Tokyo Story, directed by Yasujiro Ozu, is a deeply meditative film. The plot is deceptively simple: an old couple visits their adult children in Tokyo. However, their children do not treat them well. When they return, the woman falls ill and dies. At the funeral, the family comes together. Each member is shown grieving, especially the children. Using repetition, camera height, and editing, Ozu brings the audience into a state of transcendence. With heightened perception, Ozu invites the viewer to observe the subtle complexities of human nature and life, transcending judgment and emotion. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay Ozu incorporates many visual and sound motifs throughout the film. These motifs are repeated in a coherent, rhythmic and unadorned manner. Additionally, patterns often contain an act of repetition within themselves. For example, the rhythmic hum of a motorboat can be heard in long shots. The setting of the film is in summer; the characters frequently and gently swing their fans back and forth. When Fumiko dials the phone, the sound of her dialing is rhythmic; the same goes for the ringtone at reception. As Shukichi realizes his wife's impending death, he repeats twice: "I see... She won't live." » Then, after a pause, "I see... So this is the end." All of these repetitive elements build to a final climax in the funeral scene. Throughout the scene, the repetitive chants of the monks can be heard. A monk strikes a moktak, a regular rhythm, to signify the rhythm of the chant. Guests are given a rosary to count the repetition of the song. Even in editing, Ozu introduces a sustained rhythm by cutting shots of similar durations (in the first part of the scene, durations of 4 to 6 seconds). These rituals are generally attributed to bringing concentration into meditation. Similarly, Ozu incorporates repetition throughout the rest of the film to bring the audience into a highly focused, meditative state. In general, meditation practices involve two stages: concentration and observation. Ozu's films manifest the second stage through his unique style. Ozu systematically uses a stable and still camera. Available lighting can be assumed to be natural for their environment (e.g. windows, lamps). Japanese house architecture is captured without embellishment. Various trinkets, tools and decorations, the smallest details are visible in domestic decors. In a wide shot of the funeral scene, two pillars block certain members of the family; a pillar is centered in the frame. It is clear that Ozu does not wish to obstruct 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 brings the audience into silent observation. In combination with the concentration induced by repetition, the audience can elevate themselves into a complete meditative state, perhaps even a transcendental state. Ozu notably uses a low-height camera, often described as the height of a person sitting on a tatami mat (Ebert). This camera height is constant throughout the film. The perpetual nature of this camera height serves as a vehicle of transcendence. As all the shots are experienced at this height, it is as if the audience incarnates 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 initial shot the character is seen leaving the room,then Ozu immediately cuts to the character entering the next room. This is seen when Keizo is seen walking out of the room during the funeral scene. The continuity of the editing favors the omnipresent effect. Additionally, using the 180 degree angle change during conversation also activates omnipresence, such as when Noriko and Keizo briefly converse. To fully emphasize the meditative state, Ozu inserts establishing shots between scenes. The ingenuity of these long shots lies in their immobility. These are often mundane environments such as rooftops, gazebos, and doorways. In the funeral scene, Ozu shows the burial hall, and later, a gateway. The aim of these shots is akin to the period at the end of a sentence. They allow the audience to rest, a bit like shavasana at the end of yoga practice. Ozu gives the audience the space and time to experience tranquility as part of the meditative practice in his film. As the audience enters a state of focused, calm observation, Ozu maintains a neutral tone. He neither praises nor condemns; it is consistent. Ozu invites the audience to examine the full complexity of human nature and social interactions. This intention is clear through the omission of Ozu's actions, such as the train journeys and Tomi's death. In the funeral scene, the rituals performed are not represented. Instead, Ozu focuses on the reactions and interactions between 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. All the attention is paid to the character. Similarly, Ozu cuts the shot only when the character has finished speaking. No matter how banal the subject or how short the sentence, the same treatment is applied. The audience, in a crucial state of perception, is able to reflect on the fullness of the character. The most polarizing example is revealed by Shige. During Shukichi and Tomi's visit to Tokyo, Shige rejects his own responsibilities. She asks her brother, her sister-in-law, her husband, anyone who would be able to take care of her parents in her place. She happily saves money when she accommodates her parents. Shige coldly accepts his mother's impending death by packing funeral clothes. After performing sacred rituals for his mother's death, Shige wastes no time talking about the profane and asking for keepsakes. It's easy to characterize Shige as selfish, inconsiderate, and emotionless. However, through careful observation, the audience is able to see the intricacies 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 dynamics were not perfect in the past either. As Shige inquires about his siblings' preparedness for the funeral, one can agree that his caution is virtuous. Her stubborn nature perhaps stems from the struggles as a woman in modern society. With this deeper understanding, the audience can accept Shige's genuine outburst of tears at the confirmation of his mother's death. Even though Shige may have understood the event logically, she reacted with genuine emotion in that moment. In the funeral scene, Shige sniffles in mourning. Shige, although formal and practical, does not use a handkerchief. The audience can appreciate the sincerity of his mourning while being supported by the weight of his complex character. Likewise, Keizo's regrets shine through at the funeral. The repetitive chants frustrate him, forcing him to remember his unfulfilled duties as a..