{"id":23819,"date":"2020-06-30T16:57:00","date_gmt":"2020-06-30T07:57:00","guid":{"rendered":"https:\/\/shomei-tanteidan.org\/?p=23819"},"modified":"2020-06-29T16:58:52","modified_gmt":"2020-06-29T07:58:52","slug":"note-082","status":"publish","type":"post","link":"https:\/\/shomei-tanteidan.org\/en\/note-082\/","title":{"rendered":"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" src=\"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg\" alt=\"\" class=\"wp-image-23795\" width=\"589\" height=\"398\" srcset=\"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg 509w, https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082-300x203.jpg 300w\" sizes=\"(max-width: 589px) 100vw, 589px\" \/><\/figure>\n\n\n\n<p>In the warm family picture painted by Yasujiro Ozu there are two types of natural light;&nbsp; glaring, bright sunlight and the incandescent lamp, symbolic of a cozy family.&nbsp; <\/p>\n\n\n\n<p>In the film, daytime scenes always seem very carefully calculated.&nbsp; Doors and windows are always wide open and abundant light streams into the rooms.&nbsp; Family life is constructed against this bright external background.&nbsp;&nbsp; In other words, even indoors the presence of nature outside is sufficiently felt, as if one is outside when they are actually inside.&nbsp; So, in the film when a outdoor scene directly follows and connects to an indoor scene there is nothing unnatural about it and the screen flows uninterrupted.&nbsp; Nothing feels so good as when the sliding paper doors, sliding lattice doors, and storm shutters are all completely open in the house.&nbsp; Fresh air rushes in and moves about freely.&nbsp; This is characteristic of Japanese lighting culture and unique to old family homes built using a wooden framework construction style.<\/p>\n\n\n\n<p>The \u201cTokyo Story\u201d uses this feeling of\nopenness during the daytime extremely well.&nbsp;\nThe presence of the outdoors is sensed by bright sunlight or a cloudy\nsky and these backgrounds and natural light subtlety expose the delicate\nemotional bonds of the family.<\/p>\n\n\n\n<p>After sunset, the second form of natural\nlight emerges in the film.&nbsp; Compared to\nthe feeling of openness during the day, a single incandescent lamp represents\nthe warm family bonds.&nbsp;&nbsp; I typically call\nlamp light the second form of natural light.&nbsp;\nIn Ozu`s films the incandescent lamps serve this purpose.&nbsp;&nbsp; 90% of the energy used to produce light from\nan incandescent lamp is released as heat, for a inefficient, rudimentary source\nof light.&nbsp;&nbsp; But this is a light bulb\nwhere the filament glows just like charcoal.&nbsp;\nSo, to me, the incandescent lamp is an extend member of the family of\nlight and fire and qualifies as the second form of natural light.&nbsp; In the \u201cTokyo Story\u201d, a milky, white lamp\nshade covers an incandescent lamp, suspended over the center of family\nconversation.&nbsp; Clear placement of light\nin each scene creates a balance of light and shadow between&nbsp; the human relationships illuminated by this\nlight.&nbsp; This effect could not be\nreproduced with the more energy efficient, but diluted and artificial shadows\nof the fluorescent lamp. <\/p>\n\n\n\n<p>The black and white scenes in Ozu`s film\nexpress the beauty of light and shadow central to this family.&nbsp;&nbsp; Rash, subsidiary lighting does not aid the\nset during filming.&nbsp; Rather, just these\ntwo types of natural light, minimally used, basically emphasizes the black\nshadows.&nbsp;&nbsp; After WWII, Japanese families\nwent to great pains to purge the darkness central to many homes.&nbsp; Inside and outside of homes, strong walls\nisolated and intense fluorescent lights blanked rooms in bright, white light,\nwith no ability to produce shadows.&nbsp; <\/p>\n\n\n\n<p>It&#8217;s ironic.&nbsp; In order to rid families of darkness, people\nchose to use bright lights, but the brighter the lighting the more strained\nfamilies became.&nbsp; The beautiful light and\nshadows seen in \u201cTokyo Story\u201d are, in retrospect, not just a personal\npreference, but, even in modern day life, a question of how much inconvenience\nand suffering can we stand?