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Relevant bibliographies by topics / Ingmar Bergman

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Academic literature on the topic 'Ingmar Bergman'

Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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Journal articles on the topic "Ingmar Bergman"

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Orr, John. "Cień transcendencji. Dreyer – Bergman – Tarkowski." Kwartalnik Filmowy, no. 96 (December 31, 2016): 6–32. http://dx.doi.org/10.36744/kf.2028.

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Tekst jest rozdziałem z książki zmarłego w 2010 r. brytyjskiego badacza filmu Johna Orra pt. The Demons of Modernity. Ingmar Bergman and European Cinema, która jest interesującym przykładem zastosowania metody komparatystycznej w filmoznawstwie i rozpatruje twórczość Bergmana w szerszym kontekście autorskiego kina europejskiego. Omawiany tekst zestawia jego filmy (Goście wieczerzy Pańskiej, Tam, gdzie rosną poziomki, Siódma pieczęć, Persona) z twórczością Carla Theodora Dreyera i Andrieja Tarkowskiego pod kątem postawy światopoglądowej, przede wszystkim w aspekcie religijnym. Orr przenikliwie analizuje podobieństwa i różnice, zarówno na poziomie idei, jak i formy dzieła filmowego, motywów, konstrukcji postaci i relacji czasoprzestrzennych. Takie ujęcie pozwoliło badaczowi dostrzec rozmaite tropy interpretacyjne, które dotychczas były niezauważone lub niedocenione. Tekst The Shadow of Transcendence: Dreyer – Bergman – Tarkovsky jest II rozdziałem z książki Johna Orra The Demons of Modernity: Ingmar Bergman and European Cinema, Berghahn Books, New York – Oxford 2014. © John Orr and Berghahn Books Inc. Ze względu na ograniczenia praw autorskich artykuł jest dostępny tylko w wydaniu papierowym. (Materiał nierecenzowany).

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Holmberg, Jan. "Ingmar Bergman as "Ingmar Bergman?" Film International 3, no. 3 (May 2005): 4–11. http://dx.doi.org/10.1386/fiin.3.3.4.

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Lauder, Robert E. "Ingmar Bergman." Philosophy and Theology 2, no. 1 (1987): 44–56. http://dx.doi.org/10.5840/philtheol19872118.

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Collet, Jean. "Ingmar Bergman." Études Tome 408, no. 3 (March 1, 2008): 363–72. http://dx.doi.org/10.3917/etu.083.0363.

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Rutkowska, Teresa. "Transnarodowe i narodowe szlaki kina nordyckiego." Kwartalnik Filmowy, no. 115 (November 16, 2021): 256–62. http://dx.doi.org/10.36744/kf.859.

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Tadeusz Szczepański, znawca kina skandynawskiego, autor obszernej monografii Ingmara Bergmana i książki o Janie Troellu, wydał obecnie historyczną pracę Kino nordyckie. Pierwsze stulecie (2020), która obejmuje czasy od kina niemego przez okres klasyczny i kino nowej fali po koniec XX w. Ujęcie to uwzględnia złożony fenomen kulturowy, jakim jest kino powstające w pięciu krajach: Szwecji, Danii, Norwegii, Finlandii oraz Islandii. Autor wyodrębnia cechy wspólne, ale także specyfikę narodową cechującą poszczególne kinematografie nordyckie. Postacią kluczową jest w tym wywodzie Ingmar Bergman, jego twórczość, a także wpływ, jaki wywarł na kino tego regionu.

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Holmberg, Jan. "Ingmar Bergman, archivist." Journal of Scandinavian Cinema 4, no. 2 (June 1, 2014): 149–53. http://dx.doi.org/10.1386/jsca.4.2.149_1.

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Sáez-González, Jesús Miguel. "Saraband (Ingmar Bergman)." Vivat Academia, no. 91 (December 15, 2007): 21. http://dx.doi.org/10.15178/va.2007.91.21-22.

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Sauret, Alberto. "Ingmar Bergman, Imágenes: [reseña]." Estudios: filosofía, historia, letras 9, no. 30 (1992): 117. http://dx.doi.org/10.5347/01856383.0030.000172489.

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Depelsenaire, Yves. "Ingmar Bergman en scène." La Cause freudienne N° 76, no. 3 (December 1, 2010): 174–76. http://dx.doi.org/10.3917/lcdd.076.0174.

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Hedling, Erik. "Shame: Ingmar Bergman’s Vietnam War." Nordicom Review 29, no. 2 (November 1, 2008): 245–60. http://dx.doi.org/10.1515/nor-2017-0189.

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Abstract Ingmar 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.

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Dissertations / Theses on the topic "Ingmar Bergman"

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Koskinen, Maaret. "Spel och spelingar : en studie i Ingmar Bergmans filmiska estetik /." Stockholm : University of Stockholm, 1993. http://catalogue.bnf.fr/ark:/12148/cb36957628h.

