174 research outputs found
The playfulness of Ingmar Bergman : Screenwriting from notebooks to screenplays
No full textThis chapter discusses the creative playfulness in the screenwriting process of Ingmar Bergman’s filmmaking. The process of writing from notes and drafts to finished screenplays is examined from the perspective of genetic criticism in combination with perspectives on screenwriting as an intermediate process across media and in stages. The notion of play refers both to Bergman’s method of creative writing and to the playful dimension of the finished artwork, i.e. the films and screenplays. Play is understood in terms of transcendence between the fictional and the real on various levels. Most importantly, the chapter focuses on play in the ambivalence of agency in Bergman’s notebooks—that is transgressions between author, narrator, and character—that continues in the aesthetics of self-reflexivity and auto-fiction in the screenplays and in the films. The Ingmar Bergman Archives, where his notes and screenplay drafts are collected and digitized, allow such an examination of the writing process. The archive consists of the donation of Bergman’s personal collection of notes, drafts, letters, and other documents—personal and professional—from his early career in the 1930s until the last productions in the early 2000s, across several media and art forms.</p
O inconsciente segundo Ingmar Bergman
No full textThe author proposes a parallet between Ingmar Bergman's movie Gritos e sussuros and Tchekov's As três irmãs and Tolstoi's A morte de Ivan Ilitch iti order to better understand the character's psychological conflits. O autor propõe um paralelo entre filmes de Ingmar Bergman e duas obras de contistas russos (Tchekov e Tolstoi) como forma de compreender os conflitos psicológicos das personagens.
The playfulness of Ingmar Bergman: Screenwriting from notebooks to screenplays
No full textThis article discusses the creative playfulness in the screenwriting process of Ingmar Bergman’s filmmaking. The process of writing, from notes and drafts to finished screenplays, is examined from the perspective of genetic criticism in combination with perspectives on screenwriting as intermediate process across media and in stages. In this study, the notion of play refers both to Bergman’s method of creative writing and the playful dimension of the finished artwork, i.e. the films and screenplays. Play is understood in terms of transgression of fiction and the real on various levels. Most importantly, the study focuses on play in the ambivalence of agency in Bergman’s notebooks – that is transgressions between author, narrator, and character – that continues in the aesthetics of self-reflexivity and auto-fiction in the screenplays and in the films. The Ingmar Bergman archives, where the notes and screenplay drafts are collected and digitised, allow such an examination of the writing process. The archive consists of the donation of Bergman’s personal collection of notes, drafts, letters, and other documents – personal and professional – from his early career in the 1930s until the last productions in the early 2000s, across media and art forms
Worktime analysis of Timberjack 1270D harvester in meadowsweet desidious tree stand in final felling
No full textKäesolevas töös on uuritud harvesteri Timberjack 1270D tööd ja ajajaotumist
erinevate tööoperatsioonide vahel. Sarnaseid töid, milles uuritakse efektiivse
tööaja jagunemist on Eestis eelnevalt tehtud. Samuti võib leida antud teema kohta
välismaiseid artikleid, kuid ükski neis pole uurinud eraldi lehtpuu puistut.Teema
valikul lähtus autor huvist metsamasinate vastu ja asjaolust, et uuendusraie on
metsamajanduse tsükli viimaseks etapiks ja samas saab teda käsitleda ka
metsatööstuse esimese etapina.Töös kasutatud andmed on saadud filmimise teel.
