Ozu Yasujiro:
A Bibliography of Selected Materials in the UC Berkeley Library

Journal Articles

Books, Reviews and Articles about Individual Films

Movies by Director videography for works of Ozu in MRC
South/East Asian Cinema listing


Bordwell, David.
Ozu and the Poetics of Cinema / David Bordwell. London : BFI Pub. ; Princeton, N.J.: Princeton University Press, 1988.
UCB Main PN1998.3.O98 B671 1988

Boyers, Robert
"Secular vision, transcendental style : the art of Yasujiro Ozu." In: After the avant-garde : essays on art and culture University Park : Pennsylvania State University Press, c1988.
MAIN: NX456 .B681 1988; Storage Info: copy 2
MOFF: NX456 B68 1988

Branigan, Edward.
"The Space of Equinox Flower." Screen 1976 17: 74-105
UC users only

Branigan, Edward.
"The Space of Equinox Flower." In: Close Viewings: An Anthology of New Film Criticism / edited by Peter Lehman. pp: 73-108. Tallahassee: Florida State University Press; Gainesville, FL: Orders to University Presses of Florida, c1990.
UCB Main PN1995 .C543 1990

Fowler, Edward.
"Piss and Run: Or How Ozu Does a Number on SCAP." In: Word and image in Japanese cinema / edited by Dennis Washburn, Carole Cavanaugh. pp: 273-92. Cambridge ; New York : Cambridge University Press, 2001.
Main Stack PN1993.5.J3.W67 2001

Geist, Kathe.
"Narrative Strategies in Ozu's Late Films." In: Reframing Japanese Cinema: Authorship, Genre, History, edited by Arthur Nolletti, Jr. and David Desser. pp: 91-111. Bloomington: Indiana University Press, c1992.
UCB Main PN1993.5.J3 R44 1992
UCB Moffitt PN1993.5.J3 R44 1992

Geist, Kathe.
"Playing with Space: Ozu and Two-dimensional Design in Japan." In: Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan, edited by Linda C. Ehrlich pp: 283-98. 1st ed. Austin, Tex.: University of Texas Press, 1994.
Moffitt N72.M6.C55 1994
Chinese Stdy PN1993.5.C4.C55 1994

Lopate, P.
"Three Ozu films from the fifties." In: Totally, tenderly, tragically : essays and criticism from a lifelong love affair with the movies / Phillip Lopate. 1st Anchor Books ed. New York : Anchor Books/Doubleday, 1998.
Main Stack PN1995.L627 1998
PFA PN1995.L627 1998

Richie, Donald.
Ozu. Berkeley, University of California Press [1974].
UCB Main PN1997.T5953 O92 1997

Richie, Donald.
"The Inn Sequence from Ozu's Late Autumn." In: Reframing Japanese Cinema: Authorship, Genre, History, edited by Arthur Nolletti, Jr. and David Desser. pp: 112-25. Bloomington: Indiana University Press, c1992.
UCB Main PN1993.5.J3 R44 1992
UCB Moffitt PN1993.5.J3 R44 1992

Richie, Donald.
"Introduction to Ozu." In: Post-war cinema and modernity : a film reader / edited by John Orr and Olga Taxidou. New York, NY : New York University Press, 2001.
Main Stack PN1994.P6567 2001

Rosenbaum, Jonathan.
"Is Ozu slow?" In: Essential cinema : on the necessity of film canons / Jonathan Rosenbaum. Baltimore : Johns Hopkins University Press, 2004.
Main Stack PN1994.R5684 2004
Moffitt PN1994.R5684 2004
PFA PN1994.R63 2004

Rosenbaum, Jonathan.
"Ozu's Good Morning." In: Placing Movies: The Practice of Film Criticism, Jonathan Rosenbaum. pp: 84-86. Berkeley: University of California Press, c1995.
Main Stack PN1995.R65 1995

Russell, Catherine.
"Yasujiro Ozu : a short history of the home drama" In: Classical Japanese cinema revisited / by Catherine Russell. New York : Continuum, c2011.
Main (Gardner) Stacks PN1993.5.J3 R87 2011
Schrader, Paul.
Transcendental style in Film: Ozu, Bresson, Dreyer. Berkeley, University of California Press, 1972.
UCB Main PN1995 .S417
UCB Moffitt PN1995 .S417

Varley, H. Paul
"Culture in the Present Age." In: Japanese Aesthetics and Culture, edited by Nancy G. Hume. pp: 295-340. Albany, N.Y.: State University of New York Press, c1995. SUNY series in Asian studies development.
Main Stack BH221.J3.J37 1995
Moffitt BH221.J3.J37 1995.

