Analysis of “There Was A Father”, 00:06:00 – 00:11:59

Throughout this six minutes, large part of dark areas are provided by human figures (students and teachers) since they wear dark uniforms or suits, while the brighter areas are from background. The first few seconds of this segment show very prominent power in brighter end of grayscale spectrum. The images show the white mountain ranges beyond, with dark foreground. Then it cuts to the dark figures, the teacher (supposedly Horikawa) and the students marching on the bright ground, with their back toward the audience. Then, the view of the Mount Fuji over the Lake Ashinoko with the dark framing tree …

Analysis of “There Was A Father”, 00:00:00 – 00:05:59

Only six minutes of the film. But this first six minutes are already filled with wealth of ideas and images. First, the condition of the print. It is quite apparent that the grayscale of the images are “narrowed”. In another words, the dynamic range has been lost. Black has faded, while white lost its luster. I believe that the surviving material is positive 16mm reduction print. I don’t know if the loss of image quality occurred when this reduction/duplication process was performed, or it has degraded over the course of time. The modern image processing technologies can manipulate images quite …

Analysis of “There Was A Father”, prologue

1. It was more than 20 years ago. Back then, the chances to encounter Ozu’s works were relatively limited. The VHS catalogs or theatrical screenings usually consisted of works from 50’s and 60’s, the later masterpieces. So when I found “There Was A Father” was scheduled on late-night TV, I was quite excited. It was probably around ’86 or ’87. It made quite an impression on me. The print was in a miserable condition, but through scratches, specs, damages, flickering and shaky frames, the ethereal world lost to us emerged. Since then, I was quite captivated by the film. It …