Hilisem kronometreerimine filmilt on toimunud kameraalselt. Lisaks filmimisele
on läbi viidud vaatlus, kus autor tegi märkmeid operaatori tegevuse kohta ja
kasutatud on ka harvesteri operaatori märkusi. Autori arvates on uurimustööst
kasu nii ettevõtetele kui operaatoritele, kes soovivad tootlikkust suurendada.At present work the author has researched harvester Timberjack 1270D worktime
and its distribution between different work phases. Similar studies are previously
done in Estonia. Also there are foreign articles found on that topic, but none of
them have studied decidious tree stands separately
When choosing this topic the author based on his interest in forest machinery
and on a fact that final felling is the last step in foresty and first step in forest
industry. The data what was use in this study was obtained by filming. The later
chronometration was based on camera. In addition to the filming author
conducted a survey where he made notes on the activity of the operator. There are
used some notes made by harvester operator. In authors oppinion this work may
be beneficial to the company and also to the operator who wish to increase the
productivity
Shame: Ingmar Bergman’s Vietnam War
No full textAbstractIngmar Bergman’s film Skammen [Shame] (1968), about a married couple trapped between the warring parties in a bloody civil war, triggered fierce ideological debate in Sweden. According to the harsh critics of the film, among whom the leading critic was well-known author Sara Lidman, Bergman had managed to create propaganda for the American government and its controversial war in Vietnam. In the present paper, the debate is studied historically in relation to ongoing research about the culture of the late 1960s in Sweden. The studied material consists of press clippings, Bergman scholarship, and Bergman’s own recently released papers at the Ingmar Bergman Foundation Archive in Stockholm. Furthermore, questions about meaning and interpretation regarding film viewing are dealt with, taking into consideration developments in contemporary film theory.</jats:p
Ingmar Bergman film and stage
No full text"Generations of filmmakers and film audiences have been inspired by the work of Ingmar Bergman, which has left indelible impressions on practically everyone everywhere who takes seriously the art of moviemaking." "Robert Emmet Long's Ingmar Bergman: Film and Stage is the first fully illustrated account of each of Bergman's films, from his earliest work in the 1940s to the films of the 1950s that established him as Europe's most important and innovative director, Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, and The Magician. By the 1960s hardly a year would pass without a new Bergman movie, among the most memorable: The Virgin Spring, Cries and Whispers, Scenes from a Marriage, The Magic Flute, Autumn Sonata, Fanny and Alexander, and his recent Sunday's Children." "While his film work is widely known, less well known - though hardly less appreciated - is his work for the stage: his productions of classics such as Hamlet, King Lear, A Doll's House, Peer Gynt, Miss Julie, and Long Day's Journey into Night, as well as contemporary plays such as Yukio Mishima's Madame de Sade, have been hailed as startling and innovative - and they are magnificently illustrated in this book." "As Long says in the conclusion to this study, "In the seriousness of his commitment - in his fidelity to craftsmanship and in the intensity of his passion that can be electrifying - Bergman is surely one of our few great contemporary filmmakers."" "Illustrated with more than 200 photographs - 36 in color - and accompanied by a bibliography and filmography, this volume stands as the most complete record of one of the most astonishing careers in the history of the cinema." "Robert Emmet Long is both a recognized critic of American and British literature and a commentator on the performing arts. He is either the author or editor of twenty-eight books, including Abrams' acclaimed 1991 publication The Films of Merchant Ivory."--BOOK JACKET
Ingmar Bergman, un estilo propio de narrar
No full textNo hace justicia la extensión de este estudio de la filmografía y características de la misma del cineasta Ingmar Bergman a su prolífica y plena de contenidos creación cinematográfica. Se ha estructurado este trabajo en campos que son relevantes dentro de las obras del director sueco, previamente encuadradas en un marco teórico que sirve como base del posterior y pormenorizado estudio. Diversas disciplinas como la filosofía, tan presente en su obra, sobremanera en los aspectos torturados de la existencia, fiel seguidor del existencialista Kierkegaard, cuya influencia se deja sentir a lo largo de toda su filmografía; la religión, constante y firme en los inicios de su producción y débil y esporádica a partir de El silencio; el teatro, con la influencia de Strindberg y su pasión por el mismo dotan a sus películas de rasgos propios y personalísimos; la pintura, con cabida en sus obras, utilizando planos que asemejan una obra pictórica, con preferencia por el movimiento surrealista y por la expresión artística de Salvador Dalí y la música, tan