Preface – Ozu, Ray Carney, and the Problem of Ethical Spectatorship Marc DiPaolo, Oklahoma City University, USA Acknowledgements Introduction Part I. Ozu in Cultural Context: Considering Class, Gender, and Domestic Spaces Chapter One. Tokyo is a Nice Place: The Suburban, the Urban, and the Space In-Between in Early Ozu John Berra, Nanjing University , China Chapter Two. Vanished Men, Complex Women: Gender, Remembrance, and Reform in Ozu’s Postwar Films Mauricio Castro, Purdue University, USA Chapter Three. Tokyo Twilight: Alienation, Belonging and the Fractured Family Elyssa Faison, University of Oklahoma, USA Chapter Four. A Sensitivity to Things: mono no aware and Zen in Late Spring and Equinox Flower J. M. Hammond, University of London, UK Part II. Ozu’s International Reception and Influences Chapter Five. Too Slow to Handle? Ozu, Malick, and the Art-House Family Drama Isolde Vanhee, LUCA School of Arts, Belgium Chapter Six. Good Morning: The Limits of Cinema and the Issue of Order Suzanne Beth, University of Montreal, Canada Chapter Seven. In Yoko’s Room: Hou, Ozu, and the Poetics of Space Tom Paulus, University of Antwerp, Belgium Chapter Eight. The Representation of Time as Death: Authentic Being in Tokyo Story and Last Year at Marienbad Jack Lichten, Sophia University, Japan Afterword – The Samsara of Ozu Cinema:Death and Rebirth in our Daily Struggles Wayne Stein, University of Central Oklahoma, USA About the Contributors Index A Mantra of Liberation