I. The Low-angle Shot and Close-ups

Arguably the most evident camera technique in Tokyo Story is the low-angle shot, a dominant presence that frames most of the interactions throughout the film. Similar to "the typical Japanese perspective of someone sitting on a tatami mat" (Dresser 4), the audience feels as if they share the same seated positions from the characters' perspectives. Due to the impression of kneeling from a low-angle, "a certain politeness" (Dresser 15) is established, which reflects the importance of humbleness in Japanese culture.

Conversations take place mainly indoors, with characters sitting near each other in a room. This creates an intimate atmosphere, both between the characters as well as between the audience and the screen. Low-angle shots can also portray the vulnerability that a character may feel (NFI.edu). By placing the camera below the eye-line of the speaker, Ozu expresses the vulnerability that naturally arises through conversations surrounding the topic of family. Rather than portraying deliberate or awkward declarations of emotion, often associated with the "escapism of Hollywood" (3), Ozu instead aims for a subtlety captured by the use of this camera angle. As a result, an international audience can identify with a realistic portrayal of emotions.

In addition to the low-angle, the proximity of the camera to the characters is important. With close-ups focusing on the face, the characters are often shot from either the front or the side. The closeness of the camera seemingly shortens the distance between the viewer and the screen. This helps the audience feel as though they are in the same room as the characters, not just detached onlookers.

When a character speaks, especially if it is a one-on-one conversation, they face the camera. This makes the physical point-of-view the eyes of the other character. Using this point-of-view makes the viewer feel as if they the one being spoken to. In a time of reflection or thought, the character is framed looking away from the camera, but with the face clearly visible and lighted. Short lines of dialogue followed by long pauses may make it hard for the viewer to discern the true mental state of the character. And yet, by capturing the facial expressions that are exhibited, emotions that are not spoken outloud can be clearly understood.