Maaret Koskinen, a professor of cinema studies and film critic for Sweden's largest national daily newspaper, was the first scholar given access to Bergman's private papers during the last years of his life.
Author: Maaret Koskinen
Publisher: University of Washington Press
Ingmar Bergman's 1963 film The Silence was made at a point in his career when his stature as one of the great art-film directors allowed him to push beyond the boundaries of what was acceptable to censorship boards in Sweden and the United States. The film's depiction of sexuality was, as Judith Crist wrote at the time in the New York Herald-Tribune, "not for the prudish." Yet Bergman's notebooks and screenplays reveal his tendency for self-censorship, both to dampen the literary quality of his screenwriting and to alter portions of the script that Bergman ultimately deemed too provocative. Maaret Koskinen, a professor of cinema studies and film critic for Sweden's largest national daily newspaper, was the first scholar given access to Bergman's private papers during the last years of his life. Bergman's notebooks reveal the difficulties he experienced in writing for the medium of moving images and his meditations on the relationship (or its lack) between moving images and the spoken or written word. Koskinen's attention to this intermedial framework is anchored in a close reading of the film, focusing on the many-faceted relationships between images and dialogue, music, sound, and silence. The Silence offers filmgoers an entryway into the cinematic, cultural, and sociopolitical issues of its time, but remains a classic - rich enough for scrutiny from a variety of perspectives and methodologies. Koskinen draws a picture of Bergman that challenges the traditional view of him as an auteur, revealing his attempts to overcome his own image as a creator of serious art films by making his work relevant to a new generation of filmgoers. Her exploration of the film touches on issues of censorship and the cinema of small nations, while shedding new light on the shifting views of Bergman and auteurist film, high art, and popular culture.
In this work, the author faces the religious issues in Bergman's film, fitting it into a theological reflection on faith and freedom and he aims to provide an insight for the reader who is grappling with the intricate and compelling films ...
Author: Arthur Gibson
Publisher: New York ; Toronto : Edwin Mellen Press
In this work, the author faces the religious issues in Bergman's film, fitting it into a theological reflection on faith and freedom and he aims to provide an insight for the reader who is grappling with the intricate and compelling films of Ingmar Bergman.
392 ; Donald J . Drew , " Ingmar Bergman Through a Glass Darkly , " Christianity
Today , 23 August 1975 , pp . 20 - 21 ; A . Gibson , The Silence of God : Creative
Response to the Films of Ingmar Bergman ( New York : Harper & Row , 1968 ) ...
Author: Birgitta Steene
Publisher: G K Hall
The films of Swedish director Ingmar Bergman are renowned for their largely spare and stark aesthetic, an existential framework, and plots driven by a fascination with death and the moral torments of the human soul. Birgitta Steene offers here in "Ingmar Bergman: A Reference Guide" an essential and unparalleled resource on the life and work of Bergman. Plumbing the depths of these trademark Bergman themes, Steene traces as well the indelible mark he left on world cinema through his other cinematographic work and writings. Over the decades, Bergman's stature and image have evolved in fascinating ways-- an iconoclast of the 1950s, a bourgeois traditionalist of the 1960s, and an icon in the 1980s. This exhaustive compendium considers each phase of his career, exploring his deep and vast oeuvre in all its controversy and complexity, and analyzes his intriguing and unique motifs such as his efforts to expose dead conventions and his portrayals of Woman as the archetype of humanity. As well as providing a detailed account of Bergman's life and chronicling his career as a filmmaker and theater director, including his work for television, Steene offers transcripts of some of the numerous interviews and conversations she conducted with Bergman. Writings by and about Bergman and a detailed chronological survey of his film and theatrical work completes this eminently readable and thoroughly researched volume. A wide-ranging and groundbreaking work of film history, "Ingmar Bergman" is the definitive reference for scholars of the Scandinavian master.
No artist has developed a more extended and more profound meditation on
silence than the Swedish filmmaker Ingmar Bergman. The silence of the cosmos.
