Ozu's most radical departure from classical style was his use of 360 degree space. By convention, Hollywood style dictates that the camera should stay within a 180 degree space to one side of the action. It's felt this will provide proper "screen direction" and a sense of homogeneous space. Ozu's camera, on the other hand, orbits around the characters in a circle, using all 360 degrees. This can be found randomly in any Ozu film, but is illustrated forcefully in the graphic above. This series of shots from Tokyo Story (which begins at the upper right and procedes clockwise) was accomplished with five 180 degree cuts. This produces a number of unusual effects which the classical style finds undesirable, like graphic matching, but Ozu's melodramas are so compelling that the engrossed spectator does not find them disrupting. When Hou breaks his scenes into more than one shot, he often shifts the camera a clean 45 degrees to one side (often around a table). However, these instances are extremely unusual and he generally sticks to the classical rule, leaving his camera on one side of the action.