Geist, Kathe. "Yasujiro Ozu: Notes on a Retrospective." Film Quarterly 37.1 (1983): 2-9.
Geist analyzes the differences between Ozu's prewar and postwar films by looking at Ozu's camerawork in various film examples.
Geist points out that "in his prewar films Ozu used cinematic means to both tease his audience and create humor. A favorite device was to show some portion of a person's body without identifying the owner." Several years after the schoolyard drill scene in the beginning of Tokyo Chorus, we are only shown the hands of a man picking up a mirror. The audience may assume that it is Shinji, the main character introduced in the drill scene, but we are not sure until a couple scenes later when Shinji's face is shown as he ties his tie in the mirror. Geist also uses Tokyo Chorus specifically as an example of the montage Ozu uses to imply a sequence of events, showing "objects with or without unidentified hands or feet manipulating them...by way of teasing his audience." Classical Hollywood films also utilized the montage as a means of compressing a large passage of time into a shorter on-screen period. For example, the span of several years may be compressed into a few scenes with a montage of cycles of changing seasons. The montage Ozu uses in Tokyo Chorus is not to indicate a passage of a long period of time, but rather to tease his audience, as Geist puts it.