Hou's use of transitional shots with vague connections to the diegesis provides some critics with a basis for comparison to Japanese director Ozu Yasujiro, although as we argue in another section this comparison is dubious). Generally, these transitions are single long takes and consist of long-shots of natural settings, such as the bay, the mountains, or a road switch-backing up a hillside. They provide a gentle punctuation between scenes, a little space to pause which adds to the film's measured rhythm and quiet atmosphere. In terms of narration, they function in a variety of ways. The road transition usually occurs when a character begins a trip. The view of the bay defines the setting of Kiaou-hsiung, where the 2.28 massacre began. They are also related to Hou's creative use of ellipsis, for few of the shots are temporally marked. They imply some indeterminate passing of time, but it's rarely clear how much.