to have traveled the long journey from the school in the mountains to watch films on the weekend. In December 1922, his family, with the exception of Ozu and his sister, moved back to Tokyo to live with his father. In March 1923, when his sister graduated, he also returned to live in Tokyo.

===Entering the film business===
[[File:Yasujiro_Ozu_cropped.jpg|thumb|upright|Yasujiro Ozu during the filming of ''Dragnet Girl'' 1933]]

With his uncle acting as intermediary, Ozu was hired by the [[Shochiku|Shochiku Film Company]], as an assistant in the cinematography department, on 1 August 1923, against the wishes of his father.<ref name="Hasumi-320"/> His family home was destroyed in [[1923 Great Kantō earthquake|the earthquake of 1923]], but no members of his family were injured.

On 12 December 1924, Ozu started a year of military service.<ref name="Hasumi-320"/><ref group="n">Ozu's military service was of a special type called ''ichinen shiganhei'' (一年志願兵) where the usual two-year term of conscription was shortened to one year on condition that the conscriptee paid for himself.</ref> He finished his military service on 30 November 1925, leaving as a corporal.

In 1926, he became a third [[assistant director]] at Shochiku.<ref name="Hasumi-321">{{harvnb|Hasumi|2003|p=321}}</ref> In 1927, he was involved in a fracas where he punched another employee for jumping a queue at the studio cafeteria, and when called to the studio director's office, used it as an opportunity to present a film script he had written.<ref name="Hasumi-321"/> In September 1927, he was promoted to director in the ''[[jidaigeki]]'' (period film) department, and directed his first film, ''[[Sword of Penitence]]'', which has since been lost. ''Sword of Penitence'' was written by Ozu, with a screenplay by [[Kogo Noda]], who would become his co-writer for the rest of his career. On September 25, he was called up for service in the military reserves until November, which meant that the film had to be partly finished by another director.<ref name="Hasumi-321"/>

[[File:突貫小僧 (1929).webm|thumb|left|''A Straightforward Boy'' (1929), an early short film directed by Ozu]]
In 1928, Shiro Kido, the head of the Shochiku studio, decided that the company would concentrate on making short comedy films without star actors. Ozu made many of these films. The film ''Body Beautiful'', released on 1 December 1928, was the first Ozu film to use a low camera position, which would become his trademark.<ref name="Hasumi-321" /> After a series of the "no star" pictures, in September 1929, Ozu's first film with stars, ''[[I Graduated, But...]]'', starring {{ill|Minoru Takada|jp|高田稔}} and [[Kinuyo Tanaka]], was released. In January 1930, he was entrusted with Shochiku's top star, [[Sumiko Kurishima]], in her new year film, ''{{ill|An Introduction to Marriage|jp|結婚学入門}}''. His subsequent films of 1930 impressed Shiro Kido enough to invite Ozu on a trip to a hot spring. In his early works, Ozu used the pseudonym "James Maki"<ref group="n">ヂェームス・槇</ref> for his screenwriting credit.<ref>{{harvnb|Shindo|2004|p=11}}</ref> His film ''Young Miss'', with an all-star cast, was the first time he used the pen name James Maki, and was also his first film to appear in film magazine ''[[Kinema Jumpo]]''{{'s}} "Best Ten" at third position.<ref name="Hasumi-322">{{harvnb|Hasumi|2003|p=322}}</ref>

In 1932, his ''[[I Was Born, But...]]'', a comedy about childhood with serious overtones, was received by movie critics as the first notable work of [[social criticism]] in [[Japanese cinema]], winning Ozu wide acclaim.<ref>{{cite news|last1=Scott|first1=A.O.|title=Revenge on the Bully, Silently, in Japan|url=https://www.nytimes.com/2010/06/25/movies/25iwas.html?_r=0|access-date=19 May 2015|work=[[The New York Times]]|agency=New York Times Company|date=24 June 2010}}</ref>
In 1935, Ozu made a short documentary with a soundtrack: ''Kagami Jishi'', in which Kikugoro VI performed a [[Kabuki]] dance of the same title. This was made by request of the Ministry of Education.<ref name=richie />{{rp|p. 221}} Like the rest of Japan's cinema industry, Ozu was slow to switch to the production of [[talkie]]s: his first film with a dialogue sound-track was ''[[The Only Son (1936 film)|The Only Son]]'' in 1936, five years after Japan's first talking film, [[Heinosuke Gosho]]'s ''[[The Neighbor's Wife and Mine]]''.

===Wartime===
On 9 September 1937, at a time when Shochiku was unhappy about Ozu's lack of box-office success, despite the praise he received from critics, the thirty-four-year-old Ozu was conscripted into the [[Imperial Japanese Army]]. He spent two years in China in the [[Second Sino-Japanese War]]. He arrived in Shanghai on 27 September 1937 as part of an infantry regiment which handled chemical weapons.<ref name="hasumi-327"/> He started as a corporal, but was promoted to sergeant on 1 June 1938.<ref name="hasumi-327"/> From January until September 1938, he was stationed in [[Nanjing]], where he met [[Sadao Yamanaka]], who was stationed nearby. In September, Yamanaka died of illness.<ref name=hasumi-327>{{harvnb|Hasumi|2003|p=327}}</ref> In 1939, Ozu was dispatched to [[Hankou]], where he fought in the [[Battle of Nanchang]] and the [[Battle of Xiushui River]]. In June, he was ordered back to Japan, arriving in Kobe in July, and his conscription ended on 16 July 1939.<ref name="hasumi-327"/>