Wood, R.
"Resistance to definition: Ozu's "Noriko" trilogy." In: Sexual politics and narrative film : Hollywood and beyond / Robin Wood. New York : Columbia University Press, 1998.
Main Stack PN1995.9.P6.W66 1998

Yasujiro Ozu: A Critical Anthology
Edited by John Gillett and David Wilson. London: British Film Institute, 1976.
UCB Main PN1998.A3 O981

Yoshida, Yoshishige
Ozu's anti-cinema Ann Arbor : Center for Japanese Studies, University of Michigan, 2003.
PFA : PN1998.3.O95 Y6713 2003
MAIN: PN1998.3.O98 Y6713 2003

Journal Articles

Bergala, Alain; others
"L'homme qui se lève./ Ozu à la Cinémathèque." Cahiers du Cinéma; nr.311 (May 1980); p.24-39
A technical reappraisal of work by Y.O., noting unexpected parallels with that of Hitchcock; plus brief notes on 17 of his features. é

Bingham, Adam.
"The spaces in-between: the Cinema of Yasujiro Ozu." Cineaction, 2004, Issue 63, p45-56, 12p
UC users only

Bock, Audie.
"Ozu Reconsidered." Film Criticism vol. 8 no. 1. 1983 Fall. pp: 50-53.
Considers the influence of Western cinema on the early films of Y.O.
UC users only

Boyers, Robert
"Secular Vision, Transcendental Style: The Art of Yasujiro Ozu." Georgia Review 32:1 (1978: Spring) 6.

Ciment, Michel
"Sous les yeux de l'occident" (Ozu et la critique anglo-saxonne 1957-1977). Positif; nr.205 (Apr 1978); p.30-36
Opinions on the films of Ozu from English-language periodicals and book 1957-1977. (Translated into French).

"Cinma japonais. 2."
Cahiers du Cinéma; nr.310 (Apr 1980); p.4-17
Continuing the series on Japanese cinema, an article on the avoidance of the gaze in the films of Ozu, and a production history of "Kagemusha".

Combs, Richard
"The Poetics of Resistance." Film Comment v. 39 no. 5 (September/October 2003) p. 34-6, 39, 41-2
UC users only
A retrospective of the films of Japanese director Yasujiro Ozu will take place at the 2003 New York FiIm Festival from October 4 to November 6. Born in 1903, Ozu made 53 films over the course of a 35-year career in the industry. An overview of Ozu's career is provided.

Doganis, Basile
"Un cinema de silence." Cahiers du Cinema no. 603 (July/August 2005) p. 89-91
"Part of a special section devoted to filmmaker Yasujiro Ozu to mark the rerelease of his films in French cinemas in July 2005. A discussion of the work of Ozu and composer John Cage in terms of their use of silence. For Cage, the refusal of tonality and the use of silence was not a form of minimalist reduction, instead it was an attempt to open music up to that which is generally held to be external to it: silence and noise. Similarly, for Ozu, the use of silence did not create a void, instead it created a significant fullness that could become suffocating." [Art Index]

Eyquem, Olivier
"Métamorphoses de l'enfant-roi (Ozu dans les années trente)." Positif; nr.237 (Dec 1980); p.26-31
The career of Ozu from 1929 to 1937 covered by a retrospective at the Cinémathèque française in 1980.

"The Films of Yasujiro Ozu: True to Form." Artforum International v. 42 no. 2 (October 2003) p. 150-5
A special section on Japanese director Yasujiro Ozu. Film historian David Bordwell and director Jim Jarmusch discuss Ozu's work on the occasion of a centenary retrospective of his work at the New York Film Festival in October 2003.

