DOCSLIB.ORG

Ingmar Bergman's Nested Dolls

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ingmar Bergman's Nested Dolls ANGLIA RUSKIN UNIVERSITY FACULTY OF ARTS, HUMANITIES AND SOCIAL SCIENCES INGMAR BERGMAN’S NESTED DOLLS NARRATIVITY AND FICTIONALITY IN CINEMA SAMINDA SUNIMAL RANAWAKA A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of Doctor of Philosophy Submitted: April 2019 ii Dedication Ingmar Bergman and other explorers and scholars of cinema Acknowledgements My Mother For always encouraging my studies irrespective of the end goal My Wife and Children For their sincere and persistent attempts at freeing me from my family commitments Dr Jennifer George For her invaluable and voluntary help in the challenging moments of my academic life Professor Rowland Wymer For interesting discussions and offering access to his private library Professor Henrik Skov Nielsen and Professor Aaron Meskin For generously offering their constructive views and resources on new literature John White For offering considerate and necessary resistance to my work with his supervision Dr Tory Young For being the ideal first supervisor who was always bright, accessible, and persuasive i ANGLIA RUSKIN UNIVERSITY ABSTRACT FACULTY OF ARTS, LAW, AND SOCIAL SCIENCES DOCTOR OF PHILOSOPHY INGMAR BERGMAN’S NESTED DOLLS: NARRATIVITY AND FICTIONALITY IN CINEMA SAMINDA RANAWAKA April 2019 Swedish filmmaker Ingmar Bergman’s cinema is often seen as a classic nexus between several generic categories: narrative, fiction, art cinema, auteur films. While generic approaches pursue the potential traits and underlying structures that distinguish one class from another, they also ingrain and idealise restrictive preconceptions. By exploring Bergman’s formally and thematically related The Silence (1963) and the prologue of Persona (1966), my research attests that generic approaches are seriously inadequate to explain the multidimensionality of cinematic narrative. In the first part of my study, I develop a three-tier analytical framework by reviewing the key approaches to narrative and cinematic fiction. Considering the insights of rhetorical narratology and C.S. Peirce’s sign theory, I also postulate applicable theses for narrativity and fictionality in the cinematic context. The second part of the study demonstrates that this nested narratological model offers an illuminating approach to elaborate on how audiences exploit cinematic narrativity and fictionality as communicational resources and acts. Instead of relying on the predetermined macro-structures like syuzhet, plot, fabula, or story of Bergman’s individual films, I explore micro-relations of Bergman’s cinema across the proposed analytical tiers offering new readings of these canonical films. Bergman’s cinema not only advances cinematic images, experiences, and their references temporally with narrativity but also stratifies them across various levels with cinematic fictionality. Thus, cinematic narrativity not only hinges on the diegetic tier (or structural-story), but the extra-diegetic and thematic tiers also determine narrativity. The immediate experience and discursive dynamics in Bergman’s cinema interweave author, audience, actors, medium, themes, and other artworks into integrated textual threads with fictional characters, events, and stories. My study argues that cinematic narrative is not a predefined medium, component, or structure, but a text-external communicational event that engenders multifarious cinematic effects and signifying instances. As its original contribution to knowledge, I elaborate cinematic narrativity and fictionality as referential dynamics as well as communicational resources. These resources integrate immediate cinematic experience as well as interpretive engagement for communicational goals. I also maintain that my exploration helps to revisit the ambivalent takes on cinematic authorship, communication, and fiction/reality dichotomy. Keywords: art cinema, narrativity, fictionality, rhetorical narrative theory, Bergman ii Contents 1. Introduction ........................................................................................................... 1 1.1. Cinematic Image and Its Narratives .................................................................... 1 1.1.1. The Phenomenal Experience of Cinema .................................................... 1 1.1.2. The Diegetic Story ...................................................................................... 2 1.1.3. The Non-Fictional Story ............................................................................. 3 1.1.4. The Thematic Story .................................................................................... 4 1.1.5. Resistance to the Stories ........................................................................... 5 1.2. Cinematic Acts and Resources ........................................................................... 6 1.3. Cinematic Narrative as an Event ......................................................................... 7 1.3.1. Images and Narrative ................................................................................. 7 1.3.2. Narrative and the Story .............................................................................. 9 1.3.3. Structural Story and Excess ..................................................................... 12 1.4. Representation as Narrativity and Fictionality ................................................... 14 1.5. Ingmar Bergman and Image Making ................................................................. 16 1.6. Research Methodology and Structure .............................................................. 