Read the discussion of this film in the textbook (Bordwell and Thompson, 404-409). Consider in particular Ozu's stylistic innovations. How is his method of presentation different from the system of continuity editing used in classical Hollywood films? Watch for the elements of Ozu's alternative editing system, particularly his use of 360-degree space, which leads to many elements that would be considered incorrect under the Hollywood system (e.g. changing backgrounds and lack of eyeline matches). Note also Ozu's method of segueing between scenes by means of transitional shots unrelated to the main narrative. What effects are created by this sort of style?
What does Ozu include, and what does he exclude, in comparison to traditional modes of narration? What important moments of the story are elided in this film? What seemingly inconsequential features are dwelt upon? How are our feelings affected by this oblique mode of narration?
Which characters do we sympathize with or condemn, and why? What point of view (meaning by this term both subjective perspective, and overall outlook) is expressed by the film? How are the relationships between the old parents and their adult children (and children-in-law) developed?
In what ways are time and space registered in this film? Do you agree with Bordwell and Thompson's contention that spatial and temporal relations are emphasized for their own sake, rather than subordinated to the demands of the narrative? If so, what is their significance?