Fujiwara, Chris
"Transcendental Purity: Ozu to Jarmusch." Art New England v. 27 no. 2 (February/March 2006) p. 18-19, 63
UC users only
"The cinema of the great Japanese director Yasujiro Ozu still embodies, in the West, a vision of "transcendental" purity. So precise in their registration of time passing, so moving in their portrayal of ordinary people and events, Ozu's movies, through their harmonious compositions and their infinite wealth of detail, also create a sense of timelessness. No Ozu tradition exists in Western cinema, although occasionally a film reflects something of his rigor, generosity, and implacable realism. In the East, Ozu has become a symbol of a purely Asian cinema, free of Hollywood hegemony. It is by his example of a cinema of time, rather than any particular stylistic procedures, that Ozu inspires contemporary filmmaking and shows the way toward the cinema of the future. The writer goes on to discuss Ozu's influence on the work of several contemporary directors: Jim Jarmusch, Wayne Wang, Takeshi Kitano, Hou Hsiao-hsien, and Kore-eda." [Art Index]

Geist, Kathe.
"Narrative Style in Ozu's Silent Films." Film Quarterly 40:2 (1986/1987:Winter) 28

Geist, Kathe.
"The Role of Marriage in the Films of Yasujiro Ozu." East-West Film Journal vol. 4 no. 1. 1989 Dec. pp: 44-52.

Geist, Kathe.
"West Look East: The Influence of Yasujiro Ozu on Wim Wenders and Peter Handke." Art Journal 43:3 (1983:Fall) 234
UC users only

Geist, Kathe.
"Yasujiro Ozu: Notes on a Retrospective." Film Quarterly 37:1 (1983:Fall) 2 40:2 (1986/1987:Winter) 28.
The customary ideas about Ozu's stylistic evolution, use of "still-life" shots, and attitudes toward westernization are all highly questionable.

Hasumi, Shigehiko
"Rien d'exagere." Cahiers du Cinema no. 603 (July/August 2005) p. 84
Part of a special section devoted to filmmaker Yasujiro Ozu to mark the rerelease of his films in French cinemas in July 2005. A reprint of the opening address to the conference in Tokyo on December 12, 2003, marking the centenary of Ozu's birth.

Knee, Adam.
"The Family Game Is Up: Morita Revises Ozu." Post Script, vol. 11 no. 1. 1991 Fall. pp: 40-47.
Compares Yoshimitsu Morita's 1983 release "Kazoku geemu" with Ozu's "Umarete wa Mita Keredo" in its depiction of Japanese family life.

LaFleur, William R.
"Suicide off the edge of explicability: Awe in Ozu and Kore'eda." Film History. 2002. Vol. 14, Iss. 2; p. 158 (8 pages)
UC users only

Lopate, Philip.
"Yasujiro Ozu: The Subtly Observant Eye." Cineaste vol. 23 no. 3. 1998. pp: 26-29.
UCB Users Only
"The celebrated Japanese filmmaker Yasujiro Ozu is best remembered for his restrained cinematic explorations of the dynamics of family life in Japan. A viewing of three Ozu films from the 1950s allows those unfamiliar with his work to acquaint themselves with Ozu's intimate family tableaus. The three films, now available on videotape, are 'Floating Weed,' 'Good Morning' and 'Early Summer.' The first two of these films are considered to be flawed but fairly intriguing, revealing much about the Ozu oeuvre. The third, 'Early Summer,' is a masterwork comparable to 'Late Spring' and 'Tokyo Story.'" [Expanded Academic Index]

Masson, Alain
"La netteté est l'ornement de la justesse." Positif; nr.239 (Feb 1981); p.2-12
Attempt to define the nature and the function of the image in the style of Ozu.

Mitsuhiro, Y..
"Melodrama, postmodernism, and Japanese cinema." East-West Film Journal; Vol.V nr.1 (Jan 1991); p.28-55
Contrasts Japanese film melodrama with western examples of the genre, offering a rereading of the accepted view of Ozu as a traditionalist, and thoughts on the postmodern aspects of Japanese art and society.

Niogret, Hubert
"Bio-filmographie de Yasujiro Ozu." Positif; nr.205 (Apr 1978); p.40-44

Niogret, Hubert
"Yasujiro Ozu. Sur cinq films muets et un film parlant." Positif; nr.416 (Oct 1995); p.62-67

Niogret, Hubert
"En revoyant quelques films d'Ozu." Positif; nr.388 (June 1993); p.86-89
Examines the major themes to be found in the work of Ozu, notably studies of the family, marriage and Japanese society; also notes his rigorous use of the standard 50mm lens.