Some of Ozu's published diaries cover his wartime experiences between 20 December 1938 and 5 June 1939.<ref name=tanakaAll>{{Cite book| last = Tanaka | first = Masumi | title = 全日記 小津安二郎 | publisher = Firumu Atosha | year = 1993 | isbn = 978-4-8459-9321-5}}</ref> Another diary from his wartime years ({{lang|ja|陣中日記}}) he expressly forbade from publication. In the published diaries, references are made to his group's participation in chemical warfare (in violation of the [[Geneva Protocol]], though Japan had withdrawn from the [[League of Nations]] in 1933) in various entries from March 1939.<ref name=sato372>{{Cite book| last = Sato | first = Tadao| title = 小津安二郎の芸術 上 | publisher = Asahi Shimbun | year = 1978 | pages=370-372|isbn = 978-4-02-259226-2}}</ref><ref name=Hoshino550>{{cite journal|last=Hoshino|first=Haruhiko|title=小津安二郎の戦争責任|journal=Fukuoka University Journal of Humanities|date=September 2024|volume=56|issue=2|pages=550-551|url=https://fukuoka-u.repo.nii.ac.jp/record/2000509/files/L5602_0525.pdf}}</ref><ref name=sohu/> In another entry, he disparagingly compares Chinese soldiers as insects.<ref name=tanakaWar>{{Cite book| last = Tanaka | first = Masumi | title = 小津安二郎と戦争 | publisher = Misuzu Shobo |page=83 | year = 2005 | isbn = 978-4-622-07148-8 }}</ref><ref name=Hoshino547>{{cite journal|last=Hoshino|first=Haruhiko|title=小津安二郎の戦争責任|journal=Fukuoka University Journal of Humanities|date=September 2024|volume=56|issue=2|page=547|url=https://fukuoka-u.repo.nii.ac.jp/record/2000509/files/L5602_0525.pdf}}</ref><ref name=sohu/> Although operating as a military squad leader, Ozu retains his directorial perspective, once commenting that the initial shock and subsequent agony of a man as he is hacked to death is very much like its depiction in period films.<ref name=sato>{{Cite book| last = Sato | first = Tadao| title = 小津安二郎の芸術 上 | publisher = Asahi Shimbun | year = 1978 | isbn = 978-4-02-259226-2}}</ref><ref name=Hoshino850>{{cite journal|last=Hoshino|first=Haruhiko|title=小津安二郎の戦争トラウマ|journal=Fukuoka University Journal of Humanities|date=December 2024|volume=56|issue=3|page=850|url=https://fukuoka-u.repo.nii.ac.jp/record/2000516/files/L5603_0833.pdf}}</ref><ref name=sohu>{{citation |title= 小津安二郎：侵华日军的毒气军曹，影迷眼里的电影艺术大师   | publisher=sohu.com |date=April 2, 2021 |url= https://www.sohu.com/a/458242262_351483}}</ref>

Ozu's writings also offers a glimpse into the Japanese military's use of [[comfort women]]. In a letter sent to friends in Japan on 11 April 1938, from [[Dingyuan County]] in China's [[Anhui|Anhui Province]], Ozu writes about the comfort station protocol in lightly coded terms.<ref name=tanaka76>{{Cite book| last = Tanaka | first = Masumi | title = 小津安二郎と戦争 | publisher = Misuzu Shobo | year = 2005 | pages = 76–77 |url= https://wam-peace.org/ianjo/resource/a-1902/ | isbn = 978-4-622-07148-8 }}</ref> In a 13 January 1939 diary entry, Ozu writes more openly about his group's upcoming turn for use of a comfort station near [[Yingcheng]]. He mentions that two tickets, ointment and prophylatics are provided, and that three Korean and twelve Chinese women were being held at the comfort station for their use. Comfort station rates and schedules are also given by Ozu.<ref name=tanaka231>{{Cite book| last = Tanaka | first = Masumi | title = 全日記 小津安二郎 | publisher = Firumu Atosha | year = 1993 | pages = 231, 233 |url= https://wam-peace.org/ianjo/resource/a-2495/| isbn = 978-4-8459-9321-5}}</ref>

In 1939, he wrote the first draft of the script for ''[[The Flavor of Green Tea over Rice]]'', but shelved it due to extensive changes insisted on by military censors.<ref name="hasumi-327"/> The first film Ozu made on his return was the critically and commercially successful ''[[Brothers and Sisters of the Toda Family]]'', released in 1941. He followed this with ''[[There Was a Father]]'' (''Chichi Ariki'', 1942), which explored the strong bonds of affection between a father and son despite years of separation.

In 1943, Ozu was again drafted into the army for the purpose of making a propaganda film in [[Burma]]. However, he was sent to Singapore instead, to make a documentary ''Derii e, Derii e'' ("To Delhi, to Delhi") about [[Subhas Chandra Bose|Chandra Bose]].<ref name="shinario-jinsei">{{kaneto-shindo-shinario-jinsei}}</ref> During his time in Singapore, having little inclination to work, he spent an entire year reading, playing tennis and watching American films provided by the Army information corps. He was particularly impressed with [[Orson Welles]]'s ''[[Citizen Kane]]''.<ref name="hasumi-329">{{harvnb|Hasumi|2003|p=329}}</ref> He occupied a fifth-floor room facing the sea in the [[Cathay Building]] where he entertained guests, drew pictures, and collected rugs. At the end of the Second World War, in August 1945, Ozu destroyed the script and all footage of the film.<ref name="shinario-jinsei"/> He was detained as a civilian, and worked in a rubber plantation. Of his film team of 32 people, there was only space for 28 on the first repatriation boat to Japan. Ozu won a lottery giving him a place, but gave it to someone else who was anxious to return.<ref name="shinario-jinsei"/><ref name="hasumi-329"/>

===Postwar===
When the war ended, Ozu eliminated every trace of his propaganda filming, determined not to be remembered as a war criminal.<ref>{{cite web |last1=Dong |first1=Kelley |title=Ozu 120: The Complete Ozu Yasujiro |url=https://harvardfilmarchive.org/programs/the-complete-yasujiro-ozu |website=Harvard Film Archive |publisher=President and Fellows of Harvard College |access-date=8 August 2025 |date=2023}}</ref>

Ozu returned to Japan in February 1946, and moved back in with his mother, who had been staying with his sister in [[Noda, Chiba|Noda]] in [[Chiba Prefecture|Chiba prefecture]]. He reported for work at the Ofuna studios on 18 February 1946. His first film released after the war was ''[[Record of a Tenement Gentleman]]'' in 1947. Around this time, the Chigasakikan<ref group="n">茅ケ崎館</ref> [[Ryokan (Japanese inn)|Ryokan]] became Ozu's favoured location for scriptwriting.