<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the warm family picture painted by Yasujiro Ozu there are two types of natural light;&nbsp; glaring, bright sunlight and the incandescent lamp, symbolic of a cozy family.&nbsp; In the film, daytime scenes always seem very carefully calcu&#8230;<\/p>\n","protected":false},"author":4,"featured_media":23795,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_locale":"en_US","_original_post":"http:\/\/shomei-tanteidan.org\/?p=23784","footnotes":""},"categories":[7,9],"tags":[],"class_list":["post-23819","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-note","category-tantei-note","en-US"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d - \u7167\u660e\u63a2\u5075\u56e3.<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/shomei-tanteidan.org\/en\/note-082\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d - \u7167\u660e\u63a2\u5075\u56e3.\" \/>\n<meta property=\"og:description\" content=\"In the warm family picture painted by Yasujiro Ozu there are two types of natural light;&nbsp; glaring, bright sunlight and the incandescent lamp, symbolic of a cozy family.&nbsp; In the film, daytime scenes always seem very carefully calcu...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/shomei-tanteidan.org\/en\/note-082\/\" \/>\n<meta property=\"og:site_name\" content=\"\u7167\u660e\u63a2\u5075\u56e3.\" \/>\n<meta property=\"article:published_time\" content=\"2020-06-30T07:57:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"509\" \/>\n\t<meta property=\"og:image:height\" content=\"344\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Shomei Tanteidan\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Shomei Tanteidan\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/\"},\"author\":{\"name\":\"Shomei Tanteidan\",\"@id\":\"https:\/\/shomei-tanteidan.org\/#\/schema\/person\/06fb84517152d06b7beb019db1977b00\"},\"headline\":\"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d\",\"datePublished\":\"2020-06-30T07:57:00+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/\"},\"wordCount\":565,\"image\":{\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg\",\"articleSection\":[\"[ja]\u63a2\u5075\u30ce\u30fc\u30c8[\/ja][en_US]Detective Note[\/en_US]\",\"[ja]\u9762\u51fa\u306e\u63a2\u5075\u30ce\u30fc\u30c8[\/ja][en_US]Mende's Detectives Note[\/en_US]\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/\",\"url\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/\",\"name\":\"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d - \u7167\u660e\u63a2\u5075\u56e3.\",\"isPartOf\":{\"@id\":\"https:\/\/shomei-tanteidan.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg\",\"datePublished\":\"2020-06-30T07:57:00+00:00\",\"author\":{\"@id\":\"https:\/\/shomei-tanteidan.org\/#\/schema\/person\/06fb84517152d06b7beb019db1977b00\"},\"breadcrumb\":{\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/shomei-tanteidan.org\/en\/note-082\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/#primaryimage\",\"url\":\"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg\",\"contentUrl\":\"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg\",\"width\":509,\"height\":344},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/shomei-tanteidan.org\/en\/note-082\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/shomei-tanteidan.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/shomei-tanteidan.org\/#website\",\"url\":\"https:\/\/shomei-tanteidan.org\/\",\"name\":\"\u7167\u660e\u63a2\u5075\u56e3.\",\"description\":\"Just another WordPress site\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/shomei-tanteidan.org\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/shomei-tanteidan.org\/#\/schema\/person\/06fb84517152d06b7beb019db1977b00\",\"name\":\"Shomei Tanteidan\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/shomei-tanteidan.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/ba825be78f15901570e8d5188b020e4b3ddf3cd7bb79914aa5162038a45d05b1?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/ba825be78f15901570e8d5188b020e4b3ddf3cd7bb79914aa5162038a45d05b1?s=96&d=mm&r=g\",\"caption\":\"Shomei Tanteidan\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d - \u7167\u660e\u63a2\u5075\u56e3.