Name: 為何小津安二郎要切到花瓶？🎬 (Why Did Ozu Cut To A Vase?)
Uploaded: 2026-02-01T17:13:31.000Z
Duration: 8 min 26 s

In a career that spans over 50 films and three and a half decades, this is the shot in Yasuhiro Ozu's filmography that's inspired the most discussion.

在長達五十多部電影、橫跨三十五年的演藝生涯中，小津安二郎的 filmography 裡，這一個鏡頭引發了最多的討論。

情態副詞

A vase in the dark of a room at a Kyoto inn, a backed by a latticed framed window and the blurred shadows of bamboo gently swaying in the night.

一個花瓶，在京都旅館房間的黑暗中，背景是格子窗，還有夜晚隨風輕輕搖曳的竹子模糊的影子。

In the room are a father and daughter enjoying their final days together before the daughter, Noriko, will marry and move out.

房間裡，一對父女正享受著最後的相處時光，因為女兒典子即將出嫁搬離。

Noriko isn't keen to marry, reluctant to leave her widower father alone.

典子對結婚沒什麼興趣，也不想讓她的鰥夫父親獨自一人。

But he insists, refusing to hold his daughter back from the life she deserves.

但他堅持，不願耽誤女兒追求她應得的生活。

It's pretty clear that neither father nor daughter really want this change.

顯而易見，父女倆都不真正想要這個改變。

he feels pressure, both societal and personal, to find her a husband before it's too late.

他感受到來自社會和個人的雙重壓力，必須在為時已晚前為她找到一個丈夫。

And she feels the same pressures to assent.

而她也感受到同樣的壓力，需要同意。

They're doing what neither of them want, but what both feel the other needs and expects.

他們在做著兩人都不想要，但都覺得對方需要和期待的事。

You can read this as a tragedy of conservative values, or a necessary, if sad, part of the human life cycle.

你可以把這看成是保守價值觀的悲劇，或者是一個必要但令人感傷的人生階段。

Children breaking away from parents to start their own families, eventually becoming parents of children who grow up and break away, and

孩子們脫離父母，建立自己的家庭，最終成為自己孩子們的父母，而孩子們長大後又會離開，

Ozu returns again and again to this transitional moment of marriage, and

小津一次又一次地回到這個婚姻的轉折時刻，

no one has ever been better at capturing the melancholy of that generational rupture.

沒有人比他更擅長捕捉這種代際斷裂的憂鬱感。

For Ozu, marriage can be a kind of death, especially for women like Noriko in post war Japan, whose life will probably become defined by her role as wife.

在小津眼中，婚姻可能是一種死亡，尤其對戰後日本的紀子這樣的女性來說，她的一生很可能將由妻子的角色來定義。

As critic Robin Wood points out, it's a death of identity and marriage.

正如評論家 Robin Wood 指出的，這是一種身份認同的死亡，也是婚姻的死亡。

Depicting the split of parent and child also prefigures the more permanent split of a parent eventually passing away of a real death to come.

描繪父母與子女的分離，也預示著父母最終離世的更永久的分離，死亡終將來臨。

Now, while this is definitely a bummer and I hope all your marriages are happy ones, Ozu does capture something universal about change in families, a bittersweetness that you can see in the tears of any parent at their child's wedding.

雖然這絕對是一件掃興的事，而且我希望你們的婚姻都幸福美滿，但小津確實捕捉到了家庭變遷中一些普遍的東西，一種苦樂參半的感覺，就像任何父母在孩子婚禮上流下的眼淚一樣。

It's just that in this film, late spring, Ozu leans into the bitter, and

只是在這部電影《晚春》中，小津更著重於那份苦澀，

This shot appears during a key scene in late spring, when Noriko finally accepts that everything will change.

這個鏡頭出現在《晚春》的關鍵場景中，當時紀子終於接受一切都將改變。

At first she was resistant, then angry at being pressured, jealous at the prospect of her father remarrying.

起初她很抗拒，接著又因為被施壓而生氣，甚至嫉妒父親再婚的念頭。

Now, on this short trip to Kyoto after she's agreed to be married, her anger and jealousy have faded, and

現在，在同意結婚後前往京都的這趟短暫旅程中，她的憤怒和嫉妒都已消退，

quietly chatting after a lovely day, she lets herself feel the sadness of the coming loss.

在美好的一天後靜靜地哈拉，她讓自己感受即將失去的悲傷。

The cut to the Vase is so striking here because it arrives at exactly the moment of emotional transition.

此時切換到花瓶的畫面非常引人注目，因為它恰好發生在情緒轉折的時刻。

As Donald Ritchie notes, what we would expect for a filmmaker to do is hold on Noriko's face as the smile fades into a frown, so that we can take that emotional journey with her.

正如 Donald Ritchie 指出的，我們通常預期一位電影製作人會持續聚焦在紀子的臉上，看著她的笑容逐漸轉為愁容，以便我們能與她一同經歷這段情緒旅程。

Instead, Ozu interrupts that journey and substitutes the this object.

不過，小津卻打斷了這趟旅程，換上了這個物件。

It's such an unusual decision that every Ozu film scholar, almost as a rite of passage, has to take a crack at what it means for Richie.