presente en la vida de un acabado melómano como Bergman, han tenido cabida en esta investigación, aun sin constituir el grueso de este tratado. Asimismo, las vivencias y el marco histórico del cineasta se han estudiado a fin de encontrar justificación para ciertas influencias y elementos recurrentes en su obra. La tarea de visionado y posterior análisis de sus filmes ha ocupado la mayor parte de este denuedo, debido a la complejidad que exhiben y a las diferencias entre ellas, en la mayoría de las ocasiones motivadas por la torturada personalidad del autor, que les confiere un carácter narrativo-exclusivo que las convierte en singulares e inimitables. Esto se observa en las huellas del autor engastadas en sus cintas, en los distintos usos del montaje, que los lleva a extremos de ejercicios mentales de difícil comprensión para el espectador, pero que forman parte de su temperamento. Para su realización se han consultado textos confeccionados por estudiosos de la obra de Bergman y del ámbito cinematográfico en general. Al mismo tiempo, se han visionado los distintos filmes tratando de encontrar semejanzas y diferencias entre ellos y plasmándolo de forma rigurosa a lo largo de la exposición. A pesar de ser considerado un artista de minorías, es indudable la revolución que supuso en el séptimo arte. Cineasta revelador, aunó en su obra tendencias de la época y de la estética sueca y se convirtió en referencia obligada de los jóvenes y prometedores cineastas que creían en una nueva forma de hacer cine. Su influencia está presente hoy día, llegando cineastas como Woody Allen, cuya admiración hacia el autor sueco es innegable, a dedicarle las siguientes palabras, que resumen el espíritu de esta tesis: "Gozaba con el aplauso de la crítica, pero nunca la necesitó y, aunque quería que a los espectadores les gustaran sus obras, no siempre las hacía comprensibles". RESUMEN (en Inglés) The present essay Ingmar Bergman, a Unique Style of Narrating, deals with both filmography and characteristics of the works by Ingmar Bergman, but not in such a length as the Swedish film director developed his outstanding and full of content film production. This study is based on a theoretical frame where the films by Ingmar Bergman are defined, and it is also structured in the fields, or disciplines, relevant in his extensive artistic production. Several disciplines such as philosophy, so present in Bergman¿s films, particularly in the tortured aspect of existence, as he was a faithful follower of the existentialist Kierkegaard, whose influence is felt clear among all his work; religion, constant and strong in the beginnings and so weak and sporadic from "The Silence" (1963) onwards; theatre, influenced by Strindberg and his own passion for theatre give personal and specific features to the films; painting, when the scenes resemble real paintings, being Bergman¿s preference the Surrealistic movement, and Salvador Dalí¿s artistic expression his favourite; and music, his passion, so present throughout his life. Despite these disciplines hasn¿t constituted the core of this study on Bergman, they have a place in our survey. Furthermore, the film director¿s experiences and historic framework has been studied to justify some recurrent influences and elements in Ingman Bergman¿s films. The task of watching and analyzing the films has taken up a great part of the present study, due to their complexity and differences among them, because of the tortured personality of the author, what provides the films their nature, so singular and impossible to copy. These facts can be noticed in the author¿s traces embedded in his films, in the different uses of production, what conveys hard mental tasks for the viewer, but that are part of his temper. To compose the present study we have looked up texts by researchers of Bergman¿s work as well as of film industry fields. Moreover, we have watched several films, searching for differences and similarities among them, and both are embodied strictly along our study. Although Ingman Bergman is considered as the artist of minorities, the Swedish artist shaked-up the cinema industry. A leading director, he mixed in his films trends of the moment as well as of the Swedish moment, becoming an essential reference for young and newcomer filmmakers who believe in a new way of making films. His influence is present now, for instance in film directors such as Woody Allen, whose admiration towards the Swedish film artist is undeniable. Woody Allen has devoted the following quote to Ingmar Bergman, which indeed sum up the spirit of the present study: ¿He enjoyed the unanimous acclaim of the critics, but he never needed it; and despite he wanted the audience to love his films, he never created them understandable¿
Text/Author/Audience : Audience Reception of Ingmar Bergman and His Films