Niogret, Hubert
"'Introducing: Yasujiro Ozu' ou pour la première fois à l'écran." Positif; nr.203 (Feb 1978); p.2-12
On the work of Japanese director Y.O.

"Ozu, vertige de l'equilibre." Cahiers du Cinema no. 603 (July/August 2005) p. 82-90
A special section devoted to filmmaker Yasujiro Ozu to mark the rerelease of his films in French cinemas in July 2005.

Ozu, Yasujiro
"Ozu on Ozu: further translations about the master of Japanese cinema." Cinema; Vol.VII nr.3(32) (Winter 1972-73); p.22-24
Y.O. comments on his films made between 1927 and 1935. Translated from 'Kinema Jumpo' (Japan).

Ozu, Yasujiro
"Ozu par Ozu." Cahiers du Cinéma; nr.475 (Jan 1994); p.70-80
Diary extracts by the Japanese director, 1933-34.

Phillips, Alastair.
"Pictures of the Past in the Present: Modernity, Femininity and Stardom in the Postwar Films of Ozu Yasujiro." Screen. 44 (2): 154-66. 2003 Summer.
"Japanese filmmaker Ozu Yasujiro's postwar movies must be understood as an engagement with the depiction of contemporaneous social change and its specific effect on cultural milieus and social relationships. These movies vividly enacted a particular contestation between tradition and progress in the country's immediate postwar social order at a time when the concept of a new formulation of nationhood was intertwined with a concurrent and unavoidable sense of loss due to change. The central questions of modernity and national identity ran as a continuous theme in these films. The national was achieved thanks to an active contestation between the past and the present so that a more appealing consensual version of continuity, a feeling of the past within the present, was shaped for the national audience. This can also be seen in the way Ozu appropriated discourses of the past and national tradition in his depiction of place and femininity that lay outside the realm of the domestic." [Art Index]

Powell, Dilys.
"Cinema: Wizard of Ozu?" Punch 285:7458 (1983:Nov. 2) 69

Richie, Donald.
"The Appeal of Ozu: The Most Japanese of Filmmakers." New York Times, 131:19, Sept. 26, 1982, sect. II

Richie, Donald.
"Yasujiro Ozu." Film Quarterly 17:2 (1963/1964:Winter) 11

Richie, Donald.
"The Later Films of Yasujiro Ozu." Film Quarterly 13:1 (1959:Fall) 18

Richie, Donald.
"Yasujiro Ozu: The Syntax of His Films." Film Quarterly Vol. 17, No. 2 (Winter, 1963), pp. 11-16
UC users only

Rosenbaum, Jonathan
"Paris Journal." Film Comment; Vol.VIII nr.2 (Summer 1972); p.2-6
Three separate articles dealing with Jacques Rivette's "L'amour fou", Samuel Fuller's "Park Row" and the films of Yasujiro Ozu. The Ozu piece discusses many of his films and compares him with such directors as Nicholas Ray and McCarey.

Rosenbaum, Jonathan Rosenbaum, Jonathan.
"Is Ozu Slow?" Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 4:(no pagination). 2000 Mar

Rothman, William.
"Notes on Ozu's cinematic style." Film International (16516826), 2006, Vol. 4 Issue 22, p33-42, 10p
UC users only

Russell, Catherine.
"'Overcoming Modernity': Gender and the Pathos of History in Japanese Film Melodrama." Camera Obscura, vol. 35. 1995 May. pp: 131-57.
Approaches to Japanese melodrama are explored through three films ("Shinju ten no amijima", "Naniwa ereji naniwa hika", "Kohayagawa-ke no aki"), paying particular attention to the depiction of women.

Sato, Tadao
"The comedy of Ozu and Chaplin: a study in contrast." Wide Angle; Vol.III nr.2 (1979); p.50-53

Sato, Tadao
"From the art of Yasujiro Ozu." Wide Angle; Vol.I nr.4 (1977); p.44-48
Discusses Ozu's style of filmmaking and how it relates to Japanese culture.