[[File:Grave of Yasujiro Ozu.jpg|thumb|Ozu's grave at [[Engaku-ji]], [[Kamakura]] in 2018]]

''[[Tokyo Story]]'' was the last script that Ozu wrote at Chigasakikan. In later years, Ozu and Noda used a small house in the mountains at [[Tateshina, Nagano|Tateshina]] in [[Nagano Prefecture]] called Unkosō<ref group="n">雲呼荘</ref> to write scripts, with Ozu staying in a nearby house called Mugeisō.<ref group="n">無芸荘</ref><ref>{{harvnb|Shindo|2004|pp=31–32}}</ref>

Ozu's films from the late 1940s onward were favourably received, and the entries in the so-called "Noriko trilogy" (starring [[Setsuko Hara]]) of ''[[Late Spring]]'' (1949), ''[[Early Summer]]'' (1951) and ''[[Tokyo Story]]'' (1953) are among his most acclaimed works, with ''Tokyo Story'' widely considered his masterpiece.<ref>{{cite web|last1=Parkinson|first1=David|title=Yasujiro Ozu – The Noriko Trilogy|url=http://www.moviemail.com/scripts/article.pl?articleID=150|website=MovieMail|publisher=MovieMail Ltd|access-date=19 May 2015}}</ref> ''Late Spring'', the first of these films, was the beginning of Ozu's commercial success and the development of his cinematography and storytelling style. These three films were followed by his first colour film, ''[[Equinox Flower]],'' in 1958, ''[[Floating Weeds]]'' in 1959 and ''[[Late Autumn (1960 film)|Late Autumn]]'' in 1960. In addition to Noda, other regular collaborators included [[cinematographer]] Yuharu Atsuta, along with the actors [[Chishū Ryū]], [[Setsuko Hara]] and [[Haruko Sugimura]].

His work was only rarely shown overseas before the 1960s; however, ''Tokyo Story'' gained recognition after winning the Sutherland Trophy at the 1958 London Film Festival. Ozu's last film was ''[[An Autumn Afternoon]],'' which was released in 1962. He then directed the television drama {{Ill|After the End of Youth|ja|青春放課後}} (1963), co-writing it with novelist [[Ton Satomi]].<ref>{{Cite news |date=2013-10-10 |title=小津安二郎監督「幻のドラマ」放送へ |trans-title=Director Yasujirō Ozu’s 'Lost Drama' to Be Broadcast |url=http://www3.nhk.or.jp/news/html/20131010/k10015170161000.html |url-status=dead |archive-url=https://web.archive.org/web/20131010052932/http://www3.nhk.or.jp/news/html/20131010/k10015170161000.html |archive-date=2013-10-10 |access-date=2025-03-14 |work=[[NHK|NHK News Web]] |language=ja}}</ref><ref>{{Cite magazine |last=Ma |first=Kevin |date=2013-10-11 |title=Rediscovered Ozu TV drama to air |url=http://www.filmbiz.asia/news/rediscovered-ozu-tv-drama-to-air |url-status=dead |archive-url=https://web.archive.org/web/20131022155814/http://www.filmbiz.asia/news/rediscovered-ozu-tv-drama-to-air |archive-date=2013-10-22 |access-date=2025-03-14 |magazine=[[Film Business Asia]]}}</ref>

He served as president of the [[Directors Guild of Japan]] from 1955 until his death in 1963.<ref name="Nenpyo">{{cite web|url=http://www.dgj.or.jp/about_g/chronology.html|title=Nihon eiga kantoku kyōkai nenpyō|publisher=Nihon eiga kantoku kyōkai|language=ja|access-date=17 August 2010|archive-url=https://web.archive.org/web/20100726084327/http://www.dgj.or.jp/about_g/chronology.html|archive-date=26 July 2010|df=dmy-all}}</ref> In 1959 he became the first recipient from the field of cinema to win the [[Japan Art Academy]] Prize.

Ozu was known for his drinking. He and Noda measured the progression of their scripts by how many bottles of [[sake]] they had drunk. Ozu never married.<ref>{{cite web|url=http://old.bfi.org.uk/sightandsound/feature/49594|archive-url=https://web.archive.org/web/20120803012819/http://old.bfi.org.uk/sightandsound/feature/49594|archive-date=3 August 2012|last=Rayns|first=Tony|title=Ozu Yasujiro, tofu maker
|year=2010|access-date=19 February 2019}}</ref> He lived with his mother until she died in 1961.<ref>Darrell William Davis, 'Ozu's mother,' in David Desser (ed.), ''Ozu's Tokyo Story,'' [[Cambridge University Press]] 1997 {{isbn|978-0-521-48435-0}} pp.76-100, p.95.</ref>

A heavy smoker, Ozu died of [[throat cancer]] in 1963 on his sixtieth birthday. The grave he shares with his mother at [[Engaku-ji]] in [[Kamakura, Kanagawa|Kamakura]] bears no name—just the character ''[[Mu (negative)|mu]]'' ("nothingness").<ref>{{cite web|url=http://www.easterwood.org/ozu/gravesite/directions2.html|last=Easterwood|first=Kurt |title=Yasujiro Ozu's gravesite in Kita-Kamakura: How to get there (Part Two). |year=2004|access-date=20 August 2009 }}</ref>

