The vase does not explain Noriko's tears; the cuts give change a temporal form

01:28:20.380 to 01:28:47.657

Passage bounds checked on the named carrier

The passage bounds and Bilibili still at 01:28:42 were checked separately on their named carriers. They remain distinct coordinates and do not establish identical timecodes for other versions.

1. 01

   In the shot immediately preceding the stored interval, Noriko lies down smiling. The stored bounds begin with the first vase shot, return to Noriko as tears gather in her eyes, cut to the same vase a second time, and end at the instant of cutting into the Ryōan-ji rock garden. Viewed with the adjacent shot, the order is Noriko's face–vase–Noriko's face–vase–rock garden.

2. 02

   On this carrier, the first vase shot lasts about 6.089 seconds and the second about 10.260 seconds. During the second, the vase remains nearly motionless while bamboo shadows continue moving on the shoji.

The vase supplies no cue for what Noriko should do next and does not turn the marriage conflict into a solvable act. The cuts suspend the natural extension from facial expression into action: change has occurred, yet the film does not reduce it to an immediately executable response.

In chapter 1 of Cinema 2, Deleuze places the vase shot between Noriko's half-smile and the beginning of her tears and describes it as giving what changes the ‘unchanging form’ in which change occurs; his argument also stresses the duration given to cinematic still life. Moving bamboo shadows, continuing snoring, the second vase shot, and the transition to the rock garden come from inspection of the film and Parks's extended analysis and should not be presented as criteria stated by Deleuze.

1. 01
   Cinema 2: The Time-Image

   Minnesota 1989 translation, ch. 1, pp. 16–17

   Deleuze distinguishes still life from empty space and uses the vase to explain change occurring in an unchanging form. The primary text gives no seconds for this Bilibili carrier; the atlas separately verifies the four cuts.

   Open source page ↗Open atlas source →
2. 02
   The Riddle of the Vase: Ozu Yasujirō’s Late Spring (1949)

   Japanese Cinema: Texts and Contexts (2007), pp. 78–89; point-of-view debate on p. 86

   Nornes surveys conflicting interpretations and notes that Bordwell and Thompson correct Richie's and Schrader's loose descriptions of point of view. His emphasis on p. 86, however, is that this formal correction still does not explain why the vase is ‘oddly powerful.’ Rejecting the shortcut from ‘she sees the vase’ to a fixed emotional symbol is the atlas's methodological boundary, not Nornes's single conclusion.

   Open source page ↗Open atlas source →
3. 03
   Change, Horizon, and Event in Ozu’s Late Spring (1949)

   Film-Philosophy 20.2–3 (2016), pp. 292–298, DOI 10.3366/film.2016.0016

   Parks places Deleuze's temporal reading alongside shot legibility, sound continuity, and shot length. He reports four seconds for the first vase shot and nine for the second, whereas this carrier yields 6.089 and 10.260 seconds. Because the article does not identify its transfer or timing method here, the discrepancy is recorded without attributing it conclusively to an edition difference.

   Open source page ↗Open atlas source →