21 1.6.1. Research Context and Focus ................................................................... 21 1.6.2. Research Goals and Outcome ................................................................. 22 1.6.3. Thesis Structure ....................................................................................... 22 Part 1 …………………………………………………………………………………………...25 2. Narrativity as Textual Progression .................................................................... 27 2.1. Narrative Definitions and Their Nested Problems ............................................. 28 2.2. Narrative Dualisms and Their Genealogy .......................................................... 33 2.2.1. Play and Plot ............................................................................................ 33 2.2.2. Syuzhet and Fabula .................................................................................. 35 2.2.3. Story and Discourse ................................................................................. 38 2.3. Beyond Dualism: Narrative to Narrativity .......................................................... 43 2.4. Peircean Signs: Infinite Semiosis ...................................................................... 46 2.5. Semiosis: Dynamic Narrativity ........................................................................... 49 2.6. Narrative and Its Nested Junctures ................................................................... 51 2.7. Narrative Semiosis: Revisiting Narrativity .......................................................... 54 iii 3. Nested Dolls of Cinema: A Framework ............................................................ 61 3.1. The Three Tiers of Cinematic Narrative ............................................................ 62 3.2. The Diegetic Tier of Cinema ............................................................................. 65 3.2.1. Diegetic Tier as The Story ........................................................................ 65 3.2.2. The Diegetic Tier as The Phenomenal Experience .................................. 68 3.2.3. Diegetic Tier as a Rhetorical Resource .................................................... 70 3.3. The Extra-Diegetic Tier of Cinema ................................................................... 72 3.3.1. Extra-Diegetic Frame and Perspective .................................................... 72 3.3.2. Narrative Stylistics ................................................................................... 75 3.3.3. Excess and Materiality ............................................................................. 77 3.4. The Thematic Tier of Cinema ........................................................................... 79 3.4.1. Theme as a Metaphor .............................................................................. 79 3.4.2. The Real-World as a Theme .................................................................... 80 3.5. Nested Paradoxes in Cinema ........................................................................... 82 3.5.1. Cinematic Engagement ........................................................................... 82 3.5.2. Cinematic Reduction ............................................................................... 83 3.5.3. Cinematic Heterogeneity ......................................................................... 87 3.5.4. Fictionality in General .............................................................................. 88 3.5.5. Cinematic Fictionality .............................................................................. 91 3.6. From Phenomenality to Signs .......................................................................... 94 3.6.1. Cinematic Signs and The Referential Act ................................................ 94 3.6.2. Cinematic Phenomenology as Semiosis ................................................. 95 3.7. Cinematic Author
Load more

Recommended publications
  • The Seventh Seal : a Film
    Ingmar Bergman Bergman, Ingmar zhlfs Seventh seal 3 1111 00826 2857 791 o 437 BERGMAN SAUSALITO PUBLIC LIBRARY DATIEDUE - NOV <J4 2006 DEMCO, INC. 38-2931 ..... •ft fill M ^T LJ ^r z •**«**. ^m j£ ~ mm mm B3^ + ; %-*.£!* MODERN /film SCRIPTS THE SEVENTH SEAL a Tim by Ingmar Bergman translated from the Swedish by Lars Malmstrom and David Kushner Lorrimer Publishing, London All rights reserved including the right of reproduction in whole or in part in any form English translation copyright © I960 by Ingmar Bergman Original Swedish language film entitled Det Sjunde Inseglet © 1956 by Ingmar Bergman Published by Lorrimer Publishing Limited 47 Dean Street, London Wl First printing 1968 Second printing 1970 Third printing 1973 Fourth printing 1975 SBN paper 900855 22 3 SBN cloth 900855 23 1 This edition is not for sale in the United States of America, its territories, possessions, protectorates, mandated territories, the Philippines or the Dominion of Canada Manufactured in Great Britain by Villiers Publications Ltd, London NW5 The publishers wish to express their gratitude for the help and co- operation received from the staff of Janus Films, Inc., particularly Cyrus Harvey Jr., and also Peter Cowie and the British Film Institute Note : The screenplay in this book is identical to that used by Ingmar Bergman when filming, except that: (1) the original script contains numbers before each sequence which indicate the estimated number of shots that will be necessary for that sequence; (2) since this screen- play is prepared before shooting begins, it contains sequences and dialogue which do not appear in the final film; Bergman has deleted some material to make the published script conform to the film.
