This chapter covers the last years of Ozu’s career in the late 1950s and early 1960s, when Shochiku and the director himself were confronted by the younger generation’s challenge to established styles of everyday realism. The first part discusses the contextual basis of this change, from economic recuperation of postwar Japanese society, to the new wave of film industry, as epitomised by the boom of Nikkatsu’s Sun tribe films and the appearance of television. It is suggested that Ozu, though adopting certain aspects of the new changes, essentially maintained his styles and subject matters of urban everyday life and generational conflict, albeit with lesser critical perspective. This can be reflected in his ‘new salaryman films’ of this era, a genre that inherits the middle-classness of the shōshimin film, but with a brighter tone as to class consciousness, anticipating the appearance of television hōmudorama (home drama) genre. In the second part, such new salaryman films as Good Morning (1959) and An Autumn Afternoon (1962), are critically analysed, in terms of their active acknowledgement of new commodity culture and the ensuing banality of middle class everyday life.
Barnrättspolitik och vuxensyn
