Press Information January | February 2018 Ingmar Bergman

Total Page:16

File Type:pdf, Size:1020Kb

Press Information January | February 2018 Ingmar Bergman Press Information January | February 2018 Ingmar Bergman “Any filmmaker trying to get into the texture of human relations ends up in Bergman territory.” (Olivier Assayas, 2005) The Film Museum rings in the new year with a grand, centennial anniversary: On the occasion of the 100th birthday of great Swedish director and author Ingmar Bergman (1918-2007), a number of celebrations will be held worldwide. The complete retrospective of his cinematic work in Vienna will raise the curtain on this festive year. From his international breakthrough in 1956/57 with award-winning classics such as Sommarnattens leende (Smiles of a Summer Night), Det sjunde inseglet (The Seventh Seal) or Smultronstället (Wild Strawberries) and his official farewell to cinema in 1982 with the great feat of Fanny och Alexander (Fanny and Alexander), Bergman became an indisputed institution and the face of Sweden on the cinematic world map. No other director is considered the epitome of an advanced, philsophically demanding auteur cinema as much as Bergman. This status was confirmed in 1997, when he was awarded the “Palm of Palms” on the occasion of the 50th anniversary of the Cannes Film Festival. However, his reputation of “popular genius” also gave rise to a cliché: As researcher of existential and metaphysical crises, Bergman was pigeonholed as belonging to the Scandinavian tradition together with authors such as August Strindberg (whom he greatly admired). Just as Alfred Hitchcock was labeled the master of suspense for his thrillers although he tried his hand at other registers, Bergman was styled the master of profound relationship drama despite his success in many genres, including light comedy and metaphoric historical pieces. The cliché is countered by an oeuvre whose diversity and openness always finds new ways of amazing the viewer. Proof of that arrives in Bergman’s lasting influence on directors as different as David Lynch, Lars von Trier, Olivier Assayas, Michael Haneke and Woody Allen. The first complete retrospective since that organized by the Film Museum in 2004 is an invitation to a journey of (re)discovery of one of the richest continents in the history of cinema. Born a pastor’s son, Bergman grew up in a strict Lutheran environment, which strongly determined his interests and sparked the power of his imagination at an early age: “So, when reality was no longer sufficient, I began to fantasize, entertain my playmates with tremendous stories about my secret adventures.“ Already as a teenager, Bergman dove into the history of literature and began his studies in the field before turning to theater, which was to remain an important sphere of activity and the topic of his films (for example, in his 1975 version of The Magic Flute Trollflöjten ) all his life. It also provided the foundation for the virtuosic work he achieved with actors. Starting from the 1950s, Bergman and his ensemble performed on Stockholm’s stages in the winter season, using the summer months for shooting. This helped many of his staple actors, such as Liv Ullmann, Max von Sydow and Ingrid Thulin, launch an international career . Bergman came to film in the mid-1940s. He began as a scriptwriter and quickly established himself as a director, becoming a leading figure in Swedish cinema. In the first phase of his work, he combined neorealist influences with youthful rebellion: His films often featured young (working- class) couples struggling with the ossified bourgeois adult world. The immensely physical love Press Information January | February 2018 story Sommaren med Monika (Summer with Monika, 1953) was described by Jean-Luc Godard as “the most original film by the most original of filmmakers. It is to the cinema of today what Birth of a Nation was to the classical cinema.” Later on, in his own film debut, Godard quoted the incredible long take in which actress Harriet Andersson stares directly into the camera: A perfect example of Bergman’s modernist impulses as a mainspring for the continuous expansion of his aesthetic and thematic spectrum. Their expression ranges from the string of comedies that culminated in Sommarnattens leende (Smiles of a Summer Night), dark dramas such as the medieval miracle play The Seventh Seal , or the modern story of estrangement Tystnaden (The Silence, 1963), whose sexually explicit scenes provoked censorship scandals. His unmistakable artistic voice made Bergman the role model for the New Wave . But that is far from all: From personal detail (François Truffaut: “Nobody gets as close to the human face as Bergman.”) to cosmic scope (mirrored in the inhospitable landscape of his homeland of choice, the island of Fårö, the preferred setting for his films from the 1960s on), the sometimes brutal intensity of Bergman’s film world is at odds with his reputation as a canonized, “dusty” classic. This is true of more than his dauntless radical