Thomas Boyer breaks down the concept of the time-image and uses it to explore the films of Yasujiro Ozu, specifically focusing on Early Summer (1948). Boyer argues against what he sees as a misrepresentation of Ozu’s style as Zen, insisting on the importance of not only Ozu’s “still life” images, but also his thematic concerns, the ambiguity of his central character Noriko, and the use of dolly shots to create flowing sequences. Boyer explains that these elements add to the complexity of Ozu’s representation of time, providing compelling, specific evidence from the film to support a nuanced analysis of Ozu’s style.
"Deleuze and the Time-Image in Early Summer,"
Kino: The Western Undergraduate Journal of Film Studies:
1, Article 2.
Available at: http://ir.lib.uwo.ca/kino/vol6/iss1/2