No full textIn an effort to expand the traditional focus on film texts within film studies, case studies within New Film History have increasingly drawn attention to the structures and processes that determine film as medium and as social institution. Building on this, New Cinema History (NCH) focuses more radically on cinema as a social and cultural institution and its importance in everyday life. The central claim of this article is that this move away from film texts and authors has obscured their relevance of audience experiences within NCH. Using the case of Swedish film director Ingmar Bergman and the reception of his films in two countries, this article aims to re-integrate the text and auteur into historical reception studies. That is, this article aims to initiate a productive discussion on a more comprehensive approach towards audience experience in NCH and film studies in general
I teatralitetens brännvidd : Om Ingmar Bergmans filmkonst
No full textThe aim of this dissertation is to discuss and exemplify the use of theatre and theatricality in the film aesthetics of Ingmar Bergman (1918-2007). The main primary material of the study consists of a selection of Bergman’s films: the nine commercials made for Bris soap (1951-1953) and the feature films Sawdust and Tinsel (1953), Smiles of a Summer Night (1955), The Seventh Seal (1957), The Magician (1958), Through a Glass Darkly (1961), Winter Light (1963), The Silence (1963), Persona (1966), The Ritual (1969), Scenes from a Marriage (1973), Fanny and Alexander (1983) and Saraband (2003). The dissertation also includes several other examples from Bergman’s rich intermedial oeuvre, and features theatre, film, radio and television productions. The interart approach is also applied on material from the Ingmar Bergman archives and to the author’s unique interviews that were carried out with Bergman in the fall of 2004 (some of his last interviews). After an introduction in the first chapter, the second chapter discusses the history, aesthetics and terminology of theatricality. The term has accumulated an extraordinary variety of meanings, making it denote everything from an act to excess in the broadest possible sense, from a style to a semiotic system and from a medium to a message. In this dissertation theatricality is seen as a reference to a performance that is directed outwards; an act of showing, which reveals the relationship between the medium and the observer. A prerequisite for this is that the object is manifested with a parallel consciousness of the observer’s gaze, which is used as a part of the staging, thereby involving the observer in the work while making her realize that the author is aware of her gaze. This self-consciousness is illustrated in the three following analytical chapters. The third chapter looks at the depiction and use of space, framing and long shot-composition, reveries, character entrances, movement and tracking shots in Bergman’s films. The main foci of the fourth chapter are masks and Bergman’s famous close-ups, where the emphasis lies on the importance of the actor. In scenes where Bergman lets the actor face and speak directly into the camera, theatricality is characterized by oscillation; that is, it forms an act of showing that breaks the cinematic illusion, while simultaneously involving the observer in the film. The chapter also examines the use of photographs in Bergman’s films. The fifth chapter focuses on some of the meta-aspects created by Bergman’s theatrical film aesthetics, for instance when the characters in the films visit theatres. The chapter also analyzes the play-within-the play structure of Bergman’s works and the "indirect" address from Bergman in his films, which is accomplished through the intervention of his voice and cameo appearances. The sixth and last chapter of this dissertation consists of a brief summary and conclusions on the subject of cinematic style that show how ideas concerning theatricality have been a part of Ingmar Bergman’s film art.</p
Le Complexe de Pinocchio. Représentation du mythe de la rébellion chez Angela Carter et Ingmar Bergman
No full textInternational audienceThe author compares two contemporary works focusing on the traumatic relationship with the God-Father, with similar aesthetic codes (fairy-tale, imaginaire of the puppet). Creating an enchanted, Gothic-Freudian, highly referenced world, The Magic Toyshop (Angela Carter) and Fanny och Alexander (Ingmar Bergman) narrate violent and cruel stories of child rebellion culminating in the total destruction of the ancestral power by way of fire. The article stresses the ambivalence of these rebellions that do not open towards a future, although expressing the necessary and final end of childhood and its innocenceL’article met en regard deux œuvres contemporaines interrogeant, par des codes esthétiques proches (conte de fées, imaginaire de la marionnette), la relation (traumatique) au père-Dieu. Par l’instauration d’un univers enchanté gothico-freudien saturé de références, The Magic Toyshop (Angela Carter) et Fanny och Alexander (Ingmar Bergman) mettent en scène de violentes et cruelles histoires de rébellion à hauteur d’enfant, culminant dans la destruction de l’ancestral pouvoir par le feu. L’article insiste sur l’ambivalence de ces rébellions qui n’ouvrent sur aucun « après », mais n’en disent pas moins l’irrémédiable et nécessaire sortie hors de « l’ailleurs » de l’enfance
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