ventures that have in fact come to be considered “classics,” such as the experimental (cinema and) self-reflexive Persona (1966) or the quasi-horror film Vargtimmen (Hour of the Wolf, 1968). Bergman’s work was bursting with vitality right up to his celebrated late works for cinema and television such as Scener ur ett äktenskap (Scenes from a Marriage, 1974) or Fanny and Alexander , their energy invariably stemming from an uncompromising exploration of the matters of life. The Film Museum would like to thank the Swedish Film Institute. Bergman's complete cinematic opus will be shown on film, including documentary films, short films and commercials, with the exception of Sän't händer inte här (High Tension, 1950), long since prohibited from public screenings. January 5 to February 8, 2018 Silent Film and Live Music Victor Sjöström’s The Outlaw and His Wife The comprehensive Bergman retrospective will be accompanied by another program devoted to Swedish cinema. We will present Victor Sjöström’s silent film Berg-Ejvind och hans hustru (The Outlaw and His Wife, 1918) in a new restoration by the Swedish Film Institute. Bergman admired director and actor Sjöström, paying tribute to him in Wild Strawberries . The Outlaw and His Wife illustrates the powerful imagery and psychological depth of Sjöström’s work which had a formative influence on Bergman. The film will be shown in a longer version with the original toning restored. Swedish film composer and silent film pianist Matti Bye, who last visited the Film Museum in 2008, will accompany the film live together with Finnish composer and musician Laura Naukkarinen (alias Lau Nau ). www.mattibye.com | www.launau.com January 26, 2018 Press Information January | February 2018 Cocksucker Blues A rarity as a postscript to the recently successfully completed retrospective of the work of filmmaker and photographer Robert Frank. In 1972, Frank made a documentary film about the Rolling Stones’ American tour, which has been successfully suppressed by the band and its management and therefore never received a theatrical release or found its way to a wider audience. As a result, Cocksucker Blues enjoys an almost mythical status as “the most notorious music documentary of all time.” But scandal, groupie hype and open drug use aside, what makes the film significant are Frank’s laconic powers of observation in the middle of raw and seedy goings-on: the rock tour as a sequence of never-ending slack periods, full of exhaustion, boredom and irritation. Because of its legal status, the film can only be shown four times a year. No reservations possible. Presale tickets are available from December 20. January 17, 2018 KINO ARBEIT LIEBE Homage to Elisabeth Büttner Great Viennese film scholar Elisabet Büttner , who passed away in 2016, saw cinema as a space of collective experience and a space of possibility for the self as well as a space for emotions and insight. She appreciated film for its openness to both great and inconspicuous events, contradictions and resistances, gestures and phantoms. She was always in pursuit of the politics of images and their connections; time and time again, she stressed that films do so much more than tell stories – in fact, they have their own (hi)stories and do things their own way. Christian Dewald , Petra Löffler and Marc Ries will present KINO ARBEIT LIEBE, a book retracing Elisabeth Büttner’s ways of thinking and the manifold connection points in her work. The volume, which will be issued by Berlin publisher Vorwerk 8 at the beginning of 2018, will be presented as part of a program including films by Michael Wallin , Lisl Ponger , Peter Tscherkassky, Kurt Kren and others. January 25, 2018 Stan Brakhage: “Metaphors on Vision” Discussion and film screening One of the characteristics of the history of avant-garde cinema is the absence of a comprehensive theory. In its stead, a range of often conflicting historiographical writings, in most cases determined by production context, working methods (found footage, handmade films, etc.) and the current “generation” of filmmakers fill the gap. However, ever since Dziga Vertov’s “WE: Variant of a Manifesto” (1922), the theoretical “superstructure” is provided by the filmmakers themselves in the form of programmatic self-declarations and treatises. Press Information January | February 2018 One such is Stan Brakhage’s text Metaphors on Vision , published in 1963 by Jonas Mekas and considered a trailblazing self-portrait of American avant-garde. Out of print for decades, Brakhage’s composition has been reviewed by film theorist and historian P. Adams Sitney and is now available in a new edition complete with annotations published by Light Industry and Anthology Film Archives. In conversation with Michael Loebenstein, panelists Gabriele Jutz (professor of Film and Media Studies at the University of Applied Arts Vienna) and Vrääth Öhner (film and media scholar) will investigate the “avant-garde practice of self-theorizing” and the lasting importance of Brakhage’s theoretical work.