    [Show full text]
  • Notes on Ingmar Bergman's Stylistic
    Notes on Ingmar Bergman’s Stylistic Development and Technique for Staging Dialogue Riis, Johannes Published in: Kosmorama Publication date: 2019 Document version Publisher's PDF, also known as Version of record Document license: Unspecified Citation for published version (APA): Riis, J. (2019). Notes on Ingmar Bergman’s Stylistic Development and Technique for Staging Dialogue. Kosmorama, (275), [275]. https://www.kosmorama.org/notes-on-ingmar-bergman Download date: 06. okt.. 2021 10.10.2020 Notes on Ingmar Bergman’s Stylistic Development and Technique for Staging Dialogue | Kosmorama Notes on Ingmar Bergman’s Stylistic Development and Technique for Staging Dialogue PEER REVIEWED. Ingmar Bergman is heralded as a model for cinema as personal expression. What rarely comes to the fore is the extent to which he drew on pre- existing schemas for his characters and how he developed staging techniques that would suit his existentialist themes. 24. april 2019 Johannes Riis By staging his actors frontally during their delivery, Ingmar Bergman fostered a tone of intimacy and vulnerabilty, allowing a calmness around their dialogue. Here Alma (Bibi Andersson) and Elisabet Vogler (Liv Ullmann) in 'Persona' (1966). Still: DFI Stills & Posters Archive. The March 1960 cover of Time Magazine cast Ingmar Bergman in the part of a visionary who stares into a brightly lit future while the background suggests darker demons in the woods. Were it not for the tilt of his thumb and forefinger, held up to his eye as if to frame the world, and the headline declaring ‘INGMAR BERGMAN - MOVIE DIRECTOR’, the subscribers might have mistaken him for a philosopher or author.
    [Show full text]
  • To Download SEARCHING for INGMAR BERGMAN
    SYNOPSIS Internationally renowned director Margarethe von Trotta examines Ingmar Bergman’s life and work with a circle of his closest collaborators as well as a new generation of filmmakers. This documentary presents key components of his legacy, as it retraces themes that recurred in his life and art and takes us to the places that were central to Bergman’s creative achievements. DIRECTOR’S BIOGRAPHY The daughter of Elisabeth von Trotta and the painter Alfred Roloff, Margarethe von Trotta was born in Berlin in 1942 and spent her childhood in Düsseldorf. After fine art studies, she moved to Munich to study Germanic and Latin language. She then joined a school for dramatic arts and began an acting career, in the theatres of Düsseldorf and afterwards in the Kleines Theater of Frankfurt in 1969 and 1970. At the end of the 1960 she moved in Paris for her studies and immersed herself in the film-lover circles of the time. She took part in script redacting and directing of short films and discovered via the Nouvelle Vague directors and critics the films of Ingmar Bergman and Alfred Hitchcock. In Germany, Margarethe von Trotta has worked with a new generation of young filmmakers: Herbert Achternbusch, Volker Schlöndorff who she married in 1971 and with whom she directed and wrote The Sudden Wealth of the Poor People of Kombach (1971) and The Lost Honour of Katharina Blum (1975), as well as Rainer Werner Fassbinder who made her act in four of his films. She directed in 1978 her first long feature, The Second Awakening of Christa Klages.