==Filmography==
{| class="wikitable collapsible sortable" style="clear:none; font-size:90%; padding:0 auto; width:100%; margin:auto"
! colspan="5"  style="text-align:center; background:#fff;"| Filmography of Yasujirō Ozu<ref name=Hasumi229>{{Harvnb|Hasumi|1998|p= 229}}</ref><ref name=SatoII280>{{Harvnb|Sato|1997b|p= 280}}</ref>
|-
! Year !! English title !! Japanese title !! [[Rōmaji]] !! Notes
|-
| colspan="5"  style="text-align:center; background:#e0ffff;"|Silent films
|-
| style="background:#efefef;"| 1927
| ''[[Sword of Penitence]]''
| 懺悔の刃
| ''[[Zange no yaiba]]''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| style="background:#efefef;" rowspan="5"| 1928
| ''Dreams of Youth''
| 若人の夢
| ''Wakōdo no yume''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''Wife Lost''
| 女房紛失
| ''Nyōbō funshitsu''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''Pumpkin''
| カボチャ
| ''Kabocha''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''A Couple on the Move''
| 引越し夫婦
| ''Hikkoshi fūfu''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''Body Beautiful''
| 肉体美
| ''Nikutaibi''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| style="background:#efefef;" rowspan="6"| 1929
| ''Treasure Mountain''
| 宝の山
| ''Takara no yama''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''[[Days of Youth|Student Romance: Days of Youth]]''
| 学生ロマンス　若き日
| ''[[Gakusei romansu: wakaki hi]]''
| style="text-align:center;"| Ozu's earliest surviving film
|-
| ''Fighting Friends Japanese Style''
| 和製喧嘩友達
| ''Wasei kenka tomodachi''
|  style="background:darkGrey; text-align:center;"|14 minutes survives
|-
| ''[[I Graduated, But...]]''
| 大学は出たけれど
| ''[[Daigaku wa detakeredo]]''
|  style="background:darkGrey; text-align:center;"|10 minutes survives
|-
| ''The Life of an Office Worker''
| 会社員生活
| ''Kaishain seikatsu''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''A Straightforward Boy''
| 突貫小僧
| ''Tokkan kozō''
| style="text-align:center;"| Short film
|-
| style="background:#efefef;" rowspan="7"| 1930
| ''An Introduction to Marriage''
| 結婚学入門
| ''Kekkongaku nyūmon''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''Walk Cheerfully''
| 朗かに歩め
| ''Hogaraka ni ayume''
|
|-
| ''[[I Flunked, But...]]''
| 落第はしたけれど
| ''[[I Flunked, But...|Rakudai wa shitakeredo]]''
|
|-
| ''[[That Night's Wife]]''
| その夜の妻
| ''[[That Night's Wife|Sono yo no tsuma]]''
|
|-
| ''The Revengeful Spirit of Eros''
| エロ神の怨霊
| ''Erogami no onryō''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''The Luck Which Touched the Leg''
| 足に触った幸運
| ''Ashi ni sawatta kōun''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''Young Miss''
| お嬢さん
| ''Young Miss Ojōsan''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| style="background:#efefef;" rowspan="3"| 1931
| ''The Lady and the Beard''
| 淑女と髯
| ''Shukujo to hige''
|
|-
| ''Beauty's Sorrows''
| 美人哀愁
| ''Bijin aishu''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''[[Tokyo Chorus]]''
| 東京の合唱
| ''[[Tokyo Chorus|Tōkyō no kōrasu]]''
|
|-
| style="background:#efefef;" rowspan="4"| 1932
| ''Spring Comes from the Ladies''
| 春は御婦人から
| ''Haru wa gofujin kara''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''[[I Was Born, But...]]''
| 大人の見る繪本　生れてはみたけれど
| ''[[I Was Born, But...|Otona no miru ehon — Umarete wa mita keredo]]''
|
|-
| ''Where Now Are the Dreams of Youth?''
| 靑春の夢いまいづこ
| ''Seishun no yume ima izuko''
|
|-
| ''[[Until the Day We Meet Again]]''
| また逢ふ日まで
| ''[[Until the Day We Meet Again|Mata au hi made]]''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| style="background:#efefef;" rowspan="3"| 1933
| ''[[Woman of Tokyo]]''
| 東京の女
| ''[[Woman of Tokyo|Tōkyō no onna]]''
|
|-
| ''[[Dragnet Girl]]''
| 非常線の女
| ''[[Hijōsen no onna]]''
|
|-
| ''[[Passing Fancy]]''
| 出来ごころ
| ''[[Dekigokoro]]''
|
|-
| style="background:#efefef;" rowspan="2"| 1934
| ''[[A Mother Should Be Loved]]''
| 母を恋はずや
| ''[[A Mother Should Be Loved|Haha o kowazuya]]''
| style="text-align:center;"| Incomplete
|-
| ''[[A Story of Floating Weeds]]''
| 浮草物語
| ''[[Ukigusa monogatari]]''
|
|-
| style="background:#efefef;" rowspan="2"| 1935
| ''An Innocent Maid''
| 箱入娘
| ''Hakoiri musume''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| ''[[An Inn in Tokyo]]''
| 東京の宿
| ''[[An Inn in Tokyo|Tōkyō no yado]]''
|
|-
| style="background:#efefef;"| 1936
| ''College Is a Nice Place''
| 大学よいとこ
| ''Daigaku yoitoko''
|  style="background:darkGrey; text-align:center;"|Lost
|-
| colspan="5"  style="text-align:center; background:moccasin;"|Sound, black-and-white films
|-
| style="background:#efefef;" rowspan="2"| 1936
| ''Lion in the Mirror''
| 菊五郎の鏡獅子
| ''Kagami jishi''
| style="text-align:center;"|Short documentary
|-
| ''[[The Only Son (1936 film)|The Only Son]]''
| 一人息子
| ''[[Hitori musuko]]''
| style="text-align:center;"|
|-
| style="background:#efefef;"| 1937
| ''[[What Did the Lady Forget?]]''
| 淑女は何を忘れたか
| ''[[What Did the Lady Forget?|Shukujo wa nani o wasureta ka]]''
|
|-
| style="background:#efefef;"| 1941
| ''[[Brothers and Sisters of the Toda Family]]''
| 戸田家の兄妹
| ''[[Brothers and Sisters of the Toda Family|Todake no kyōdai]]''
|
|-
| style="background:#efefef;"| 1942
| ''[[There Was a Father]]''
| 父ありき
| ''[[Chichi ariki]]''
|
|-
| style="background:#efefef;"| 1947
| ''[[Record of a Tenement Gentleman]]''
| 長屋紳士録
| ''[[Nagaya Shinshiroku]]''
|
|-
| style="background:#efefef;"| 1948
| ''[[A Hen in the Wind]]''
| 風の中の牝鶏
| ''[[Kaze no naka no mendori]]''
|
|-
| style="background:#efefef;"| 1949
| ''[[Late Spring]]''
| 晩春
| ''[[Banshun]]''
| style="text-align:center;"|Ozu's first film with [[Setsuko Hara]]
|-
| style="background:#efefef;"| 1950
| ''[[The Munekata Sisters]]''
| 宗方姉妹
| ''[[The Munekata Sisters|Munekata shimai]]''
|
|-
| style="background:#efefef;"| 1951
| ''[[Early Summer]]''
| 麥秋
| ''[[Bakushu]]''
|
|-
| style="background:#efefef;"| 1952
| ''[[The Flavor of Green Tea over Rice]]''
| お茶漬の味
| ''[[Ochazuke no aji]]''
| style="text-align:center;"| Adapted from censored 1939 script
|-
| style="background:#efefef;"| 1953
| ''[[Tokyo Story]]''
| 東京物語
| ''[[Tokyo Story|Tōkyō monogatari]]''
|
|-
| style="background:#efefef;"| 1956
| ''[[Early Spring (1956 film)|Early Spring]]''
| 早春
| ''[[Sōshun]]''
|
|-
| style="background:#efefef;"| 1957
| ''[[Tokyo Twilight]]''
| 東京暮色
| ''[[Tōkyō boshoku]]''
|
|-
| colspan="5"  style="text-align:center; background:khaki;"|Colour films
|-
| style="background:#efefef;"| 1958
| ''[[Equinox Flower]]''
| 彼岸花
| ''[[Equinox Flower|Higanbana]]''
| style="text-align:center;"| Ozu's first film in colour
|-
| style="background:#efefef;" rowspan="2"| 1959
| ''[[Good Morning (1959 film)|Good Morning]]''
| お早よう
| ''[[Good Morning (1959 film)|Ohayō]]''
|style="text-align:center;"|Remake of ''[[I Was Born, But...]]''
|-
| ''[[Floating Weeds]]''
| 浮草
| ''[[Ukigusa]]''
| style="text-align:center;"| Remake of ''[[A Story of Floating Weeds]]''
|-
| style="background:#efefef;"| 1960
| ''[[Late Autumn (1960 film)|Late Autumn]]''
| 秋日和
| ''[[Akibiyori]]''
|
|-
| style="background:#efefef;"| 1961
| ''[[The End of Summer]]''
| 小早川家の秋
| ''[[Kohayagawa-ke no aki]]''
| style="text-align:center;"|Ozu's last film with [[Setsuko Hara]]
|-
| style="background:#efefef;"| 1962
| ''[[An Autumn Afternoon]]''
| 秋刀魚の味
| ''[[Sanma no aji]]''
| style="text-align:center;"| Ozu's final work
|}