Recommended publications
  • The Films of Ingmar Bergman: Centennial Celebration!
    The Films of Ingmar Bergman: Centennial Celebration! Swedish filmmaker, author, and film director Ingmar Bergman was born in 1918, so this year will be celebrated in Sweden and around the world by those who have been captivated by his work. Bergman belongs to a group of filmmakers who were hailed as "auteurs" (authors) in the 1960s by French, then American film critics, and his work was part of a wave of "art cinema," a form that elevated "movies" to "films." In this course we will analyze in detail six films by Bergman and read short pieces by Bergman and scholars. We will discuss the concept of film authorship, Bergman's life and work, and his cinematic world. Note: some of the films to be screened contain emotionally or physically disturbing content. The films listed below should be viewed BEFORE the scheduled OLLI class. All films will be screened at the PFA Osher Theater on Wednesdays at 3-5pm, the day before the class lecture on that film. Screenings are open to the public for the usual PFA admission. All films are also available in DVD format (for purchase on Amazon and other outlets or often at libraries) or on- line through such services as FilmStruck (https://www.filmstruck.com/us/) or, in some cases, on YouTube (not as reliable). Films Week 1: 9/27 Wild Strawberries (1957, 91 mins) NOTE: screening at PFA Weds 9/25 Week 2: 10/4 The Virgin Spring (1960, 89 mins) Week 3: 10/11 Winter Light (1963, 80 mins) Week 4: 10/18 The Silence (1963, 95 mins) Week 5: 10/25 Persona (1966, 85 mins) Week 6: 11/1 Hour of the Wolf (1968, 90 mins)
    [Show full text]
  • Download Date 03/10/2021 11:10:08
    Sacred trauma: Language, recovery, and the face of God in Ingmar Bergman's trilogy of faith Item Type Thesis Authors Dyer, Daniel Download date 03/10/2021 11:10:08 Link to Item http://hdl.handle.net/11122/4802 SACRED TRAUMA: LANGUAGE, RECOVERY, AND THE FACE OF GOD IN INGMAR BERGMAN’S TRILOGY OF FAITH A THESIS Presented to the Faculty of the University of Alaska Fairbanks in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS By Daniel Dyer, B.A. Fairbanks, Alaska December 2014 Abstract This thesis examines the three films that constitute director Ingmar Bergman’s first trilogy, Through a Glass Darkly , Winter Light , and The Silence. In the thesis I take a multi- disciplinary approach to analyzing the films’ treatments of language, trauma, and God. Drawing on the Old Testament and work of psychoanalysts dealing with trauma, I argue for the similarities and reciprocity between trauma and communion with God and the ways in which the three films illustrate these relationships. Each film functions on a reflexive level to criticize the tools of filmmaking—images, dialog, and narrative—and points to discordance between symbols and reality. Bringing in Jacques Lacan’s model of the imaginary and symbolic orders, I analyze the treatment of language and trauma in the trilogy and the potential for recovery suggested by the end of each film. The thesis culminates by tracing the trilogy toward a new vision of God and his role in the human psyche. v For Grandpa, the Eucharistic Minister. vi Table of Contents Signature Page .........................................................................................................................
    [Show full text]
  • Sherlock Holmes
    sunday monday tuesday wednesday thursday friday saturday KIDS MATINEE Sun 1:00! FEB 23 (7:00 & 9:00) FEB 24 & 25 (7:00 & 9:00) FEB 26 & 27 (3:00 & 7:00 & 9:15) KIDS MATINEE Sat 1:00! UP CLOUDY WITH A CHANCE OF MEATBALLS THE HURT LOCKER THE DAMNED PRECIOUS FEB 21 (3:00 & 7:00) Director: Kathryn Bigelow (USA, 2009, 131 mins; DVD, 14A) Based on the novel ‘Push’ by Sapphire FEB 22 (7:00 only) Cast: Jeremy Renner Anthony Mackie Brian Geraghty Ralph UNITED Director: Lee Daniels Fiennes Guy Pearce . (USA, 2009, 111 min; 14A) THE IMAGINARIUM OF “AN INSTANT CLASSIC!” –Wall Street Journal Director: Tom Hooper (UK, 2009, 98 min; PG) Cast: Michael Sheen, Cast: Gabourey Sidibe, Paula Patton, Mo’Nique, Mariah Timothy Spall, Colm Meaney, Jim Broadbent, Stephen Graham, Carey, Sherri Shepherd, and Lenny Kravitz “ENTERS THE PANTEHON and Peter McDonald DOCTOR PARNASSUS OF GREAT AMERICAN WAR BEST SUPPORTING ACTRESS MO’NIQUE FILMS!” –San Francisco “ONE OF THE BEST FILMS OF THE GENRE!” –Golden Globes, Screen Actors Guild Director: Terry Gilliam (UK/Canada/France, 2009, 123 min; PG) –San Francisco Chronicle Cast: Heath Ledger, Christopher Plummer, Tom Waits, Chronicle ####! The One of the most telling moments of this shockingly beautiful Lily Cole, Johnny Depp, Colin Farrell, and Jude Law Hurt Locker is about a bomb Can viewers who don’t know or care much about soccer be convinced film comes toward the end—the heroine glances at a mirror squad in present-day Iraq, to see Damned United? Those who give it a whirl will discover a and sees herself.
