Both Ozu and Hou insert curious forms of transitions between scenes and sequences. In Ozu's case, they have been labeled "pillow shots" or "curtain shots" by various critics. Between scenes he would always place carefully framed shots of the surroundings to signal changes in setting, as well as for less scrutable reasons. Basically a hybrid of the cutaway and the placing shot, they are considered unusual for being quite extended, and apparently motivated primarily by graphic composition and pacing. Many critics have noted what seems to be a suspension of narration in Ozu's transitions --- to the point that some have called them extra-diegetic. While Hou's transitions evoke similar effects, a notable difference is that Hou's are usually single shots. Ozu's transitions involve multiple shots, and he often pivots around objects in the frame from shot to shot. In a transition near the beginning of the Floating Weeds the camera revolves around a light house, objects with the name of an acting troupe (a poster and banners), buildings and people (A 5:19-7:51). In the graphic above, which shows transitions from Tokyo Story and City of Sadness, the differences between the two directors' transitions are illustrated clearly. Ozu's transitions often involve such playful graphic matching of shapes and spaces through a series of shots, while Hou appears more interested in using his long-take transitions to create mood and narrative "breathing space."