Ozu didn$$t use dissolves to transition to new scenes. Instead he used what are called his $$pillow shots$$ or $$intermediate spaces$$ as transitions between scenes. These are $$still life or neutral images in films that serve as visual and emotional resting points.$$ The opening of the film, for example, has five shots of the port town of Onomichi $$ the bay, schoolchildren, a passing train $$ before revealing the grandparents packing. What could someone assert that the function that these shots serves?