{"title":"Rites of passage in the cinema of Yasujiro Ozu","authors":"Hugo Martins","doi":"10.1386/ncin_00025_1","DOIUrl":null,"url":null,"abstract":"Yasujiro Ozu develops the narrative of his films around transitory rites in the lives of the characters. For Ozu, the family is the core of sustenance of the home and it is its stability that is called into question. The present article intends to relate, due to the proximity to the everyday and community life of Ozu’s characters, the threats to the stability of the family home with the rites of passage identified by the French ethnologist Arnold van Gennep. Van Gennep defines rites of passage as the ceremonies that accompany an individual’s life crises. And also, especially in the films around the daughters’ marriages, to the state of liminality or margin developed by the Scottish anthropologist Victor Turner. In these, the main conflict is centred on the character’s struggle to change, because of a ritual that is not accomplished or that will, in the face of society and the values of an epoch, be belatedly fulfilled. It is the tension between modernity and tradition that places the characters in a liminal state, giving rise to a sense of slow separation, of non-status and of late. In these films (Late Spring, Early Summer, Late Autumn, An Autumn Afternoon) Ozu illustrates an avowed desire to portray the cycle of life or mutability rather than the action itself.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"4 4","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"New Cinemas","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/ncin_00025_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
Yasujiro Ozu develops the narrative of his films around transitory rites in the lives of the characters. For Ozu, the family is the core of sustenance of the home and it is its stability that is called into question. The present article intends to relate, due to the proximity to the everyday and community life of Ozu’s characters, the threats to the stability of the family home with the rites of passage identified by the French ethnologist Arnold van Gennep. Van Gennep defines rites of passage as the ceremonies that accompany an individual’s life crises. And also, especially in the films around the daughters’ marriages, to the state of liminality or margin developed by the Scottish anthropologist Victor Turner. In these, the main conflict is centred on the character’s struggle to change, because of a ritual that is not accomplished or that will, in the face of society and the values of an epoch, be belatedly fulfilled. It is the tension between modernity and tradition that places the characters in a liminal state, giving rise to a sense of slow separation, of non-status and of late. In these films (Late Spring, Early Summer, Late Autumn, An Autumn Afternoon) Ozu illustrates an avowed desire to portray the cycle of life or mutability rather than the action itself.
小津安二郎(Yasujiro Ozu)围绕人物生活中的短暂仪式展开了他的电影叙事。对于小津来说,家庭是维持家庭的核心,而家庭的稳定性受到了质疑。由于小津人物的日常生活和社区生活的接近性,本文打算将对家庭稳定的威胁与法国民族学家阿诺德·范·格内普(Arnold van Gennep)确定的成人仪式联系起来。Van Gennep将成人仪式定义为伴随个人生命危机的仪式。而且,尤其是在关于女儿婚姻的电影中,还有苏格兰人类学家维克多·特纳提出的边缘性或边缘状态。在这些故事中,主要的冲突集中在人物为改变而进行的斗争上,因为一个仪式没有完成,或者在面对社会和时代的价值观时,这个仪式将会姗姗来迟地完成。正是现代与传统之间的紧张关系,使人物处于一种阈限状态,产生了一种缓慢分离的感觉,一种没有地位和迟到的感觉。在这些影片中(《晚春》、《初夏》、《晚秋》、《一个秋天的下午》),小津表达了一种公开的愿望,即描绘生命的循环或变化,而不是动作本身。