The Late Spring sequence takes place midway through the film, focusing on Noriko's visit to Aya's apartment, and exemplifies Ozu's auteurist style. The scene does not begin with a traditional shot, but rather with a mid-shot of Aya pouring tea. We can immediately observe Ozu's peculiar style: the camera is positioned below the eye line of the characters. In fact, our point of view is from below and remains so throughout the scene. Importantly, in this scene he gives a certain degree of authority to Aya, and this is later reinforced through his physical position over Noriko. Behind Aya we can see a modernist painting of a woman, an iconographic prop that parallels Aya, a modern, (albeit unintentionally) employed widow. This is reinforced by her costume and interior, elements of the mise-en-scène that serve as a mimesis of Aya's modernity and an antithesis to Noriko's traditional home. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The camera is static in every shot, perhaps reflecting the stasis that Noriko finds herself in, trapped in limbo but also under time pressure as she must decide whether or not to get married. The fixed shots also highlight the underlying tension, which only intensifies as the scene progresses. Aya's first lines of dialogue already indicate her authority and stance on the issue: just like everyone else, she wants Noriko to get married. The relational dynamic between the two characters can also be seen in their positioning in relation to the camera: Aya is almost always turned towards us, while Noriko is to the side. This, combined with her behavior (she is gentle and fiddles with her hands) highlights her lack of self-confidence. A long shot follows, depicting the apartment and Aya, sitting higher than Noriko, once again asserting her authority. As their conversation becomes more direct and closer to the topic of marriage, we also get closer, seeing them over their shoulders, in medium close-ups. The slow pace of the previous shots is juxtaposed with rapid crosscuts as Noriko tries to resist Aya's advice to get married. Aya eats a generous portion of her cake, while Noriko doesn't even touch hers. As Aya insists that she try some, and Noriko steadfastly refuses, this social ritual parallels Noriko's refusal to marry despite pressure from her peers and society. Noriko exits the apartment off-screen and the sound of the diegetic action of the door being closed rings loudly through the room. A cut-in emphasizes this effect, showing a stack of magazines falling to the ground, revealing a pile of books. This not only accentuates Noriko's frustration, but also hints at the gendered culture of Japan at the time: being well-read would not be something a woman could boast of. This scene is carefully structured, not unlike the style of poetic realism, to elevate Aya to a high position of authority over Noriko. It functions as a symbol for a social milieu in post-war Japan: widowed working women who nevertheless still hold conservative views in favor of marriage. At the same time, it reinforces the theme that Noriko is running out of time.