    [Show full text]
  • A Companion to Michael Haneke
    A Companion to Michael Haneke Edited by Roy Grundmann A John Wiley & Sons, Ltd., Publication A Companion to Michael Haneke Wiley-Blackwell Companions to Film Directors The Wiley-Blackwell Companions to Film Directors survey key directors whose work together constitutes what we refer to as the Hollywood and world cinema canons. Whether Haneke or Hitchcock, Bigelow or Bergmann, Capra or the Coen brothers, each volume, comprised of 25 or more newly commissioned essays writ- ten by leading experts, explores a canonical, contemporary and/or controversial auteur in a sophisticated, authoritative, and multi-dimensional capacity. Individual volumes interrogate any number of subjects – the director’s oeuvre; dominant themes, well-known, worthy, and under-rated films; stars, collaborators, and key influences; reception, reputation, and above all, the director’s intellectual currency in the scholarly world. 1 A Companion to Michael Haneke, edited by Roy Grundmann 2 A Companion to Alfred Hitchcock, edited by Leland Poague and Thomas Leitch 3 A Companion to Rainer Fassbinder, edited by Brigitte Peucker 4 A Companion to Werner Herzog, edited by Brad Prager 5 A Companion to François Truffaut, edited by Dudley Andrew and Anne Gillian 6 A Companion to Pedro Almódovar, edited by Marvin D’Lugo and Kathleen Vernon 7 A Companion to John Ford, edited by Peter Lehman 8 A Companion to Jean Renoir, edited by Alistair Phillips and Ginette Vincendeau 9 A Companion to Louis Buñuel, edited by Robert Stone and Julian Daniel Gutierrez-Albilla 10 A Companion to Martin Scorsese, edited by Peter J. Bailey and Sam B. Girgus 11 A Companion to Woody Allen, edited by Aaron Baker A Companion to Michael Haneke Edited by Roy Grundmann A John Wiley & Sons, Ltd., Publication This edition first published 2010 © 2010 Blackwell Publishing Ltd except for editorial material and organization © 2010 Roy Grundmann Blackwell Publishing was acquired by John Wiley & Sons in February 2007.
    [Show full text]
  • The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
    Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author
    [Show full text]
  • The Films of Ingmar Bergman Jesse Kalin Frontmatter More Information
    Cambridge University Press 0521380650 - The Films of Ingmar Bergman Jesse Kalin Frontmatter More information The Films of Ingmar Bergman This volume provides a concise overview of the career of one of the modern masters of world cinema. Jesse Kalin defines Bergman’s conception of the human condition as a struggle to find meaning in life as it is played out. For Bergman, meaning is achieved independently of any moral absolute and is the result of a process of self-examination. Six existential themes are explored repeatedly in Bergman’s films: judgment, abandonment, suffering, shame, a visionary picture, and above all, turning toward or away from others. Kalin examines how Bergman develops these themes cinematically, through close analysis of eight films: well-known favorites such as Wild Strawberries, The Seventh Seal, Smiles of a Summer Night, and Fanny and Alexander; and im- portant but lesser-known works, such as Naked Night, Shame, Cries and Whispers, and Scenes from a Marriage. Jesse Kalin is Andrew W. Mellon Professor of Humanities and Professor of Philosophy at Vassar College, where he has taught since 1971. He served as the Associate Editor of the journal Philosophy and Literature, and has con- tributed to journals such as Ethics, American Philosophical Quarterly, and Philosophical Studies. © Cambridge University Press www.cambridge.org Cambridge University Press 0521380650 - The Films of Ingmar Bergman Jesse Kalin Frontmatter More information CAMBRIDGE FILM CLASSICS General Editor: Ray Carney, Boston University The Cambridge Film Classics series provides a forum for revisionist studies of the classic works of the cinematic canon from the perspective of the “new auterism,” which recognizes that films emerge from a complex interaction of bureaucratic, technological, intellectual, cultural, and personal forces.