The silence separating family, friends, and strangers. Above all, the silence of
Author: Mark C. Taylor
Publisher: University of Chicago Press
“To hear silence is to find stillness in the midst of the restlessness that makes creative life possible and the inescapability of death acceptable.” So writes Mark C. Taylor in his latest book, a philosophy of silence for our nervous, chattering age. How do we find silence—and more importantly, how do we understand it—amid the incessant buzz of the networks that enmesh us? Have we forgotten how to listen to each other, to recognize the virtues of modesty and reticence, and to appreciate the resonance of silence? Are we less prepared than ever for the ultimate silence that awaits us all? Taylor wants us to pause long enough to hear what is not said and to attend to what remains unsayable. In his account, our way to hearing silence is, paradoxically, to see it. He explores the many variations of silence by considering the work of leading modern and postmodern visual artists, including Barnett Newman, Ad Reinhardt, James Turrell, and Anish Kapoor. Developing the insights of philosophers, theologians, writers, and composers, Taylor weaves a rich narrative modeled on the Stations of the Cross. His chapter titles suggest our positions toward silence: Without. Before. From. Beyond. Against. Within. Between. Toward. Around. With. In. Recasting Hegel’s phenomenology of spirit and Kierkegaard’s stages on life’s way, Taylor translates the traditional Via Dolorosa into a Nietzschean Via Jubilosa that affirms light in the midst of darkness. Seeing Silence is a thoughtful meditation that invites readers to linger long enough to see silence, and, in this way, perhaps to hear once again the wordless Word that once was named “God.”
The Silence Dawn points , and another day Prepares for heat and silence . . . ( T .
S . Eliot , East Coker ) We should not recoil from the suggestion that Bergman is
theologically rather naive . Even allowing for a lame translation , the descriptive ...
Author: Philip Mosley
Publisher: Marion Boyars
Kritische studie over de films van de Zweedse cineast
Acknowledged as one of the greatest filmmakers of this or any other time, Bergman has with few exceptions written his own screenplays—an uncommon practice in the film industry—and for this practice critics refer to him as a "literary" ...
Author: Frank Gado
Publisher: Duke University Press
Acknowledged as one of the greatest filmmakers of this or any other time, Bergman has with few exceptions written his own screenplays—an uncommon practice in the film industry—and for this practice critics refer to him as a "literary" filmmaker: In this work, Gado examines virtually the entire range of Bergman's literary output. While treating the matter of the visual preentation fo Bergman's films, Gado concentrates on story and narrative and their relationship to Bergman's personal history. Gado concludes that whatever the outward appearance of Bergman's works, they contain an elementary psychic fantasy that links them all, revealing an artist who hoped to be a dramatist, "the new Strindberg," and who saw the camera as an extension of his pen.
But Ingmar Bergman's 32 films include the radically innovative Persona, Wild
Strawberries, The Silence, The Seventh Seal, Winter Light, Smiles of a Summer
Night. His movies deal with the ultimate themes of living — God, death, love, man
LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.
In these reflections on Bergman's artistry and thought, Irving Singer discerns distinctive themes in Bergman's filmmaking, from first intimations in the early work to consummate resolutions in the later movies.