    [Show full text]
  • The Life and Films of the Last Great European Director
    Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN Macnab-05480001 macn5480001_fm May 19, 2009 11:55 Geoffrey Macnab writes on film for the Guardian, the Independent and Screen International. He is the author of The Making of Taxi Driver (2006), Key Moments in Cinema (2001), Searching for Stars: Stardom and Screenwriting in British Cinema (2000), and J. Arthur Rank and the British Film Industry (1993). Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN The Life and Films of the Last Great European Director Geoffrey Macnab Macnab-05480001 macn5480001_fm May 8, 2009 9:23 Sheila Whitaker: Advisory Editor Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2009 Geoffrey Macnab The right of Geoffrey Macnab to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84885 046 0 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress
    [Show full text]
  • ~Lagf8lll COM PAN I E SIN C
    June 2001 BAMcinematek 2001 Spring Season ___ 651 AFLlS Andres Serrano, Hooded Warbler II, 2000 BAM Spring Season sponsor: PHILIP MORRIS ~lAGf8lll COM PAN I E SIN C. 200] Spriog Brooklyn Academy of Music Bruce C. Ratner Alan H. Fishman Chairman of the Board Chairman, Campaign for BAM Karen Brooks Hopkins Joseph V. Melillo President Executive Prod ucer presents The Ghost Sonata The Royal Dramatic Theatre of Sweden Approximate BAM Harvey Lichtenstein Theater running time: June 20-23,2001, at 7:30pm 1 hour and June 24, at 3pm 35 minutes with Performed in Swedish with simultaneous English translation no intermission Written by August Strindberg Directed by Ingmar Bergman Set design Giiran Wassberg Costume design Anna Bergman Lighting design Pierre Leveau Wigs and masks Leif Qvistriim, Barbro Forsgardh Choreography Virpi Pahkinen Translation Inga Stina Ewbank BAM Theater sponsors: AOL Time Warner Inc. and Fleet Leadership support: The Peter Jay Sharp Foundation; The Shubert Foundation, Inc.; The Norman & Rosita Winston Foundation, Inc.; and The SHS Foundation Major support: The Barbra Osher Pro Suecia Foundation Additional support: Consulate General of Sweden and Trallback & Company Official airline for the BAM presentation of The Royal Dramatic Theatre of Sweden's The Ghost Sonata: Scandinavian Airlines 17 The Cast The Old Man Jan Malmsjo The Student Jonas Malmsjo The Milkmaid Virpi Pahkinen The Doorman's Wife Gertrud Mariano The Dead Man Nils Eklund The Dark Lady Gerthi Kulle The Young Lady Elin Klinga The Colonel Per Myrberg Mummy Gunnel
    [Show full text]
  • THE SEVENTH SEAL 1958 92 Min
    April 15, 2008 (XVI:14) Ingmar Berman THE SEVENTH SEAL 1958 92 min. Directed and written by Ingmar Bergman Produced by Allan Ekelund Original Music by Erik Nordgren Cinematography by Gunnar Fischer Film Editing by Lennart Wallén Production Design by P.A. Lundgren Gunnar Björnstrand...Jöns, squire Bengt Ekerot...Death Nils Poppe...Jof Max von Sydow...Antonius Block Bibi Andersson...Mia, Jof's wife Inga Gill...Lisa, blacksmith's wife Maud Hansson...Witch Inga Landgré...Karin, Block's Wife Gunnel Lindblom...Girl Bertil Anderberg...Raval Anders Ek...The Monk Åke Fridell...Blacksmith Plog Gunnar Olsson...Albertus Pictor, Church Painter Erik Strandmark...Jonas Skat INGMAR BERGMAN (14 July 1918, Uppsala, Uppsala län, Sweden—30 July 2007,Fårö, Gotlands län, Sweden ) directed 61 films and wrote 63 screenplays. (Bio from WorldFilms.com) "Universally regarded as one of the great masters of modern cinema, Bergman has often concerned himself with spiritual and realized in this cinematic signature. Of the early period, WILD psychological conflicts. His work has evolved in distinct stages STRAWBERRIES stands out for its narrative invention in a fluid over four decades, while his visual style—intense, intimate, manipulation of flashbacks, reveries and dream sequences. Its complex—has explored the vicissitudes of passion with a penetrating psychological investigation of the closing of the life mesmerizing cinematic rhetoric. His prolific output tends to return cycle established Bergman's preoccupation with the relationship to and elaborate on recurrent images, subjects and techniques. between desire, loss, guilt, compassion, restitution and Like the Baroque composers, Bergman works on a small scale, celebration. SAWDUST AND TINSEL (1953)/NAKED NIGHT, finding invention in theme and variation.