Sato, Tadao
"L'art de Ozu Yasujiro." Cahiers du Cinéma; nr.286 (Mar 1978); p.17-19
Japanese critic T.S. writes on the art of Ozu

Schrader, Paul
"Ozu et le Zen. Au delá de la culture Zen." Cahiers du Cinéma; nr.286 (Mar 1978); p.20-29
A study of the influence of Zen culture on Y.O

Shipman, David.
"Tokyo Story." (Review). Films & Filming /350, Nov 83; p.35-36.

Silver, Larry A.
"Ozu, Cinema, and Culture." The Journal of Ethnic Studies vol. 4 no. 1. 1976 Spring. pp: 117-125.

Tadao, Sato
"Le point de regard." Cahiers du Cinéma; nr.310 (Apr 1980); p.4-10
Considers the Japanese custom for avoiding direct gaze when conversing, and how this is used in the films of Ozu.

Takahashi, Osamu.
"Brilliant Shadows: Ozu Yasujiro." Japan Quarterly 31:4 (1984:Oct./Dec.) 435; 31:3 (1984:July/Sept.) 269

Thompson, Kristin; Bordwell, David
"Notes on the spatial system of Ozu's early films." Wide Angle; Vol.I nr.4 (1977); p.8-17
Discusses Ozu's style in his early films incl. his use of space
UC users only

Westerbeck, C. L., Jr
"Ozu's postwar films." Commonweal v 101 Oct 25 1974. p. 83-4

Willis, Don
"Yasujiro Ozu. Emotion and contemplation." Sight & Sound; Vol.XLVIII nr.1 (Winter 1978-79); p.44-49
An examination of emotion and contemplation in Ozu's films.

Wrigley, Nick
"Yasujiro Ozu" (Great Directors - A Critical Database) Senses of Cinema

Zeman, M.
"The Zen artistry of Yasujiro Ozu." Film Journal; Vol.I nr.3-4 (Fall-Winter 1972); p.62-73
Analysis of Ozu's films and his technique, as they embody the Japanese conception of art. Incl. brief biography of Ozu.

Books, Reviews, and Articles About Individual Films

Early Summer (Bakushu)

Lopate, Philip.
"Early Summer." (Review) Cineaste v23, n3 (Summer, 1998):26

Floating Weeds (Ukigusa)

Lopate, Philip.
"Floating Weeds." (Review) Cineaste v23, n3 (Summer, 1998):26

Russell, Catherine
"Floating Weeds." Cineaste v. 30 no. 1 (Winter 2004) p. 56-8
UC users only
"A review of the DVD release of A Story of Floating Weeds and Floating Weeds, two films directed by Yasujiro Ozu. The central plot of A Story of Floating Weeds and its remake, Floating Weeds, deals with an actor, who brings his troupe to a small town, where his former mistress lives with her 20-year-old son. While these may not be the best examples of Ozu's filmmaking, it is nice to finally have them available on DVD, and to be able to appreciate variations within the director's long career." [Art Index]

Late Spring (Banshun)

Nornes, Abé Mark
"The riddle of the vase: Ozu Yasujiro-'s Late spring (1949)." In: Japanese cinema : texts and contexts / edited by Alastair Phillips and Julian Stringer. London ; New York : Routledge, 2007.
Main (Gardner) Stacks PN1993.5.J3 J27 2007

Russell, Catherine
"Late Spring." Cineaste v. 32 no. 2 (Spring 2007) p. 65-7
UC users only
"A review of the Criterion Collection DVD release of Late Spring (1949), a film directed by Yasujiro Ozu. In the context of Ozu's impressive oeuvre, Late Spring seems to crystallize almost all of his most cherished themes and stylistic traits. It provides a template for his distinctive orchestration of the Japanese family, the cinema, and daily life in a form that is at once extremely simple and rigorously refined, and it exemplifies his melancholia within the pressures of history and social change. This DVD includes Wim Wenders's documentary Tokyo-ga (1985), an homage to Ozu that is also a personal meditation on Tokyo, Japanese culture, and cinema. Wenders is naive to believe that Ozu's Japan ever actually existed. Late Spring is a fantasy of an idealized national culture that Ozu created in the context of Occupation Japan." [Art Index]

Thompson, Kristin
"Late Spring and Ozu's Unreasonable Style." In: Breaking the Glass Armor: Neoformalist Film Analysis , Kristin Thompson. pp: 317-52. Princeton, N.J.: Princeton University Press, c1988.
Main Stack PN1995.T46 1988
Moffitt PN1995.T46 1988

