小津的電影深繫著家庭成員的成長與離逝這項主題，但電影現的深謙敬意與深厚有味的禮節儀式，卻不只是維持家庭在變動社會中必要性的規範關係而已。在小津安靜、內斂的構圖中配合著禮敬和善的細膩禮節是一種「禮」 與「 仁」的內外關係。他不把家庭「空間」詮釋為義權消長的關係，反而是讓人探之不盡與共適的內在場域，即本文所說「生活世界」。小津的運鏡美學，經營一種近乎可以引發觀者吟詠、引發深沈低嘆的人倫內面性的構圖，將家庭的「寫實」提升為一種更安靜與更悠久的「寫意境界」;一種本文說「呼吸的空間」(breathing space)中。也因此，將「原發性」 的生活世界中所深藏難以用知性所分解出的渾全意味與生活原貌，那「神聖時間」給逐次地「誘發」出來。本文也發現小津電影的情感與表達形式與中國文化是一致的。

　　　　　Ozu, Yesujiro, a Japanese filmmaker, concerns about the growth and the fading of the family members as his main theme through his life time. The role of family does not just keep the normative relationship in the chaning society, but rather show the deep sincerity and rituality from the bottom of the domestic stories with very small variations on one theme-a kind of sad but necessary differences between generations. With very subtle changes and silent atmosphere, Ozu's films create a "breathing space" which is a very profound space which we called the "life-world". Ozu expresses the hiding atmosphere within the original life-world through motionless lens, and strict compsition. And as our observation, the kind of the mode of family relationship and the emotion are very close to the Chinese culture.