==Legacy and style==
[[File:Setsuko Hara and Yasujiro Ozu in Tokyo Story.jpg|thumb|200 px| [[Setsuko Hara]] (left) and Yasujirō Ozu (far right) on location of ''[[Tokyo Story]]'' (1953)]]

Ozu is probably as well known for the technical style and innovation of his films as for the narrative content. The style of his films is most striking in his later films, a style he had not fully developed until his post-war sound films.<ref>{{cite web|last1=Miyao|first1=Daisuke|title=The Scene at the Kyoto Inn: Teaching Ozu Yasujiro's Late Spring|url=http://www.columbia.edu/cu/weai/exeas/resources/pdf/late-spring.pdf|website=Columbia University in the City of New York|publisher=Columbia University|access-date=19 May 2015}}</ref> He did not conform to Hollywood conventions.<ref name="Ebert_Masterpieces">Ebert, Roger, [https://www.rogerebert.com/rogers-journal/ozu-the-masterpieces-youve-missed "Ozu: The Masterpieces You've Missed"], retrieved 8 June 2014.</ref> Rather than using the typical over-the-shoulder shots in his dialogue scenes by most directors, the camera gazes on the actors directly, which has the effect of placing the viewer in the middle of the scene.<ref name="Ebert_Masterpieces"/> Throughout his career, Ozu used a 50mm lens, which is usually considered to be the lens closest to human vision.<ref>
Projecting History: German Nonfiction Cinema, 1967-2000, Nora M. Alter, 2009</ref>

Ozu did not use typical transitions between scenes. In between scenes he would show shots of certain static objects as transitions, or use direct cuts, rather than fades or dissolves. Most often the static objects would be buildings, where the next indoor scene would take place. It was during these transitions that he would use music, which might begin at the end of one scene, progress through the static transition, and fade into the new scene. He rarely used non-[[Diegesis#In film|diegetic]] music in any scenes other than in the transitions.<ref name="mark schilling">{{cite web|last1=Schilling|first1=Mark|title=Re-examining Yasujiro Ozu on film|url=http://www.japantimes.co.jp/culture/2013/12/07/films/re-examining-yasujiro-ozu-on-film/#.VVuc6_lVhBd|website=Japan Times|access-date=19 May 2015|date=2013-12-07}}</ref> Ozu moved the camera less and less as his career progressed, and ceased using tracking shots altogether in his colour films.<ref>{{cite book|last1=Magill|first1=Frank Northen|title=Magill's survey of cinema, foreign language films, Volume 6|date=1985|publisher=Salem Press|location=Englewood Cliffs, N.J.|isbn=978-0-89356-243-4|page=2542}}</ref> However, David Bordwell argues that Ozu is one of the few directors to "create a systematic alternative to Hollywood continuity cinema, but he does so by changing only a few premises."<ref>{{cite web|url=http://isites.harvard.edu/fs/docs/icb.topic235120.files/BordwellOzuNewIntro.pdf|last=Bordwell|first=David|author-link=David Bordwell|title=Konban-wa, Ozu-san}}<!-- needs date and retrieved date --></ref>

[[File:Yasujiro ozu shooting.jpg|left|thumb|Ozu during a film shoot]]

Ozu invented the "tatami shot", in which the camera is placed at a low height, supposedly at the eye level of a person kneeling on a ''[[tatami]]'' mat.<ref>{{cite web|last1=Ebert|first1=Roger|title=Ozu: The Masterpieces You've Missed|url=https://www.rogerebert.com/rogers-journal/ozu-the-masterpieces-youve-missed|website=Roger Ebert's Film Journal|date=19 December 2012 |access-date=19 May 2015}}</ref> Actually, Ozu's camera is often even lower than that, only one or two feet off the ground, which necessitated the use of special tripods and raised sets. He used this low height even when there were no sitting scenes, such as when his characters walked in hallways. When Ozu made his move to colour, he chose to shoot under the German colour process [[Agfacolor]], as he felt that it captured reds much better than any other colour process.<ref>Ozu: His Life and Films; Donald Richie, 1977</ref>

Ozu eschewed the traditional rules of movie storytelling, most notably [[Eyeline match|eyelines]]. In his review of ''[[Floating Weeds]]'', film critic [[Roger Ebert]] recounts:<blockquote>[Ozu] once had a young assistant who suggested that perhaps he should shoot conversations so that it seemed to the audience that the characters were looking at one another. Ozu agreed to a test. They shot a scene both ways, and compared them. "You see?" Ozu said. "No difference!"<ref>{{cite news|url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19970330/REVIEWS08/401010319/1023|first=Roger|last=Ebert|author-link=Roger Ebert|title=Floating Weeds (1959)|access-date=22 August 2012|work=Chicago Sun-Times|archive-date=10 February 2013|archive-url=https://web.archive.org/web/20130210020512/http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=%2F19970330%2FREVIEWS08%2F401010319%2F1023|url-status=dead}}</ref></blockquote>

