Auteur theory defines the director of a film as the author of his work (Sinha, “Auteur theory (filmmaking)”). Ozu is a true author of post-war Japanese cinema. His seminal film, Tokyo Story (Ozu, 1953), rejects the tropes of the Hollywood system and instead fits within the confines of Japanese regrowth. This film is truly unique in Japanese national cinema as it responds to the depression and grief felt in post-war Japan. The image of Noriko (Setsuko Hara) and Shukishi (Chishu Ryu) watching Onomichi in Japan captures Ozus' distinct style as well as the sadness and uncertainty felt nationally. Ozu created a cinematic style that represents Japanese cinema in one of the worst periods for the country. Ozu represents a true author at a time when a battered Japan needed something of its own. Ozu is a true Japanese filmmaker. The image of Noriko and Shukishi overlooking Onomichi captures the beauty and simplicity that define Ozu's style. Aesthetically, the photo is taken from the low perspective of a person sitting on a traditional tatami mat (Random House Dictionary, “Tatami”). The audience becomes the observer of everything that takes place from a traditional Japanese seated position. The frame remains still as in every shot of Tokyo Story, except one. The framing is beautiful and symmetrical. The composition is maximized for beauty and symmetry. Shukishi strikes a balance between Noriko and a classic pillar of Japanese decor. Power lines guide viewers' gaze around the frame, allowing the audience to enjoy the full extent of the images. The elegant framing and use of simplistic objects for beautiful staging are unique to Ozu. Tokyo Story represents the relationship between the new post-WWII lifestyle and the traditional medium of paper...... -WWII Japan like no other filmmaker. He creates a scenario of daily Japanese life that seems normal, but on the surface depicts the suffering of a nation. Visually, Ozu's style is one of a kind. Whether it's his low camera placement or his meticulous framing, an Ozu film has a look you don't see from any other filmmaker. He rejects the notions of the Hollywood system and implements his own ideas. His films do not contain conventional endings, but rather suggest the continuity of everyday life. He says that even despite the pain, Japan will survive. Its editing is unique in its kind. Ozu moves the audience through a scene not through story but through imagery and beauty. It allows its audience to breathe and absorb the important moments. Ozu's style is original. It left a lasting impression on what defines Japanese films. Ozu is a true author of cinema.