The Late Spring sequence takes place in the middle of the film, focusing on Noriko's visit to Aya's apartment, and illustrates the authorial style of Ozu. The scene does not begin with a traditional establishing shot, but rather with a mid-shot of Aya as she pours tea. We can immediately observe Ozu's idiosyncratic style: the camera is positioned below the characters' eye line. Indeed, our point of view is from a low angle, and it remains so throughout the scene. Importantly, in this scene, it gives a certain degree of authority to Aya, and this is then reinforced by her physical positioning over Noriko. Behind Aya we can notice a modernist painting of a woman, an iconographic prop that resembles Aya, a modern (albeit unintentionally) employed widow. This is reinforced by her costume and interior, setting elements that serve as a mimesis of Aya's modernity and the antithesis of Noriko's traditional home. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay The camera is static in every shot, perhaps reflecting the stasis Noriko finds herself in, trapped in limbo but also under time pressure as she must decide whether to marry or not. The still shots also emphasize the hidden tension, which only intensifies as the scene progresses. Aya's first lines of dialogue already indicate her authority and position on the matter: like everyone else, she wants Noriko to get married. The relational dynamic between the two characters is also discernible in their positioning in relation to the camera: Aya is almost always turned towards us, while Noriko is to the side. This, coupled with her behavior (she is gentle and moves her hands), brings out her lack of self-confidence. A long shot follows, depicting the apartment and Aya, sitting higher than Noriko, once again asserting her authority. As their conversation becomes more direct and closer to the subject of marriage, we also move closer, seeing them over the shoulder in close-up. The slow pace of the preceding shots is juxtaposed with rapid crosscuts as Noriko attempts to resist Aya's advice to get married. Aya eats a generous portion of her cake, while Noriko doesn't even touch hers. While Aya insists that she try one, and Noriko flatly refuses, this social ritual parallels Noriko's refusal to marry despite peer and societal pressure. Noriko exits the apartment off-screen, and the sound of the diegetic action of the door closing echoes loudly through the room. A cut-in emphasizes this effect, showing a stack of magazines falling to the ground, revealing a pile of books. This not only furthers Noriko's frustration, but also alludes to the gender culture of Japan at the time: being well educated would not be something a woman could boast about. This scene is carefully structured, somewhat in the style of poetic realism, to elevate Aya to a position of high authority over Noriko. She functions as a symbol of a social milieu in post-war Japan: employed widowed women who nonetheless still hold conservative views in favor of marriage. At the same time, it reinforces the theme that time is running out for Noriko to get married..