FREEDOM AND ORDER 80). The scene lasts only five more shots, but then is joined to the next one by a 'zero' transition. A more intricate play with expectation occurs in the park scene of Early Summer, when the narration continually interrupts the dialogue with long shots of the characters, constantly suggesting that the scene is about to end. The presence of half or zero transitions can also create a new source of spatial ambiguity when we cannot tell which scene an object 'belongs to'. In Early Summer, the grandparents look up at the end of a scene and Ozu cuts to a shot of carp-kites flying. The visual logic is that of an eyeline-match, so the kite shot links with the previous scene, but according to the narrative context the kite-shot may be in a much later time, on 'Boys' Day'. (Lest this be thought a failure of cultural knowledge, sophisticated Japanese viewers have confessed some uncertainty about how to take this transition.28) Diegetic sound can contribute powerfully to such momentary equivocations, as a scene from Brothers and Sisters of the Toda Family illustrates. The Toda daughter looks up at the photograph of her father. Cut to a close view of the photo, not from her POV. Over this shot ceremonial music begins. Cut to a temple, at which friends and family are gathered to celebrate the father's death anniversary. The music makes the transitional shot a more flexible pivot than it would otherwise have been. And if an 'empty' transitional shot may belong to either scene, withholding human action from it may weaken our ability to spot the transition. During the school outing of There Was a Father, the narration cuts from the boys having their photo taken to a shot of stone monuments in a grassy plot, with the boys' singing heard offscreen. Cut to a shot of an empty road, the voices still audible; but the hikers never enter the shot. Yet if we think that the sequence is over, Ozu cuts to a shot of the boys' legs marching past the camera. The empty road oscillates between being the last shot of one scene and the first shot of the next. Several of these examples have already indicated how Ozu's principles of additive unity inform playful transitional passages. Categorical inclusion may become important, as in the clock/shop transitions in Woman of Tokyo; more often, contiguity is posited, even if it is challenged, as in the baseball/TV transitions of An Autumn Afternoon and the false eyeline match involving Early Summer's kites. Ozu will also use the resemblance principle to create graphic matches between shots in different spaces, as we saw in Ohayo's cut from the red shirt to the red lampshade. In Early Summer, the narration creates an odd 'match on action' by cutting from two women drinking (fig. 81) to the grandparents eating in a park (fig. 82). As usual, though, Ozu is not content with unsystematic organization. He devises a specific tactic for transitions that combines additive indeterminacy with the four principles of non-causal unity. I shall call this the 'dominant/overtone' procedure.29 Ozu's stressing of the image's depth and his desire to discriminate objects through lighting and color allow him to give each transitional shot two or three distinct visual components. In the dominant/overtone tactic, Shot 1 of the transition will contain at least two elements, one more compositionally salient than the other. Shot 2 will present us with an image in which the overtone' has become salient and the other element, or a third one, becomes the overtone. Subsequent shots may continue the process indefinitely, by 133 81. Early Summer 82. Early Summer