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/shomei-tanteidan.org\/en\/note-082\/","og_locale":"en_US","og_type":"article","og_title":"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d - \u7167\u660e\u63a2\u5075\u56e3.","og_description":"In the warm family picture painted by Yasujiro Ozu there are two types of natural light;&nbsp; glaring, bright sunlight and the incandescent lamp, symbolic of a cozy family.&nbsp; In the film, daytime scenes always seem very carefully calcu...","og_url":"https:\/\/shomei-tanteidan.org\/en\/note-082\/","og_site_name":"\u7167\u660e\u63a2\u5075\u56e3.","article_published_time":"2020-06-30T07:57:00+00:00","og_image":[{"width":509,"height":344,"url":"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg","type":"image\/jpeg"}],"author":"Shomei Tanteidan","twitter_misc":{"Written by":"Shomei Tanteidan","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/#article","isPartOf":{"@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/"},"author":{"name":"Shomei Tanteidan","@id":"https:\/\/shomei-tanteidan.org\/#\/schema\/person\/06fb84517152d06b7beb019db1977b00"},"headline":"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d","datePublished":"2020-06-30T07:57:00+00:00","mainEntityOfPage":{"@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/"},"wordCount":565,"image":{"@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/#primaryimage"},"thumbnailUrl":"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg","articleSection":["[ja]\u63a2\u5075\u30ce\u30fc\u30c8[\/ja][en_US]Detective Note[\/en_US]","[ja]\u9762\u51fa\u306e\u63a2\u5075\u30ce\u30fc\u30c8[\/ja][en_US]Mende's Detectives Note[\/en_US]"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/","url":"https:\/\/shomei-tanteidan.org\/en\/note-082\/","name":"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d - \u7167\u660e\u63a2\u5075\u56e3.","isPartOf":{"@id":"https:\/\/shomei-tanteidan.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/#primaryimage"},"image":{"@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/#primaryimage"},"thumbnailUrl":"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg","datePublished":"2020-06-30T07:57:00+00:00","author":{"@id":"https:\/\/shomei-tanteidan.org\/#\/schema\/person\/06fb84517152d06b7beb019db1977b00"},"breadcrumb":{"@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/shomei-tanteidan.org\/en\/note-082\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/#primaryimage","url":"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg","contentUrl":"https:\/\/shomei-tanteidan.org\/wp-content\/uploads\/2020\/06\/tanteinote_082.jpg","width":509,"height":344},{"@type":"BreadcrumbList","@id":"https:\/\/shomei-tanteidan.org\/en\/note-082\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/shomei-tanteidan.org\/"},{"@type":"ListItem","position":2,"name":"Vol.82 \u2013 Learning Lighting Design from Cinematography Part 2 \u201cTokyo Story\u201d"}]},{"@type":"WebSite","@id":"https:\/\/shomei-tanteidan.org\/#website","url":"https:\/\/shomei-tanteidan.org\/","name":"\u7167\u660e\u63a2\u5075\u56e3.","description":"Just another WordPress site","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/shomei-tanteidan.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/shomei-tanteidan.org\/#\/schema\/person\/06fb84517152d06b7beb019db1977b00","name":"Shomei Tanteidan","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/shomei-tanteidan.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/ba825be78f15901570e8d5188b020e4b3ddf3cd7bb79914aa5162038a45d05b1?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/ba825be78f15901570e8d5188b020e4b3ddf3cd7bb79914aa5162038a45d05b1?s=96&d=mm&r=g","caption":"Shomei Tanteidan"}}]}},"_links":{"self":[{"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/posts\/23819","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/comments?post=23819"}],"version-history":[{"count":2,"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/posts\/23819\/revisions"}],"predecessor-version":[{"id":23823,"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/posts\/23819\/revisions\/23823"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/media\/23795"}],"wp:attachment":[{"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/media?parent=23819"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/categories?post=23819"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/shomei-tanteidan.org\/wp-json\/wp\/v2\/tags?post=23819"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}