Ozu was also an innovator in Japanese narrative structure through his use of [[Ellipsis (narrative device)|ellipses]], or the decision not to depict major events in the story.<ref name="david desser">{{cite book|last1=Desser|first1=David|title=Ozu's Tokyo Story|date=1997|publisher=Cambridge University Press|location=Cambridge & New York|isbn=978-0-521-48204-2|pages=6–7|url=https://books.google.com/books?id=hdi6mX9P9MYC}}</ref> In ''[[An Autumn Afternoon]]'' (1962), for example, a wedding is merely mentioned in one scene, and the next sequence references this wedding (which has already occurred); the wedding itself is never shown. This is typical of Ozu's films, which eschew melodrama by eliding moments that would often be used in Hollywood in attempts to stir an emotional reaction from audiences.<ref name="david desser" />

Ozu became recognized internationally when his films were shown abroad.<ref>{{cite journal|first=Lindsay|last=Anderson|author-link=Lindsay Anderson|title=Two inches off the ground|date=Winter 1957|journal=Sight & Sound}}</ref> Influential [[monograph]]s by [[Donald Richie]],<ref name=richie>{{cite book|last=Richie|first=Donald|author-link=Donald Richie|title=Ozu|publisher=[[University of California]] Press|date=July 1977|isbn=978-0-520-03277-4}}</ref> [[Paul Schrader]],<ref name=shrader>{{cite book|last=Schrader|first=Paul|author-link=Paul Schrader|title=Transcendental Style in Film: Ozu, Bresson, Dreyer|year=1972|isbn=978-0-306-80335-2}}</ref> and [[David Bordwell]]<ref>{{cite book|last=Bordwell|first=David|author-link=David Bordwell|url=https://www.cjspubs.lsa.umich.edu/electronic/facultyseries/list/series/ozu.php|archive-url=https://web.archive.org/web/20110720094104/https://www.cjspubs.lsa.umich.edu/electronic/facultyseries/list/series/ozu.php|archive-date=2011-07-20|title=Ozu and the Poetics of Cinema|publisher=Princeton University Press|year=1988|isbn=978-0-691-00822-6}}</ref> have ensured a wide appreciation of Ozu's style, aesthetics, and themes by the Anglophonic audience.

==Awards and honors==
Ozu was voted the tenth greatest director of all time in the 2002 [[British Film Institute]]'s ''[[Sight & Sound]]'' poll of critics' top 10 directors.<ref>{{cite web|url=http://old.bfi.org.uk/sightandsound/polls/topten/poll/critics-directors.html|archive-url=https://web.archive.org/web/20120618075839/http://old.bfi.org.uk/sightandsound/polls/topten/poll/critics-directors.html|archive-date=18 June 2012|title=BFI Sight & Sound Top Ten Poll 2002 – The Critics' Top Ten Directors|date=2 August 2011|access-date=22 August 2012}}</ref> Ozu's ''[[Tokyo Story]]'' has appeared several times in the ''[[Sight & Sound]]'' poll of best films selected by critics and directors. In 2012, it topped the poll of film directors' choices of "greatest film of all time".

{| class="wikitable sortable" border="1"
|-
! Year of award or honor
! Name of award or honor
! Awarding organization
! Country of<br />Origin
! Film title<br />(if applicable)
|-
|1932
|[[Kinema Junpo Award for Best Film of the Year|Best Japanese Film]]<ref>{{cite web |script-title=ja:キネマ旬報 ベスト・テン 1932年・第9回 |trans-title=9th Kinema Junpo Best Ten (1932) |url=http://www.kinenote.com/main/award/kinejun/y1932.aspx |website=KINENOTE |language=ja |publisher=[[Kinema Junpo]] |url-status=live |archive-url=https://web.archive.org/web/20241227163045/http://www.kinenote.com/main/award/kinejun/y1932.aspx |archive-date=December 27, 2024 |access-date=March 29, 2025}}</ref>
|rowspan=5|''[[Kinema Junpo]]''
|rowspan=11|Japan
|''[[I Was Born, But...]]''
|-
|1933
|Best Japanese Film<ref>{{cite web |script-title=ja:キネマ旬報 ベスト・テン 1933年・第10回 |trans-title=10th Kinema Junpo Best Ten (1933) |url=http://www.kinenote.com/main/award/kinejun/y1933.aspx |website=KINENOTE |language=ja |publisher=[[Kinema Junpo]] |url-status=live |archive-url=https://web.archive.org/web/20250125064445/http://www.kinenote.com/main/award/kinejun/y1933.aspx |archive-date=January 25, 2025 |access-date=March 29, 2025}}</ref>
|''[[Passing Fancy]]''
|-
|1934
|Best Japanese Film<ref>{{cite web |script-title=ja:キネマ旬報 ベスト・テン 1934年・第11回 |trans-title=11th Kinema Junpo Best Ten (1934) |url=http://www.kinenote.com/main/award/kinejun/y1934.aspx |website=KINENOTE |language=ja |publisher=[[Kinema Junpo]] |url-status=live |archive-url=https://web.archive.org/web/20250124181108/http://www.kinenote.com/main/award/kinejun/y1934.aspx |archive-date=January 24, 2025 |access-date=March 29, 2025}}</ref>
|''[[A Story of Floating Weeds]]''
|-
|1941
|Best Japanese Film<ref>{{cite web |script-title=ja:キネマ旬報 ベスト・テン 1941年・第18回 |trans-title=18th Kinema Junpo Best Ten (1941) |url=http://www.kinenote.com/main/award/kinejun/y1941.aspx |website=KINENOTE |language=ja |publisher=[[Kinema Junpo]] |url-status=live |archive-url=https://web.archive.org/web/20241227155948/http://www.kinenote.com/main/award/kinejun/y1941.aspx |archive-date=December 27, 2024 |access-date=March 29, 2025}}</ref>
|''[[Brothers and Sisters of the Toda Family]]''
|-
|rowspan=4|1949
|Best Japanese Film<ref>{{cite web |script-title=ja:キネマ旬報 ベスト・テン 1949年・第23回 |trans-title=23rd Kinema Junpo Best Ten (1949) |url=http://www.kinenote.com/main/award/kinejun/y1949.aspx |website=KINENOTE |language=ja |publisher=[[Kinema Junpo]] |url-status=live |archive-url=https://web.archive.org/web/20240424033304/http://www.kinenote.com/main/award/kinejun/y1949.aspx |archive-date=April 24, 2024 |access-date=March 29, 2025}}</ref>
|rowspan=4|''[[Late Spring]]''
|-
|[[Mainichi Film Award for Best Film|Best Film]]<ref name="Mainichi4">{{Cite web |url=https://mainichi.jp/mfa/history/004.html |website=[[Mainichi Film Awards]] |language=ja |script-title=ja:毎日映画コンクール 第4回（1949年） |trans-title=4th Mainichi Film Awards (1949) |access-date=March 24, 2025 |url-status=live |archive-url=https://web.archive.org/web/20250114145639/https://mainichi.jp/mfa/history/004.html |archive-date=January 14, 2025}}</ref>
|rowspan=3|[[Mainichi Film Awards]]
|-
|[[Mainichi Film Award for Best Director|Best Director]]<ref name="Mainichi4"/>
|-
|[[Mainichi Film Award for Best Screenplay|Best Screenplay]]<ref name="Mainichi4"/>
|-
|rowspan=2|1951
|[[Blue Ribbon Award for Best Director|Best Director]]<ref name="cinemahochi1954">{{cite web |script-title=ja:小津安二郎監督「麦秋」が最多の5冠獲得 |url=http://cinemahochi.yomiuri.co.jp/b_award/1951/ |website=Cinema Hochi |language=ja |archive-url=https://web.archive.org/web/20120219003507/http://cinemahochi.yomiuri.co.jp/b_award/1951/ |archive-date=February 19, 2012 |access-date=March 24, 2025}}</ref>
|[[Blue Ribbon Awards]]
|rowspan=2|''[[Early Summer]]''
|-
|Best Japanese Film<ref>{{cite web |script-title=ja:キネマ旬報 ベスト・テン 1951年・第25回 |trans-title=25th Kinema Junpo Best Ten (1951) |url=http://www.kinenote.com/main/award/kinejun/y1951.aspx |website=KINENOTE |language=ja |publisher=[[Kinema Junpo]] |url-status=live |archive-url=https://web.archive.org/web/20250125172506/http://www.kinenote.com/main/award/kinejun/y1951.aspx |archive-date=January 25, 2025 |access-date=March 29, 2025}}</ref>
|''Kinema Junpo''
|-
|1963
|Special Award<ref>{{Cite web |url=https://mainichi.jp/mfa/history/018.html |website=[[Mainichi Film Awards]] |language=ja |script-title=ja:毎日映画コンクール 第18回（1963年） |trans-title=18th Mainichi Film Awards (1963) |access-date=March 24, 2025 |url-status=live |archive-url=https://web.archive.org/web/20250112143605/https://mainichi.jp/mfa/history/018.html |archive-date=January 12, 2025}}</ref>
|Mainichi Film Awards
|
|-
|}