這是一個如此不尋常的決定，幾乎所有研究小津的學者，都將其視為一種成年禮，試圖解讀它對 Richie 的意義。

Being shown the vase at these crucial seconds forces the viewer to imagine Noriko's feelings rather than watch them, having put ourselves in her position.

在這關鍵時刻展示花瓶，迫使觀眾去想像紀子的感受，而不是看著她的感受，讓我們設身處地。

When Ozu returns to her face, near tears, the emotion becomes as real for us as it is for her.

當小津再次轉向她近乎落淚的臉時，這種情緒對我們來說就變得跟對她一樣真實。

Paul Schrader, before becoming a writer and director in his own right, theorized that the vase was a sign of Ozu's transcendental style.

Paul Schrader 在自己成為編劇和導演之前，曾理論化認為花瓶是小津超驗風格的象徵。

In cutting to this image of stasis, Ozu triggers a deeper Zen like contemplation, not just of this specific situation, but

透過切換到這個靜止的畫面，小津觸發了更深層的禪意沉思，不僅是針對這個特定情況，

of the transience of all things, of ephemerality as the truth of life.

而是關於萬物的無常，關於短暫即是生命的真諦。

For David Bordwell, the vase is an example of Ozu's formal playfulness.

對 David Bordwell 來說，花瓶是小津形式玩味的例子。

By cutting to something that is clearly not in Noriko's line of sight, he's blocking us from the subjectivity of a normal POV shot, decentering our viewing experience so that we can consider the story from various angles and not just from Noriko's perspective.

透過切換到一個顯然不在紀子視線內的物體，他阻止我們從正常的視角主觀地觀看，打亂了我們的觀看體驗，讓我們能從不同角度思考故事，而不僅僅是紀子的觀點。

Kristen Thompson believes the vase is an arbitrary object, a non narrative element wedged into the action, she says, used to prevent us from feeling too deeply at this moment, so that our emotion is not wasted.

Kristen Thompson 認為花瓶是一個隨機的物件，一個被塞進劇情裡的非敘事元素，她說，這是為了避免我們在這個時刻過度投入情感，以免情感被浪費。

For what she believes is the real climax.

對她來說，這是真正的最高潮。

And in the following scene, For philosopher Gilles Deleuze, the vase is a representation of time itself because it is a still image that does not change.

而在接下來的場景，哲學家 Gilles Deleuze 認為花瓶是時間本身的代表，因為它是一個靜止不動的影像。

The only thing that moves here is the passage of time, something that's made more explicit by the shots that come before and after.

這裡唯一移動的是時間的流逝，這點透過前後的鏡頭更加明顯。

This is important because human consciousness is a function of time.

這很重要，因為人類意識是時間的功能。

So for a few seconds, this shot allows us to observe that basic medium in its pure form.

所以有幾秒鐘，這個鏡頭讓我們能觀察到那個基本媒介的純粹形式。

To Hasuma Shigehiko, the influential Japanese film critic, it's peculiar that we even consider this a shot of a vase when there are so many other things in the frame, like the shoji window and the shadows of the bamboo.

對有影響力的日本影評人 Hasuma Shigehiko 來說，我們竟然會認為這是花瓶的鏡頭，而畫面裡還有像障子窗和竹影等這麼多東西，這很奇怪。

The hasumi challenges our impulse to immediately interpret this image and asks us simply to look at it, to live within that looking, to experience the vanishing of ourselves.

Hasumi 挑戰我們立刻詮釋這個影像的衝動，並請我們單純地去看它，活在那個觀看之中，體驗自我的消失。

我發現所有這些解讀都很有說服力。

They speak to the unique power that Ozu has that he developed over his long career.

他們談論小津在他漫長的職業生涯中發展出來的那種獨特力量。

is in fact so finely tuned, so carefully calibrated, that he has the power to overwhelm the viewer, to launch a thousand interpretations with a single cut.

但實際上卻調校得如此精細、如此仔細，讓他能夠壓倒觀眾，用一個鏡頭引發千種詮釋。

Hey everybody, thank you so much for watching.

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如果你不知道，Raycon 以實惠的價格製造創新的耳機。

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我這幾週都在使用他們最新的 Everyday E25 型號，我非常喜歡。

They're comfortable in the ear I they look sleek and they sound great.

它們戴起來很舒適，外型也很時尚，而且聲音很棒。

This new model has more bass, which is really good for listening to music.

這款新機型低音更渾厚，非常適合聽音樂。

Myself, I am constantly listening to audiobooks, so I put these everyday E25s through their paces.

我自己一直在聽有聲書，所以我讓這款 Everyday E25 盡情發揮。

They have six hours of playtime, which is perfect for what I need.

它們有六小時的續航力，對我來說非常夠用。

After a few minutes I even forget they're in there.

幾分鐘後，我甚至會忘了它們還戴在耳朵上。

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到 buyraycon.com nerdwriter 購買，就能享有訂單八五折優惠。

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Raycon 耳機的起價大約是其他頂級無線耳機品牌的一半，而且音質一樣驚人。