In Ozu Yasujiro"s films, the family is the main point of his film and the life is contained through the marriage event of the family members. Ozu" style is regulated to the fixed screen, Tatami shot and the same directivity, while the part of edit is evaluated unconcern relatively.
Ozu"s edit is characterized "how was the landscape shots played the variation between the one cut and the other cut" and "how was the continuity expanded through the graphic similarity". The first trait of Ozu"s edit is the landscape shot. It is the most representative thing for set screen to play a role like a kind of guide when the shot is shifted from outside to inside. Ozu"s landscape shots are classified to a few types. First, it not only presents the residence space of the main character, but plays a role as bridge connecting a scene and the next scene. Second, it represents the theme of the film indirectly. For example, it shows the circulation and the repetition of the nature in <Tokyo Story> and exposes the repeat of the inside and outside of the space intermediated by passageway in <an Autumn Afternoon>. Finally, it plays a role as the set screen representing the identity of a place. It is the conventional landscape shot.
Ozu"s landscape shots perform the customary function of the set screen, present the residental environment of the characters and play the role of bridge for making the narrative rhythm. The graphic similarity changes the scenes through the element of mise-an scene, the element of color and moving and the similarity of the behavior and the composition. The example of shift as similarity of color is the scene connected from the red washing to the red lighting in <Good Morning>.
Last, the achievement of the edit"s originality and the extension of representation at the Ozu"s edit style is found in the case shifted to montage of attraction with the continuity through the similarity of the things and the people. If the graphic similarity is maintained by the similarity of form like a shape or a composition, the similarity of the things and the people links artistic Simultaneism wiping away the boundary between the things and the people and Manmuljedong of Jangja"s theory. The shoes arranged neatly represented the image of the an old couple in <Tokyo Story> and the jar was identified with sleeping father in <Late Spring>. These are brought to the top of Ozu"s graphic similarity.