    [Show full text]
  • Strange Contracts: Elfriede Jelinek and Michael Haneke VICKY LEBEAU
    Strange Contracts: Elfriede Jelinek and Michael Haneke VICKY LEBEAU Abstract: This essay explores the representation of sexuality and vision in Elfriede Jelinek’s Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke’s La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displac- ing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind. Keywords: feminism, Michael Haneke, Elfriede Jelinek, The Piano Teacher, pornography, psychoanalysis, psychoanalytic film theory, sadomasochism, The Seventh Continent, sexuality, spectatorship, vision, visual culture, voyeur- ism, D. W. Winnicott Why would a woman welcome her own murder? Not her own death, simply, not even her suicide, but her murder, the loss of her life at the hands of another? To read Elfriede Jelinek’s Die Klavierspielerin [The Piano Teacher], first published in 1983, is to be caught up in that question, its wayward implication in a woman’s pursuit of pleasure, of a “life of her own,” which for much of the book, appears to be possible only in, and through, her eyes. “All Erika wants to do is watch”; “[S] he simply wants to sit there and look.
    [Show full text]
  • Feature Films
    Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Things I Hate About You DVD-0812 27 Dresses DVD-8204 1000 Eyes of Dr. Mabuse DVD-0048 28 Days Later DVD-4333 10th Victim DVD-5591 DVD-6187 12 DVD-1200 28 Weeks Later c.2 DVD-4805 c.2 12 and Holding DVD-5110 3 Women DVD-4850 12 Angry Men DVD-0850 3 Worlds of Gulliver DVD-4239 12 Monkeys DVD-3375 3:10 to Yuma DVD-4340 12 Years a Slave DVD-7691 30 Days of Night DVD-4812 1776 DVD-0397 300 DVD-6064 1900 DVD-4443 35 Shots of Rum DVD-4729 1984 (Hurt) DVD-4640 39 Steps DVD-0337 DVD-6795 4 Little Girls DVD-0051 1984 (Obrien) DVD-6971 400 Blows DVD-0336 2 Autumns, 3 Summers DVD-7930 42 DVD-5254 2 or 3 Things I Know About Her DVD-6091 50 First Dates DVD-4486 20 Million Miles to Earth DVD-3608 500 Years Later DVD-5438 2001: A Space Odyssey DVD-0260 61 DVD-4523 2010: The Year We Make Contact DVD-3418 70's DVD-0418 2012 DVD-4759 7th Voyage of Sinbad DVD-4166 2012 (Blu-Ray) DVD-7622 8 1/2 DVD-3832 21 Up South Africa DVD-3691 8 Mile DVD-1639 24 Season 1 (Discs 1-3) DVD-2780 Discs 9 to 5 DVD-2063 25th Hour DVD-2291 9.99 DVD-5662 9/1/2015 9th Company DVD-1383 Adventures of Ozzie and Harriet DVD-0831 A.I.
