Many critics have tried to account for the apparent major change in Ozu's approach to filmmaking from the early films to the late (post-1948) films. It has been claimed, for example, that the 1920s and 1930s films tend to be livelier and more comic than the works of the last period. According to Kristin Thompson, the "inclusion of stylistic elements for their own aesthetic interest… in the early films… took a more consistently playful form, and the comedies and gangster films of the 1930s are full of flashy stylistic passages." This tendency has been partly attributed by Bordwell to a two-part structure that the director used in "Tokyo Chorus" and other films of the earlier period: "In the earliest films, the first part tends to be lively, often comic, and fairly tight causally, while the second part tends to modulate into greater melancholy and toward somewhat more episodic structure." In the post-1949 films, Ozu retained the two-part structure, but with a very different emphasis: "The first part [now consists of a quite leisurely exposition, a series of scenes in which chronology is more important than causality. The second part forms the bulk of the film, creating strongly defined causal lines... This is essentially the model that Ozu's films will follow from "Late Spring" onwards."