Conexões: Yasujiro Ozu e a Nouvelle Vague Japonesa

Abstract

This dissertation explores the formal, aesthetic, and thematic connections between the work of Yasujiro Ozu and the Taiwanese New Wave movement, focusing on directors Hou Hsiao-Hsien and Edward Yang. Although separated by decades and distinct historical contexts, these cinemas share similar approaches to time, memory, and everyday life. Ozu’s minimalist mise-en-scène, focus on domestic spaces, and the philosophy of mono no aware influenced a generation of filmmakers seeking contemplative and emotionally resonant cinema. The first part presents an overview of the New Wave as a transnational movement, from its French origins to its manifestations in Japan. The study then turns to Ozu’s work, emphasizing his connection to shōshimin-geki, his use of static shots, elliptical cuts, and family-centered narratives. Finally, it examines the rise of the Taiwanese New Wave during a period of political and cultural transition, especially after the end of Martial Law in 1987. Films such as A Time to Live, A Time to Die (1985) and Taipei Story (1985) show aesthetic and philosophical affinities with Ozu. This comparative analysis is grounded in bibliographical research and film analysis, drawing on authors like David Bordwell (1988), James Udden (2007), Paul Schrader (2018) and Woojeong Joo (2017). The conclusion highlights Ozu’s lasting impact on contemporary Asian cinema, as both stylistic and philosophical inspiration that reverberates in different times and different cultures.