Tokyo Story, directed by Yasujiro Ozu, is a deeply meditative film. The plot is deceptively simple: an elderly couple visits their adult children in Tokyo. However, their children do not treat them well. Upon their return, his wife falls ill and dies. At the funeral the family reunites. Each member is shown mourning, especially the children. Using repetition, camera height, and editing, Ozu induces the audience into a state of transcendence. With heightened perception, Ozu invites the viewer to observe the subtle complexities of nature and human life, transcending judgment and emotions. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Ozu incorporates many visual and aural motifs throughout the film. These motifs repeat consistently, with rhythm and without embellishment. Furthermore, motifs often contain within them an act of repetition. In the scene shots you can hear, for example, the rhythmic hum of a motorboat. The film's setting is summer; the characters often, and delicately, rock their fans back and forth. As Fumiko dials the phone, the sound of her dialing is rhythmic; the same goes for ringing at the receiving end. When Shukichi realizes his wife's impending death, he repeats twice, "I understand...she won't live." Then, after a few pauses, “I see… So this is the end.” All these repetitive elements reach the final climax in the funeral scene. Throughout the scene the repetitive chants of the monks can be heard. A monk performs a moktak, a regular rhythm, to indicate the rhythm of the chant. Guests are given prayer beads to count the repetition of the chant. Even in the editing, Ozu introduces a constant rhythm by cutting together shots of similar duration (in the first part of the scene they last 4-6 seconds). These rituals are usually attributed to the purpose of bringing concentration into meditation. Similarly, Ozu integrates repetition into the rest of the film to induce the audience into a state of highly focused meditation. In general, meditation practices usually involve two phases: concentration and observation. Ozu's films manifest the second phase through his unique style. Ozu constantly uses a still and still camera. It can be assumed that the available lighting is natural to the environment (e.g. windows, lamps). The architecture of the Japanese house is captured without embellishment. Various ornaments, utensils and decorations, meticulous details are visible in domestic environments. In a scenic shot of the funeral scene, two pillars block some family members; a pillar is centered in the frame. It is clear that Ozu does not want to hinder everyday life with its infinite beauty and nuances. Camera angles are often straight; the editing between shots consists only of simple cuts. Ozu's naturalistic style causes the audience to observe in silence. Combined with repetition-induced concentration, the audience can ascend into a complete meditative state, perhaps even a transcendental state. In particular, Ozu consistently uses a low camera height, often described as the height of a person sitting on a tatami (Ebert). This camera height is constant throughout the film. The perpetual nature of the camera height serves as a vehicle for transcendence. Since all the shots are experienced at this height, it is as if the audience embodies an omnipresent being, sitting in meditation. Additionally, Ozu follows the action with a unique style. As the characters move from room to room, in the opening shot, the character is seen leavingthe room, then Ozu immediately cuts the character entering the next room. This is seen as Keizo exits the room during the funeral scene. The continuity of the editing favors the omnipresent effect. Furthermore, the use of the 180 degree angle change during omnipresence conversation is also activated, such as when Noriko and Keizo converse briefly. To fully emphasize the meditative state, Ozu inserts shots between scenes. The ingenuity of these decisive shots lies in their stillness. Often these are banal environments such as roofs, gazebos and doors. In the funeral scene, Ozu shows the funeral hall and, later, a walkway. The purpose of these shots is similar to the period at the end of a sentence. They allow the audience to rest, just like shavasana at the end of yoga practice. Ozu offers audiences the space and time to experience tranquility within the meditative practice of his film. As the audience enters a state of focused, silent observation, Ozu maintains a neutral tone. It neither praises nor condemns; he is consistent. Ozu invites audiences to examine the full complexity of human nature and social interactions. This intent is clear through Ozu's omission of actions, such as the train rides and Tomi's death. In the funeral scene the rituals performed are not shown. Ozu instead focuses on the reactions and interactions between the characters. To cultivate neutrality, when characters speak to each other, Ozu invariably uses a medium shot, in a position directly in front of the speaking character. Maximum attention is given to the character. Similarly, Ozu only cuts the shot when the character has finished speaking. No matter how trivial the topic or how short the sentence, the same treatment is given. The audience, in a crucial perceptive state, is able to reflect on the fullness of the character. The most polarizing example is revealed through Shige. During Shukichi and Tomi's visit to Tokyo, Shige is shown walking away from his responsibilities. She asks her brother, her sister-in-law, her husband, anyone who can take care of her parents for her. She readily cuts corners when welcoming her parents. Shige coldly accepts his mother's impending death by making funeral clothes. After performing sacred rituals for his mother's death, Shige wastes no time talking about profane things and asking for remembrances. It's easy to label Shige as selfish, inconsiderate, and emotionless. However, through careful observation, the audience is able to see the subtleties of his character. For example, Shige notes his perception of his parents' failures in causal jokes (e.g. Tomi's weight, Shukichi's drinking). It is understood that the family dynamic was also not perfect in the past. As Shige inquires about his brothers' preparation for the funeral, one can accept that his prudence is virtuous. Her stubborn nature may have stemmed from her struggles as a woman in modern society. Through this deeper understanding, the audience can accept Shige's genuine outburst of tears upon confirming his mother's death. While Shige may have understood the event logically, he reacts with genuine emotion in that moment. In the funeral scene, Shige sniffs in mourning. Shige, despite being formal and practical, does not use a handkerchief. The audience is able to appreciate the sincerity of his grief while being supported by the weight of his complex character. Likewise, Keizo's regret shines through at the funeral. The repetitive singing frustrates him, forcing him to remember his unfulfilled duties as a son. "You can't serve your parents from beyond the grave." Yet, soon after, Keizo chooses to..