Author: Irving Singer
Publisher: MIT Press
The development of themes, motifs, and techniques in Bergman's films, from the first intimations in the early work to the consummate resolutions in the final movies. Known for their repeating motifs and signature tropes, the films of Ingmar Bergman also contain extensive variation and development. In these reflections on Bergman's artistry and thought, Irving Singer discerns distinctive themes in Bergman's filmmaking, from first intimations in the early work to consummate resolutions in the later movies. Singer demonstrates that while Bergman's output is not philosophy on celluloid, it attains an expressive and purely aesthetic truthfulness that can be considered philosophical in a broader sense. Through analysis of both narrative and filmic effects, Singer probes Bergman's mythmaking and his reliance upon the magic inherent in his cinematic techniques. Singer traces throughout the evolution of Bergman's ideas about life and death, and about the possibility of happiness and interpersonal love. In the overtly self-referential films that he wrote or directed (The Best Intentions, Fanny and Alexander, Sunday's Children) as well as the less obviously autobiographical ones (including Wild Strawberries, The Seventh Seal, and the triad that begins with Through a Glass Darkly) Bergman investigates problems in his existence and frequently reverts to childhood memories. In such movies as Smiles of a Summer Night, Scenes from a Marriage, and Saraband, Bergman draws upon his mature experience and depicts the troubled relationships between men who are often weak and women who are made to suffer by the damaged men with whom they live. In Persona, Cries and Whispers, and other works, his experiments with the camera are uniquely masterful. Inspecting the panorama of Bergman's art, Singer shows how the endless search for human contact motivates the content of his films and reflects Bergman's profound perspective on the world.
Gibson , Arthur . The Silence of God . New York : Harper & Row , 1969 . Gill ,
Jerry H . Ingmar Bergman and the Search for Meaning . Grand Rapids :
Eerdmans , 1969 . Höök , Marianne . Ingmar Bergman . Stockholm : Wahlström &
Author: Paisley Livingston
Publisher: Ithaca, N.Y. : Cornell University Press
Provides a thorough examination of Bergman's films, looks at their themes and style, and argues that they offer special insights into society's problems
Autumn Sonata is Ingmar Bergman's latest attempt to exorcise his personal
demons on film. Once again the Swedish director puts his characters— and
himself—through two tortured hours of self- questioning and self-revelation,
probing such ...
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This is a pioneering example of New Queer Cinema, and uses Bach, in explicit homage to Bergman, as part of a broader attempt to explore the ambiguity of gender boundaries. Chapter Three focuses on Jim Jarmusch's Int. Trailer.
Author: Carlo Cenciarelli
This dissertation takes the cinematic afterlife of the Goldberg Variations as a case study of how the meaning of Bach's music is negotiated in the later twentieth century. Through close analysis of five moments of listening to Bach in cinema, it shows how each occasion puts the Goldberg Variations to a different use and, in the process, promotes a different conception of the musical object, its cultural status and its aesthetic identity. -- Chapter One focuses on Ingmar Bergman's The Silence (1963), showing how Bach's music becomes a symbol of the existential tensions and narrative ambiguity characteristic of his cinema. I explore this further in Chapter Two, which is devoted to Christopher Munch's The Hours and Times (1991). This is a pioneering example of New Queer Cinema, and uses Bach, in explicit homage to Bergman, as part of a broader attempt to explore the ambiguity of gender boundaries. Chapter Three focuses on Jim Jarmusch's Int. Trailer. Night (2002), and investigates how the strange placement of the Goldberg Variations in a post-industrial American landscape contributes to the minimalist aesthetic and magical realism of the film. Chapter Four continues the study of Bach's intersection with American independent cinema, looking at the romantic comedy Before Sunrise (1995) and arguing that the choice of Bach, which is unconventional for a Generation X film, creates added opportunities for a nuanced attitude to the cultural script of romance. Chapter Five focuses on the Hannibal Lecter saga, a unique example of Bach's association with a Hollywood franchise. Focusing on The Silence of the Lambs (1991) and its sequel Hannibal (2001), I show how the saga's capitalisation on the success of Lecter goes hand-in-hand with the transformation of the Goldberg Aria into his signature tune.
It is my contention that every serious film that Bergman has made in the last
thirteen years deals with either one of two aspects of a basic problem . Bergman '
s films concern the problem of the silence of God and the possibility of human
Author: Ingmar Bergman
Publisher: London ; New York : Oxford University Press
Verzameling eerder gepubliceerde analyses van het werk van de Zweedse cineast (geb. 1918), zowel door filmdeskundigen als door critici met een andere benadering