In 1979, film scholar Noël Burch strongly criticized the films from the 1950s by Japanese filmmaker Mikio Naruse. He would be stuck in a "western mode of representation", and his work would be "academic" and "over-edited". Maybe even almost like the soap operas on TV! What Burch failed to see is how Naruse transforms a seemingly simple decoupage into his secret form of mise-en-scene, with endless variations and modulations. Let's look at eighteen consecutive shots from Sound of the Mountain (1954)…