    [Show full text]
  • 28Th Leeds International Film Festival Presents Leeds Free Cinema Week Experience Cinema in New Ways for Free at Liff 28 from 7 - 13 November
    LIFF28th 28 Leeds International Film Festival CONGRATULATIONS TO THE LEEDS INTERNATIONAL FILM FESTIVAL IN YOUR 28TH YEAR The BFI is proud to partner with Screen Yorkshire in a fantastic year for filmmaking in the region INCLUDING ‘71 GET SANTA SCREENING AT LIFF28 X + Y CATCH ME DADDY & LIFF28 OPENING NIGHT FILM TESTAMENT OF YOUTH Image: (2014) Testament of Youth James Kent Dir. bfi.org.uk/FilmFund Film Fund Ad LIFF 210x260 2014-10_FINAL 3.indd 1 27/10/2014 11:06 WELCOME From its beginnings at the wonderful, century-old Hyde Park Leeds International Film Festival is a celebration of both Picture House to its status now as a major national film event, film culture and Leeds itself, with this year more than 250 CONGRATULATIONS Leeds International Film Festival has always aimed to bring screenings, events and exhibitions hosted in 16 unique a unique and outstanding selection of global film culture locations across the city. Our venues for LIFF28 include the TO THE LEEDS INTERNATIONAL to the city for everyone to experience. This achievement main hub of Leeds Town Hall, the historic cinemas Hyde is not possible without collaborations and this year we’ve Park Picture House and Cottage Road, other city landmarks FILM FESTIVAL IN YOUR 28TH YEAR assembled our largest ever line-up of partners. From our like City Varieties, The Tetley, Left Bank, and Royal Armouries, long-term major funders the European Union and the British Vue Cinemas at The Light and the Everyman Leeds, in their Film Institute to exciting new additions among our supporting recently-completed Screen 4, and Chapel FM, the new arts The BFI is proud to partner with Screen Yorkshire organisations, including Game Republic, Infiniti, and Trinity centre for East Leeds.
    [Show full text]
  • Blackbox 12/2018
    12 2O18 PROGRAMM DEZEMBER Beyond Bergman 7 Fantastische Welten, perfekte Illusionen Filmplakatauktion 55 Visuelle Effekte im Film Filmclubs: Filme im Original 56 Filmreihe zur Sonderausstellung 32 Italienischer Filmclub Spezial 64 Filmmatinee: Facetten von Humanität 42 Zu Gast: Alessandro Melazzini Erstaufführung 44 42nd Street Düsseldorf 66 Stummfilm + Musik 46 Filmklassiker am Nachmittag 68 Stationen der Filmgeschichte 48 Psychoanalyse & Film 7O Italienischer Filmclub Spezial SA 18:30 FILMPLAKATAUKTION 55 MI ZU GAST: ALESSANDRO MELAZZINI O1 Der Eintritt ist frei! O5 20:00 LA CICCIOLINA. 34 SO Fantastische Welten, perfekte Illusionen GÖTTLICHE SKANDALNUDEL 15:00 Alessandro Melazzini · D·F 2016 O2 THE LORD OF THE RINGS 34 DER HERR DER RINGE DO Griechischer Filmclub Ralph Bakshi · USA·UK·S 1978 · mit Einführung 20:00 POLYXENI 57 O6 Dora Masklavanou · GR 2017 · mit Einführung Beyond Bergman FR Beyond Bergman 17:30 TRESPASSING BERGMAN 10 18:30 HETS · DIE HÖRIGE 12 Jane Magnusson, Hynek Pallas · S 2013 · mit Einführung O7 Alf Sjöberg · S 1944 Beyond Bergman MONTAGS KEINE VORSTELLUNG 20:30 ÄLSKANDE PAR · LIEBENDE PAARE Mai Zetterling · S 1964 DI Filmklassiker am Nachmittag 15:00 Beyond Bergman O4 WINTERNACHTSTRAUM 69 SA Geza von Bolváry · D 1934/35 18:30 MUSIK I MÖRKER 17 O8 MUSIK IM DUNKELN Stationen der Filmgeschichte Ingmar Bergman · S 1948 20:00 DON'T LOOK NOW 50 Beyond Bergman WENN DIE GONDELN TRAUER TRAGEN 20:30 FLICKORNA · DIE MÄDCHEN 19 Nicolas Roeg · IT·GB 1973 · mit Einführung Mai Zetterling · S 1968 SO Filmmatinee: Facetten von Humanität DI Stationen der Filmgeschichte 11:30 HANNAH ARENDT 43 20:00 DAS CABINET DES DR.
