Sparse or Slow: Ozu and Joanna Hogg

William Brown

Sparse or Slow: Ozu and Joanna Hogg

Research output: Chapter in Book/Report/Conference proceeding › Chapter

Abstract

Like many British filmmakers, Joanna Hogg started off working in television. Having in 1986 graduated from the National Film and Television School, during the 1990s Hogg directed episodes of London Bridge (1996) and Casualty (1997–1998), before in 2003 making an extended episode of Eastenders about long-running character Dot Cotton (June Brown). Since 2007, Hogg has directed three feature films: Unrelated (2007), Archipelago (2010), and Exhibition (2013). These latter films will be the focus of this chapter, which tries to account for the influence on Hogg of Ozu Yasujiro. The chapter will also explore some fundamental differences between Hogg and Ozu—especially the seeming development from a sparse humanism in Ozu’s work toward a slow and more “posthumanist” aesthetic in Hogg’s. We can start our analysis of Ozu’s influence on Hogg, however, by the looking at the issue of influence itself.

Original language	English
Title of host publication	Reorienting Ozu
Subtitle of host publication	A Master and His Influence
Editors	Jinhee Choi
Place of Publication	Oxford
Publisher	Oxford University Press
Pages	269-283
Number of pages	15
ISBN (Print)	978-0190254988
Publication status	Published - 2018

Keywords

Joanna hogg
slow cinema
yasujiro ozu
influence
sparseness

Cite this

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AB - Like many British filmmakers, Joanna Hogg started off working in television. Having in 1986 graduated from the National Film and Television School, during the 1990s Hogg directed episodes of London Bridge (1996) and Casualty (1997–1998), before in 2003 making an extended episode of Eastenders about long-running character Dot Cotton (June Brown). Since 2007, Hogg has directed three feature films: Unrelated (2007), Archipelago (2010), and Exhibition (2013). These latter films will be the focus of this chapter, which tries to account for the influence on Hogg of Ozu Yasujiro. The chapter will also explore some fundamental differences between Hogg and Ozu—especially the seeming development from a sparse humanism in Ozu’s work toward a slow and more “posthumanist” aesthetic in Hogg’s. We can start our analysis of Ozu’s influence on Hogg, however, by the looking at the issue of influence itself.

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