@article{oai:bunkyo.repo.nii.ac.jp:00003828,
 author = {越智, 洋},
 issue = {1},
 journal = {文教大学国際学部紀要, Journal of the Faculty of International Studies Bunkyo University},
 month = {2001-07-01, 2011-11-29},
 note = {As I hope this Paper will show, Ozu's shots often illustrated complex points more succinctly than philosophers are able to do with reams of endless analysis about the essence of nature. Yasujiro Ozu has a way of making scenes. The theme of our inquiry is a camerawork called "cutting across the line" (CAL). In photographing this is almost a violation of the law. Nevertheless, Ozu stuck to this manner. We can't think of anyone except him who would do such a thing. What made him so confident?
　We start with a series of observations within which we are not troubled with any examinations of shots one by one. We will try to understand what CAL tells us in cinematic way. More closely described our topic is as follows : Ozu's device solves the problems by agreements between the purposed unbalance and the presentation of similar figures.
　According to Immanuel Kant, the fact that the right hand and the left hand cannot "kongruieren" gives us a brief account of the essence of this world, so that we enter the domain of dissymmetry. It then becomes evident to us that CAL in Ozu's films is not strange at all.},
 pages = {47--66},
 title = {向き合わない二人 : 小津安二郎の「アクション軸を横切るカッティング」について},
 volume = {12},
 year = {}
}