Probably the most frequently noted aspect of Ozu's camera technique is his consistent use of an extremely low camera position to shoot his subjects, a practice that Bordwell traces as far back as his films of the 1931–1932 period. An example of the low camera in "Late Spring" would be the scene in which Noriko visits her friend Aya in her home. Noriko is in a sitting position, while Aya is seated at a slightly higher elevation, so Aya is looking down towards her friend. However, "the camera angle on both is low. Noriko sits looking up at the standing Aya, but the camera the reverse shot looks up on Noriko's face, rejecting Aya's point of view. We are thus prevented from identifying with Aya and are forced into an inhuman point of view on Noriko."