There is such a large debate around how to categorize or label Ozu's works. Scholars argue that he is "modernist," which is by definition, means he's intentionally countering established aesthetics. But that's not necessarily the case with Ozu or other directors labeled as "modernist" by Western scholars. Perhaps this really comes down to taking Ozu out of context. As Yoshimoto says, this question "Cannot be answered unless we carefully take into account the specificities of Japanese cinema, social formations, and history" (29).

Ozu uses three main techniques which are not necessarily opposed to Hollywood traditions as it is just simply different. Desser takes Tokyo Story (1953) as a great example of how he breaks rules that are thought to be "unspoken" in Hollywood.

• ELLIPSIS: Ozo uses whats called “minor ellipsis,” “surprise ellipsis,” and “dramatic ellipsis,” to “eliminate... often the sorts of things most American films are specifically built around, moments of intense emotion surrounding events like reunions, marriages, illness” (21).
• INTERMEDIATE SPACE - used as opposed to invisible cuts, like still life, “devoid of human figures" (22). This can emphasize a change of Space but do little to help viewers orient time.
  • I would argue a resemblance in Anime techniques
  • Watch the following video. Not all of these shots are "intermediate space" but many are, so keep that in mind while viewing.

https://www.youtube.com/watch?v=oJKLNCnKF0w

• 360 DEGREE SPACE - As opposed to the 180 degree rule. He rarely shoots a master or establishing shot and breaks conventions of traditional screen direction to create realism.

  • Watch the following video and notice how he breaks these rules

  https://www.youtube.com/watch?v=1fQL-A68W3k

Conclusion

This main point here comes down to the fact that there are simply different Aesthetic traditions. The Japanese simply have a different appreciation for narratives than Hollywood does.

• THE JAPANESE AESTHETIC TRADITION - The deemphasis of drama and the elision of plot elements in theatrical works, the emphasis on mood and tone instead of story in literature.