    [Show full text]
  • The Influence Of
    Gulino-Waller 1 Cover credit: I’d say I didn’t design that cover except I’d be lying. The Influence of By Sarahfina Rose Gulino-Waller 2 The Influence of Ingmar Bergman ‘’If you were alive in the ’50s and the ’60s and of a certain age, a teenager on your way to becoming an adult, and you wanted to make movies, I don’t see how you couldn’t be influenced by Bergman’’—Martin Scorsese (Mercury). Ingmar Bergman and the shark from JAWS, Hollywood 1975. The list of filmmakers inspired by Swedish director Ingmar Bergman is seemingly endless. His fanclub includes, but is not limited to, influential contemporary artists such as Tomas Alfredson, Woody Allen, Lukas Moodyson, Milos Forman, Stanley Kubrick, Michael Winterbottom, Mike Hodges, Thomas Vinterberg, Alexander Payne, Terence Davies, Sally Potter, Olivier Assayas, David Lynch, Wes Craven, and many others. That’s just the short list. Bergman, in turn, has drawn inspiration from filmmakers he’s admired, such as Akira Kurosawa, Andrei Tarkovsky, and the filmmakers of silent cinema, just to name a few. Let us examine some films by directors who have been influenced by Bergman time and again. Gulino-Waller 3 Bergman and Spain: Amantes (English: Lovers: A True Story; 1991) has been compared to Bergman’s take on sexuality and religion, and director Vicente Aranda has been influenced by him (‘’Names of the Spanish culture reminiscent of Swedish filmmaker Ingmar Bergman’’). I’ve seen ongoing discussions about it and even thought whilst watching the film, ‘’This feels kinda Bergman- esque,’’ particularly Persona (1966) and The Silence (1963), both of which caused controversy in Sweden and were heavily censored as a result.
    [Show full text]
  • Woody Allen Loves Ingmar Bergman Peter Cochran
    1 Woody Allen loves Ingmar Bergman Peter Cochran Somewhere near the start of Annie Hall , Diane Keaton turns up late for a date at the cinema with Woody Allen, and they miss the credits. He says that, being anal, he has to see a film right through from the very start to the final finish, so it’s no go for that movie – why don’t they go see The Sorrow and the Pity down the road? She objects that the credits would be in Swedish and therefore incomprehensible, but he remains obdurate, so off they go, even though The Sorrow and the Pity is, at over four hours, twice the length of the film they would have seen. The film they would have seen is Ingmar Bergman’s Face to Face , with Liv Ullmann as the mentally-disturbed psychiatrist – you see the poster behind them as they argue. The whole scene is a gesture. Your attention is being drawn to an influence even while that influence is being denied: for, though I don’t believe Bergman has seen too much Allen, Allen has watched all the Bergman there is, several times over. As an example: you don’t often hear Allen’s early comedy Bananas being referred to as Bergman-influenced: but not only does its deranged Fidel Castro-figure proclaim that from now on the official language of the revolutionised country will be Swedish, but in the first reel there’s a straight Bergman parody. We all remember the dream in Wild Strawberries where Isak Borg sees his own funeral on a deserted Swedish street: in Bananas, Allen dreams 2 his own crucifixion on a deserted Manhattan Street.