==Tributes and documentaries==
''[[Five (2003 film)|Five]]'', also known as ''Five Dedicated to Ozu'', is an Iranian documentary film directed by [[Abbas Kiarostami]]. The film consists of five long takes set by the ocean. 
Five sequences: 1) A piece of driftwood on the seashore, carried about by the waves 2) People walking on the seashore. The oldest ones stop by, look at the sea, then go away 3) Blurry shapes on a winter beach. A herd of dogs. A love story 4) A group of loud ducks cross the image, in one direction then the other 5) A pond, at night. Frogs improvising a concert. A storm, then the sunrise.

In 2003, the centenary of Ozu's birth was commemorated at various film festivals around the world. Shochiku produced the film ''[[Café Lumière]]'' (珈琲時光), directed by Taiwanese film-maker [[Hou Hsiao-hsien]] as homage to Ozu, with direct reference to the late master's ''Tokyo Story'' (1953), to premiere on Ozu's birthday.

Ozu was one of film critic [[Roger Ebert]]'s favourite filmmakers, who described him as the most humanistic director of all time.<ref>{{cite web|title=Ozu:Masterpieces you've missed|url=https://www.rogerebert.com/roger-ebert/ozu-the-masterpieces-youve-missed|website=Roger Ebert|date=7 January 2005}}</ref><ref>{{cite web|title=Silence is golden to Ozu|url=https://www.rogerebert.com/roger-ebert/silence-is-golden-to-ozu|website=Roger Ebert|date=14 August 1994}}</ref><ref>Floating Weeds (1959) review and summary, Roger Ebert, 1997</ref>

In 2013, director [[Yoji Yamada]] of the ''[[Otoko wa Tsurai yo]]'' film series remade ''Tokyo Story'' in a modern setting as ''[[Tokyo Family]]''.<ref>{{cite web|url=http://www.filmbiz.asia/reviews/tokyo-family|access-date=14 April 2015|last=Elley|first=Derek|author-link=Derek Elley|title=Tokyo Family}}</ref>

In the [[Wim Wenders]] documentary film ''[[Tokyo-Ga]]'', the director travels to Japan to explore the world of Ozu, interviewing both [[Chishū Ryū]] and Yuharu Atsuta.<ref>{{Cite web |title=How Yasujiro Ozu's influence sneaks into Wim Wenders' latest film |url=https://asia.nikkei.com/Life-Arts/Arts/How-Yasujiro-Ozu-s-influence-sneaks-into-Wim-Wenders-latest-film |access-date=2024-01-15 |website=Nikkei Asia |language=en-GB}}</ref>

In 2023, ''OZU: Ozu Yasujirō ga Kaita Monogatari'' (OZU～小津安二郎が描いた物語～), a 2023 television series based on Yasujirō Ozu's several films premiered.<ref>{{cite web|url=https://mubi.com/en/tw/films/ozu|access-date=27 November 2023|title=Ozu (2023)}}</ref>

