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A long time has passed since I began thinking about Ozu, during which period I have owed a great deal to so many people. Below is only a partial record of those names that I cannot forget and that will stay longer in my heart, with my gratitude and respect.
From spawning the idea of this study to fulfilling it in printed form, I always received kind help and warm encouragement from Professor Alastair Phillips, without which I would not have been able to finish this work. I admire his love of Ozu as well as cinema in general, and it was a very fortunate chance for me to share my thoughts with him during and after my graduate study at the University of Warwick. I am also grateful to the late Victor Perkins, whose insightful teaching (including on Late Spring) still remains a precious memory from the past. Since the day I began to live as well as study in Japan, I have owed so much to Professor Fujiki Hideaki for his kind assistance in my ongoing research and teaching at Nagoya University. His passion for film studies has always been a great impetus for me, and I wish this book can be a little ongaeshi for what he has done for me so far. I would also like to thank Professor Mitsuyo Wada-Marciano, Jeong Suwan, Rayna Denison, Kitamura Hiroshi, Tsuboi Hideto, Ma Ran and Ham Chungbeom for their kind interest in my work and their encouragement, and Charlotte Brunsdon and Isolde Standish for their helpful comments and advice as examiners of my doctoral thesis on which the content of this book is based.
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