"Autumn Weather" - Akibiyori

...After the war, he is famous for "Late Spring" (1949), "Autumn in the Wheat" (1951), and "Tokyo Story" (1953), all of which were co-written with Noda Kogo. In the color era, "Red Spider Lily" (1958) and "Autumn Weather" (1960) have extremely thin narratives and approach pure abstraction, but at the same time, the former university students appear as company executives and university professors, restoring the flavor of nonsense comedy. Technically, he eliminated moving shots, pans, fade-ins, and fade-outs, and stuck to low, fixed frames, but he used bold omissions to depict the ambiguous expressions of the details that matched the monotony of the technique, and his expression of the sense of movement through "pauses" strictly rejected melodrama. ...

*Some of the terminology that refers to "Autumn Weather" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

…戦後は笠智衆と原節子とを主演に迎えた《晩春》(1949)，《麦秋》(1951)，《東京物語》(1953)が名高いが，いずれも野田高梧との共同脚本。カラー時代に入っての《彼岸花》(1958)や《秋日和》(1960)では物語性が極度に希薄となり純粋な抽象性に近づくが，同時にかつての大学生が会社重役や大学教授となって登場してナンセンス喜劇の味を回復する。技法的には，移動撮影やパン，フェードイン，フェードアウトなどを排し，低い固定画面に終始したが，その技法的単調さに見合った細部の多義的表情を大胆な省略法で描き，〈間〉による運動感覚の表現はメロドラマをきびしく排することになる。…

※「《秋日和》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報