David Bordwell's book Figures Traced in Light is excellent for study of Mizo's mise-en-scene, and makes point that Hou Hsiao Hsien has a lot more in common with Mizo than generally acknowledged. His debt to Ozu (more static camera, quiet dramas) widely recognised of course.

Then Michael Kerpan makes useful observation about Ozu's frequent changes of camera position, if not movement between cuts, in Senses of Cinema article. May be obvious but needed saying. I like the little similarities and differences, variation on a theme, in Ozu films- the sea ending in Late Spring (i've long thought ideal for an ending), beginning in Early Summer, train rides etc, different roles (e.g Ryu as older brother or father..), and i love that bike ride in Late Spring. One of the loveliest most joyful scenes in cinema, sets us up for a glowing romance, but things don't work out predictably...

And finally there's been a book in English on Mizo; Mizoguchi and Japan by Mark le Fanu, well worth getting, though i've not had time to digest it properly i must admit. His earlier book on Tarkovsky excellent too.

Close-ups: Maborosi, another film- masterpiece actually- superficially very indebted to Ozu (focus on objects, off-screen space, stillness..) avoids close ups to the extent we hardly get to see female protagonist properly till quite some way into the film- a case of audience intimacy having to be earned, Far East expert Tony Rayns said. Apparently the film he admires most by Mizo, Straits of Love and Hate (i've not seen), is notable for its avoidance of close ups. Le Fanu regrets this absence a little as he likes the striking close up in Osaka Elegy (made just before) for instance. Le Fanu agrees with me about Sansho as Mizo's crowning achievement, and his status.