    [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]
  • The Playfulness of Ingmar Bergman: Screenwriting from Notebooks to Screenplays
    EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The playfulness of Ingmar Bergman: Screenwriting from notebooks to screenplays Anna Sofia Rossholm NECSUS (7), 2: Autumn 2018: 23–42 URL: https://necsus-ejms.org/the-playfulness-of-ingmar-bergman- screenwriting-from-notebooks-to-screenplays/ Keywords: archive, creative writing, genetic criticism, Ingmar Berg- man, Persona, play, screenplays, screenwriting The voice: You said you wanted to ‘play and fantasise’. Bergman: We can always try. The voice: That’s what you said: play and fantasise. Bergman: Sounds good. You don’t exist, yet you do. The voice: If this venture is going to make sense, you have to describe me. In detail actually. Bergman: Sit down on the chair by the window and I’ll describe you. The voice: I won’t sit down unless you describe me. Bergman: Well then. And how do I begin? You are very attractive. Most attractive.[1] This is the beginning of Ingmar Bergman’s screenplay Trolösa (Faithless, di- rected by Liv Ullmann in 2000). The dialogue, which is a prologue to the story, is a playful depiction of the author’s creative development of a fictional character. Step by step ‘the voice’ in the scene is given a body, name, and characteristics. Gradually she becomes the character ‘Marianne’. The question is how truthful this scene is to the actual creative process? Of course, it is not a description of what really happened in Bergman’s mind. The character Marianne probably did not appear as a sudden fantasy in the mind of the author. She is more likely a result of a long mental process over NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES many years.
    [Show full text]
  • From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas ( Compiled by John K
    From: Reviews and Criticism of Vietnam War Theatrical and Television Dramas (http://www.lasalle.edu/library/vietnam/FilmIndex/home.htm) compiled by John K. McAskill, La Salle University ([email protected]) P2800 EN PASSION (SWEDEN, 1969) (Other titles: Passion of Anna) Credits: director/writer, Ingmar Bergman. Cast: Liv Ullmann, Bibi Andersson, Max von Sydow, Erland Josephson. Summary: Melodrama set on a sparsely populated island in contemporary Sweden. Andreas (Sydow), a man struggling with the recent demise of his marriage and his own emotional isolation, befriends a married couple also in the midst of psychological turmoil. In turn he meets Anna (Ullmann), who is grieving the recent deaths of her husband and son. She appears zealous in her faith and steadfast in her search for truth, but gradually her delusions surface. Andreas and Anna pursue a love affair, but he is unable to overcome his feelings of deep humiliation and remains disconnected. Meanwhile, the island community is victimized by an unknown person committing acts of animal cruelty. Includes Vietnam War references. Arecco, Sergio. “Bergman - rito a passione” Filmcritica 22/212 (Jan 1971), p. 48-54. Armstrong, Marion. “Movie: Prolonged anguish” Christian century 87/47 (Nov 23, 1970), p. 1426-7. Bergman, Ingmar. Bergman on Bergman: interviews with Ingmar Bergman New York : Simon and Schuster, 1975. (p. 253-64+) _____________. Images: my life in film New York : Arcade Pub., 1994. (p. 304-10) _____________. “The passion of Anna” in Four stories of Ingmar Bergman London : M. Boyars ; New York : Doubleday, 1976. [Reissued, New York : Anchor Books, 1977] Bjorkman, Stig. “En passion” Chaplin 11 (1969), p.
    [Show full text]
  • B Erg M an Ve Ckan
    Ingmar Bergman 100 Bergmanveckan 25 juni — 1 juli 2018 2 Ledare Bergmanveckan 2018 Bergmanveckan 2018 Invigning 3 Emma Gray Munthe Välkommen till Fårö! Konstnärlig ledare för Bergmanveckan Opening Welcome to Fårö! Artistic Director of the Bergman Week r e t t o d s n r ö j B a n e l a d g a M 2018 Week Bergman © © Erik Mollberg Hansen Ingmar Bergman må fylla 100, men han är inget museifö- Ingmar Bergman might be turning 100, but he is far from remål. Som central i filmhistorien fortsätter han att påver- being a museum object. As a central figure in film history, he Unga Astrid – ka, och hyllas med rätta i världens största jubileum för en continues to influence and is rightly hailed in the world’s larg- Sverigepremiär! enskild filmskapare. Men efter vad som hänt i film- och est jubilee of a single filmmaker. But after everything that has teatervärlden de senaste månaderna, och den uppgörel- happened in the last months within the world of film and the- Becoming Astrid –National premiere! se med genikulten som det inneburit: kan man med gott atre, and the questioning of the cult of the (male) genius that Måndag | Monday, 25/6, 16.00 samvete fira med buller och bång? Jag vet uppriktigt sagt has followed – is it possible to throw yourself headlong into the Sudersandsbion inte än. Jag är ny på jobbet. Men en sak är jag övertygad celebrations without feeling a tiny bit guilty? I honestly don’t om: att om vårt mål är att få fler att skaffa sig en egen upp- know yet.
    [Show full text]