An effect produced by Ozu's jumping over the 180 stage line is that actors facing each other seem to look off in the same direction. Ozu exploited the graphic possibilities of this by placing people in identical positions between (as well as within) shots. In the example above, from Late Autumn, two adjacent shots (with no dissolve) match both actors bodies and props. Ozu also favored a sitting position with the actor's body "torqued" to face the camera. To many an actor's frustration, their bodies were treated as objects to be carefully manipulated within the frame, and their lines had to be delivered with a minimum of emoting and movement. He pushed this "graphic matching" between shots to notorious extremes; it's not unusual to see props such as beer bottles skitter across tables or move closer to the camera to preserve their size and screen position from shot to shot. This is one of the most distinct aspects of Ozu's style, and nothing close to it may be found in Hou's cinema.
We've seen in other sections how Hou uses a geometricization of space, which creates images comparable to Ozu's indoor scenes. However, Ozu's graphic matching relies on the use many shots within and between scenes. Furthermore, it could be said that the basis of Ozu's style is a modification of Hollywood's shot/reverse-shot, a figure that is the exception to the rule in Hou's case. In fact, to our knowledge Ozu has never used a sequence shot (and, surprisingly enough, no critics have attempted to develop a comparison between Hou and Mizoguchi).