==Notes==
<references group="n" />

==References==
{{reflist|2}}

==Sources==
* {{audie-bock-directors|chapter=Yasujiro Ozu|pages=69–98}}
* {{citation|title=Yasujiro Ozu|first=Shiguéhiko|last=Hasumi|author-link=Shigehiko Hasumi|publisher=[[Cahiers du cinéma]]|year=1998|others=translated by Hasumi Shiguehiko, Nakamura Ryoji, René de Ceccatty|isbn=978-2-86642-191-5|location=Paris}}
*{{hasumi-shiguehiko-ozu-2003}}
* {{ozu-yasujiro-zenshu}}
* {{citation|title=Scritti sul cinema|first=Yasujiro|last=Ozu|author-link=Yasujirō Ozu|publisher=[[Donzelli]]|year=2016 |editor=Franco Picollo |editor2=Hiromi Yagi |language=it |isbn=978-88-6843-481-6|location=Rome}}
*{{cite journal|title=Notes on Ozu's Cinematic Style|first=William|last=Rothman|edition=Stanley Cavell special issue |editor=Jeffrey Crouse|journal=Film International|issue=22|pages=33–42|volume=4|year=2006|doi=10.1386/fiin.4.4.33}}
* {{citation|title=Le Cinéma japonais – Tome II|first=Tadao|last=Sato|author-link=Tadao Sato|publisher=[[Centre Georges Pompidou]]|year=1997b|others=translated by Karine Chesneau, Rose-Marie Makino-Fayolle, Tanaka Chiharu|isbn=978-2-85850-930-0|location=Paris}}
*{{Kaneto-shindo-shinario-jinsei}}
* Torres Hortelano, Lorenzo J., [https://www.scribd.com/doc/2212777/Primavera-Tardia-de-Yasujiro-Ozu-cine-clasico-y-poetica-Zen ''Primavera tardía de Yasujiro Ozu : cine clásico y poética zen''] {{Webarchive|url=https://web.archive.org/web/20160304235742/https://www.scribd.com/doc/2212777/Primavera-Tardia-de-Yasujiro-Ozu-cine-clasico-y-poetica-Zen |date=4 March 2016 }}, Caja España (León), Obra Social y Cultural, {{ISBN|978-84-95917-24-9}}
*{{cite book|last=Yoshida|first=Kiju|author-link=Kiju Yoshida|title=Ozu's Anti-Cinema|publisher=Center for Japanese Studies, [[University of Michigan]]|year=1998|isbn=978-1-929280-27-8|title-link=Ozu's Anti-Cinema}}

== Further reading ==

* Andreas Becker: [https://ozu.zeitrafferfilm.de/becker%20-%20action%20cut.html Action Cut: Screenplay Analysis of Yasujirō Ozu's Equinox Flower (Higanbana). Remarks on the Screenplay and the Aesthetics of Montage in a Transcultural Comparison], in: Marcos P. Centeno-Martin and Norimasa Morita. 2020. ''Japan beyond Its Borders: Transnational Approaches to Film and Media''. Chiba: Seibunsha, {{ISBN|4-901404-32-6}}: 147–157.
*{{cite book| last = Bordwell| first = David| author-link = David Bordwell| title = Ozu and the Poetics of Cinema| url = https://www.cjspubs.lsa.umich.edu/electronic/facultyseries/list/series/ozu.php| year = 1988| publisher = [[Princeton University Press]]| isbn = 978-0-691-00822-6| access-date = 2014-03-01| archive-url = https://web.archive.org/web/20110720094104/https://www.cjspubs.lsa.umich.edu/electronic/facultyseries/list/series/ozu.php| archive-date = 2011-07-20}}
*{{cite book|last=Desser|first=David| author-link = David Desser |title=Ozu's Tokyo Story|url=https://books.google.com/books?id=hdi6mX9P9MYC|date=13 April 1997|publisher=Cambridge University Press|isbn=978-0-521-48435-0}}
*{{cite book|last1=Gillett|first1=John|last2=Wilson|first2=David|title=Yasujiro Ozu: A Critical Anthology|url=https://books.google.com/books?id=zkoXnQEACAAJ|year=1976|publisher=British Film Institute|isbn=978-0-85170-048-9}}
* {{cite book|last=Kardozi|first=Karzan| author-link = Karzan Kardozi |title=100 Years of Cinema, 100 Directors, Vol 10: Yasujiro Ozu|year=2024|publisher=Xazalnus Publication|url-access=registration|via=The Moving Silent | url=https://themovingsilent.wordpress.com/2015/03/24/book-100-years-of-cinema-from-d-w-griffith-to-richard-linklater/}}
*{{cite book|last1=Ozu|first1=Yasujirō|last2=Noda|first2=Kōgo|title=Tokyo Story: The Ozu/Noda Screenplay|url=https://books.google.com/books?id=C-VkAAAAMAAJ|year=2003|publisher=Stone Bridge Press|isbn=978-1-880656-80-8}}
*{{cite book|last=Ozu|first=Yasujirō|title=Ozu Yasujirō's Two Post-war Films|url=https://books.google.com/books?id=Q29HAwAACAAJ|year=2006|publisher=Godage|isbn=978-955-20-8936-7}}
*{{cite book|last=Richie|first=Donald| author-link = Donald Richie |title=Ozu|url=https://books.google.com/books?id=8W6mwSIwTEsC|date=1 January 1977|publisher=University of California Press|isbn=978-0-520-03277-4}}
*{{cite book|last1=Yoshida|first1=Yoshishige|author-link1=Yoshishige Yoshida|title=[[Ozu's Anti-Cinema]]|date=2003|publisher=Center for Japanese Studies, [[University of Michigan]]|isbn=978-1-929280-26-1|oclc=53013473}}

==External links==
{{Portal|Biography}}
* {{IMDb name|id=0654868|name=Yasujiro Ozu}}
* [https://web.archive.org/web/20070105065014/http://www.ozuyasujiro.com/ OzuYasujirō.com] (archived)
* [http://www.um.u-tokyo.ac.jp/publish_db/1999ozu/ Digital Ozu] {{Webarchive|url=https://web.archive.org/web/20160302032412/http://www.um.u-tokyo.ac.jp/publish_db/1999ozu/ |date=2 March 2016 }} – notes from an exhibition at Tokyo University.
* [http://www.easterwood.org/ozu/gravesite/directions.htm Directions for finding Yasujiro Ozu's grave at Engaku-ji]
* [https://www.theguardian.com/film/2005/jun/10/features.peterbradshaw The quiet master] at [[The Guardian]]
* [http://www.rouge.com.au/4/ozu_women.html Ozu's Angry Women by Shigehiko Hasumi]
* {{jmdb|0177490}}
* {{YouTube|aapd2g-Guuc|OZU Yasujiro Story}}

{{Yasujirō Ozu|state=autocollapse}}

{{Authority control}}

{{DEFAULTSORT:Ozu, Yasujiro}}
[[Category:Yasujirō Ozu| ]]
[[Category:1903 births]]
[[Category:1963 deaths]]
[[Category:Deaths from cancer in Japan]]
[[Category:Imperial Japanese Army personnel of World War II]]
[[Category:Imperial Japanese Army soldiers]]
[[Category:Japanese film directors]]
[[Category:Japanese prisoners of war]]
[[Category:Film people from Tokyo]]
[[Category:People from Kōtō]]
[[Category:Recipients of the Medal with Purple Ribbon]]
[[Category:World War II civilian prisoners]]
[[Category:20th-century Japanese screenwriters]]
[[Category:Anti-Chinese sentiment in Japan]]