Yasujirô Ozu and the Western film - a comparative analysis

这项研究以日本导演小津康二(1903-1963)的作品为基础，开发了一种电影比较美学的典范。它有两个目标：从日本视觉文化传统的角度分析日本电影的前提条件，以及小津电影与其他国际电影传统的跨文化交叉参照。本文认为，小津？S电影的特点是对西方风格特征(如好莱坞电影的风格)进行了深入的思考、引用和选择性的吸收。尽管关于小津的文献确实包含了大量的暗示(Bordwell 1988；Richie 1974)，但几乎没有任何研究跟踪这些暗示。这一差距应该缩小。我想表明，这种美学方法只能被相对地理解(Simon 2000；Elberfeld/Wohlfahrt 2000；Pfeiffer 2008a；2010；Mitchell 1994 b)。现有的比较美学方法将被巧妙地扩展，并与电影学术中发展的方法和知识相结合。本研究首先对有关小津的学术文献进行了必要的重新阅读和重新评估(第一章)，并讨论了作品的文化前提(第二章)。第三章对小津的作品进行了具体的文体分析，将作品分为四个创作阶段，以展示小津如何在全球电影摄影的背景下始终保持着不同的定位。第四章考察了小津美学在国际语境中的接受。这项研究示范地开发了一种可以适应其他电影传统的解读策略，并有助于有条不紊地描述文化全球化。

The study develops an exemplary comparative aesthetics of film based on Japanese director Yasujirô Ozu's (1903-1963) work. It has a two-fold goal: an analysis of both the preconditions of Japanese film in terms of the tradition of Japanese visual culture and the intercultural cross references of Ozu's films to other international film traditions. The thesis is that Ozu¹s films are characterized by their intensive consideration, citation and selective adoption of Western stylistic features (e.g. those of Hollywood films). Although literature about Ozu does contain plenty of hints (Bordwell 1988; Richie 1974), hardly any study has yet followed them. This gap should be closed. I want to show that this aesthetic method can only be comprehended comparatively (Simon 2000; Elberfeld/Wohlfahrt 2000; Pfeiffer 2008a; 2010; Mitchell 1994b). Existing approaches to comparative aesthetics will be subtly extended and combined with the methods and knowledge developed within film scholarship. The study begins with a necessary re-reading and reassessment of the scholarly literature about Ozu (chapter 1) and discusses the cultural premises of the work (chapter 2). The central Chapter 3 follows with a concrete stylistic analysis, in which Ozu's work is divided into four periods of creativity so as to demonstrate how Ozu consistently positioned himself differently in the context of global cinematography. The final chapter 4 investigates the reception of Ozu's aesthetics in an international context. The study exemplarily develops a strategy of interpretation that can be adapted to other cinematographic traditions and can help describe the cultural globalization methodically.