I Was Born, But

Bingham, Adam.
"The spaces in-between: the Cinema of Yasujiro Ozu." Cineaction, 2004, Issue 63, p45-56, 12p
UC users only

Phillips, Alastair.
"The Salaryman's Panic Time: Ozu Yasujiro's I Was Born, But... (1932)." In: Japanese cinema : texts and contexts / edited by Alastair Phillips and Julian Stringer. London ; New York : Routledge, 2007.
Main (Gardner) Stacks PN1993.5.J3 J27 2007 DUE 10-14-10
Moffitt PN1993.5.J3 J27 2007

Tokyo Story (Tokyo Monogatari)

Anderson, Lindsay.
"Tokyo Story." Sight & Sound. 12(9):41. 2002 Sept

Hibbett, Howard, ed.
Contemporary Japanese literature: an anthology of fiction, film, and other writing since 1945 New York : Knopf ; distributed by Random House, 1982
East Asiatic Library: PL782.E1 C6
MAIN: PL782.E1 C6;
MOFF: PL782.E1 C6
AASL: PL782.E1 C6; Housed at Ethnic Studies Library.

Hibbett, Howard.
"Tokyo Story." In: Contemporary Japanese literature : an anthology of fiction, film, and other writing since 1945 / edited by Howard Hibbett. 1st ed. New York : Knopf : distributed by Random House, c1977.
East Asian PL782.E1.C6
Main Stack PL782.E1.C6
Moffitt PL782.E1.C6

Kauffmann, Stanley.
"Tokyo Story: Another Viewing." Art & Cinema, vol. 1 no. 2. 1986 Fall. pp: 5-6.

Kirihara, Donald
"Ozu's Tokyo Story." (Review) The Journal of Asian Studies Nov 1998 v57 i4 p1157(3)
UC users only

Konshak, D.J.
"Space and Narrative in 'Tokyo Story'. Film Criticism IV/3, Spring 80; p.31-40.
UC users only

McDonald, Keiko.
"Ozu's Tokyo Story: Simple Means for Complex Ends." Journal of the Association of Teachers of Japanese, vol. 17 no. 1. 1982 Apr. pp: 19-39.

Nicholas, Gregor
"Slipper shots: influence of Yasujiro Ozu's Tokyo story." Sight & Sound v. ns7 (August 1997) p. 61
"The director and screenwriter Gregor Nicholas discusses the influence Ozu's Tokyo Story had on his work. He states that Ozu's faithful rendering of minute, everyday details inspired him to try and achieve a similar degree of ethnographic authenticity in his own film Broken English. He points out that the other thing that impresses him about Ozu's film is its form. He argues that there is such authority in Ozu's idiosyncratic vernacular that the audience knows they are in the hands of a master." [Art Index]

Ozu's Tokyo Story.
Edited by David Desser. Cambridge, U.K.; New York, N.Y., U.S.A.: Cambridge University Press, 1997. Cambridge film handbooks series
Main Stack PN1997.T5953.O92 1997

Rayns, Tony.
"Tokyo Monogatari." Sight and Sound v4, n2 (Feb, 1994):63
"Yasujiro Ozu's Tokyo Monogatari (Tokyo Story) is an almost didactic film about the breakdown of Japanese family values. The film faithfully records Tokyo in the post-war period. The film's overt seriousness derives in part from its persistent undercurrent of social commentary." [Art Index]

Russell, Catherine
"Tokyo Story." Cineaste v. 29 no. 3 (Summer 2004) p. 50-1
UC users only
"A review of the DVD release of Yasujiro Ozu's film, Tokyo Story. The film, originally released in 1953, has become the canonical film about the difficult rebirth of modern Japan, telling the story of an emerging generation gap and of the split between urban and rural life. The DVD release retains the "patina" of the celluloid original, along with the hissing and popping of audio flaws. It contains two valuable additional documentary features, one of which includes large selections of clips and interviews with many key collaborators and friends of Ozu." [Art Index]

Shipman, David
"Tokyo Story." (Review). Films & Filming /350, Nov 83; p.35-36. illus., cred.

"Tokyo Story" (review)
Modern Review; Vol.I nr.12 (Dec-Jan 1993-94); p.15

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