    [Show full text]
  • Ingmar Bergman by Maaret-Koskinen English.Pdf
    Foto: Bengt Wanselius Foto: INGMAR BERGMAN BY MAARET KOSKINEN Ingmar Bergman by Maaret Koskinen It is now, in the year of 2018, almost twenty years ago that Ingmar Bergman asked me to “take a look at his hell­of­a­mess” in his private library at his residence on Fårö, the small island in the Baltic Sea where he shot many of his films from the 1960s on, and where he lived until his death in 2007, at the age of 89. S IT turned out, this question, thrown foremost filmmaker of all time, but is generally re­ Aout seemingly spontaneously, was highly garded as one of the foremost figures in the entire premeditated on Bergman’s part. I soon came to history of the cinematic arts. In fact, Bergman is understand that his aim was to secure his legacy for among a relatively small, exclusive group of film­ the future, saving it from being sold off to the highest makers – a Fellini, an Antonioni, a Tarkovsky – whose paying individual or institution abroad. Thankfully, family names rarely need to be accompanied by a Bergman’s question eventually resulted in Bergman given name: “Bergman” is a concept, a kind of “brand donating his archive in its entirety, which in 2007 name” in itself. was added to the UNESCO World Heritage List, and the subsequent formation of the Ingmar Bergman Bergman’s career as a cinematic artist is unique in Foundation (www.ingmarbergman.se). its sheer volume. From his directing debut in Crisis (1946) to Fanny and Alexander (1982), he found time The year of 2018 is also the commemoration of to direct more than 40 films, including some – for Bergman’s birth year of 1918.
    [Show full text]
  • Sessão 12 – 17 De Agosto De 2021 | MORANGOS SILVESTRES (1957)
    Sessão 12 – 17 de agosto de 2021 | MORANGOS SILVESTRES (1957) 1. A PRIMEIRA MASTERCLASSE “Morangos Silvestres”, de Ingmar Bergman, foi o filme escolhido por mim, para representar a cinematografia sueca, quando, em 2011, iniciei em Oeiras uma série de masterclasses a que dei por título “Os Cinemas da Europa”. A ideia desta masterclass era “apresentar cada um dos 49 países da Europa, falando da sua História, geografia, política, e da história do seu cinema, escolhendo um filme especial, de um realizador particularmente significativo, para sobre ele se analisarem alguns aspectos da cultura do país e dos seus problemas”. Na altura, o mapa da Europa era constituído por 49 países, dos quais 27 pertenciam à CE e 3 se candidatavam a sê-lo. A 5 de Abril de 2011 iniciou-se a masterclass, que começou pela Alemanha, com um filme de Fritz Lang, precisamente “Matou”. Seguiram-se a Polónia, com Roman Polanski, e “O Pianista”, a França, com Jean Renoir e a sua “A Grande Ilusão”, chegando então a vez da Suécia, com Ingmar Bergman e “Morangos Silvestres”. Quase cinquenta obras, das mais significativas da História do Cinema. Recordemos apenas algumas: da Dinamarca, Carl Dreyer e “A Palavra”, da Áustria, Michael Haneke e “O Laço Branco”, da Sérvia, Emir Kusturicae “Gato Preto, Gato Branco”, da República Checa, Milos Forman e “O Baile dos Bombeiros”, de Chipre, Michael Cacoyannis e “Zorba, o Grego”, de Espanha, Luis Buñuel e “Viridiana”, da Suíça, Alain Tanner e “A Cidade Branca”, de Portugal, Manoel de Oliveira e “Non ou a Vã Glória de Mandar”, da Lituânia, Sharunas Bartas e “Três Dias”, de Inglaterra, David Lean e “Breve Encontro”, de Itália, Luchino Visconti e “O Leopardo”, da Holanda, Paul Verhoeven e “Livro Negro”, da Rússia, S.
    [Show full text]