In Japan and much of Europe, Ozu is widely considered to be one of the finest film directors who ever lived. While Ozu has a strong reputation in the West, his films are not as well-known or widely appreciated in the U.S. as they are elsewhere. A notable exception to this trend is film critic Roger Ebert, who recently wrote that Ozu is one of his "three or four" favorite directors. Also, moving beyond the view that Tokyo Story is a masterful exception in the Ozu canon, Ebert sees Ozu's films as "nearly always of the same high quality." Ozu International will reflect on Ebert's view of Ozu by arguing that this director deserves broader recognition in the U.S., and that his entire canon is worthy of serious study.
With the recent release of more than 15 Ozu DVDs in the Criterion Collection, covering every phase of his career at least in part (including silent films, black-and-white talkies, and color films), Ozu International helps to fill a lingering gap in English-language scholarship on Ozu by giving this new generation of scholars a book-length forum to explore new critical perspectives on an unfairly neglected director. Contributions include specialists in Japanese culture, academics from a range of disciplines, and professional films critics.

Wayne Stein is Professor at the University of Central Oklahoma, USA, and teaches classes on Kurosawa, Japanese horror, and Vietnam War cinema. He has coauthored the readers Fresh Takes (2009) and Strategems (2009) and has written various chapters in books and encyclopedia entries on Asian American literature and Asian cinema.
Marc DiPaolo is Assistant Professor of English and Film at Oklahoma City University, USA, and is the author of War Politics and Superheroes and Emma Adapted (2007); editor of Godly Heretics: Essays on Alternative Christianity in Literature (2013) and Unruly Catholics: Faith, Progressivism, and Cultural Studies (2013).

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