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Yoon, Hyuneok Gardies André. "Le cheminement spirituel d'Ingmar Bergman à travers les films principaux après les années 50 Analyse à travers la Subjectivité kierkegaardienne /." [S.l.] : [s.n.], 1998. http://theses.univ-lyon2.fr/sdx/theses/lyon2/1998/hyoon.

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Cunha, João Fabricio Flores da. "A comunicação afetiva no cinema de Ingmar Bergman." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/134836.

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Esta dissertação se propõe a investigar a comunicação a partir da obra cinematográfica do diretor sueco Ingmar Bergman (1918-2007). Em oposição a uma ideia corrente na literatura sobre esse cineasta, a de que seus filmes seriam uma expressão da incomunicabilidade, buscamos caracterizar a partir deles uma comunicação de caráter afetivo, que está relacionada ao uso por parte do diretor do rosto em primeiro plano. Nossa fundamentação teórica tem como centro os conceitos de imagem-afecção, de Gilles Deleuze (1985; 2011), e de rostidade, de Deleuze e Félix Guattari (2012). Realizamos nossas análises com base em 16 filmes de Bergman, a partir de um procedimento de desmonte e arranjo, que deram a ver o que compreendemos como figuras da comunicação afetiva em Bergman: mãos, relógios, óculos, máscaras, espelhos, estátuas e multidão. As análises permitiram identificar os parâmetros dessa comunicação afetiva.
This dissertation aims to investigate communication in the cinematographic work of Swedish director Ingmar Bergman (1918-2007). In contrast to a recurrent idea in the literature about this filmmaker – that his movies are an expression of incommunicability –, we look to characterize a form of communication that is affective and related to the use by the director of the face in close-up. Our theoretical foundation has at its center the concepts of affection-image, by Gilles Deleuze (1985; 2011), and that of faciality, by Deleuze and Félix Guattari (2012). We did our analyses of 16 Bergman movies based on a break and rearrange procedure, which led to what we see as figures of the affective communication in Bergman: hands, clocks, glasses, masks, mirrors, statues and the multitude. The analyses have permitted us to identify the parameters of that affective communication.

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Landström, Petra. "Ingmar Bergman och musiken : En audiovisuell analys av Såsom i en spegel, Tystnaden, Persona och Vargtimmen." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6992.

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The research on Ingmar Bergman is comprehensive, however, there is one aspect of his artistry that has been regrettably neglected – his use of music. Music always played a huge part in Bergman’s life, and it was also a great source of inspiration. The music was a structural component in the creating process and he often referred to his films as pieces of music and his actors as musical instruments. Moreover, music frequently played a thematic part in the plot. The purpose of this essay is to examine what function music actually has in a selection of Bergman’s films. To do this I have closely analyzed sequences in which music is performed in four different films from the sixties; Through a Glass Darkly (1961), The Silence (1963), Persona (1966) and Hour of the Wolf (1968). The basis of the discussion lies in the film sound research, mainly that of Claudia Gorbman and Royal S. Brown. The conclusion of this analysis is that Bergman’s use of music is quite extraordinary, particularly in creating a certain feeling of time and space differentiated from the rest of the story. The music has an apparent intrinsic value of its own, and consequently, it is a narrative instrument in itself.

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Hubner, Laura. "The necessary illusion in the films of Ingmar Bergman." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369547.

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Barboza, Naylini Sobral. "“Saraband” : o habitus sueco no filme de Ingmar Bergman." Universidade Federal de Sergipe, 2015. https://ri.ufs.br/handle/riufs/3189.

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This research analyzes the construction process of the Swedish habitus that Ingmar Bergman seized and showed in his film work, particularly in the movie "Saraband" (2003). To perform this analysis, that is anchored in a ethnographic methodology, which i raise and analyze certain patterns of behavior, languages and beliefs of the Swedish people, to map the socio-cultural setting in which Bergman was immersed. Thus, my theoretical and methodological support, to the dialogue between the Swedish society and the filmmaker, through the film "Saraband", are the concepts of Norbert Elias (1993.1994, 1995, 1997, 2001, 2006, 2011): Configuration, individuation and habitus. The first two chapters are bibliographical and historical review of Bergman and about Sweden, then enter the third chapter, on the analysis of the film in the light of the information presented and procedural theory of Elias. In this analysis I could see how the interdependence between individual and society is reflected in the film.
Esta pesquisa analisou o processo de construção do habitus sueco que Ingmar Bergman apreendeu e evidenciou em sua obra cinematográfica, particularmente no filme “Saraband” (2003). Para a realização dessa análise, ancoro-me em uma metodologia de natureza etnográfica, na qual busco levantar e analisar determinados padrões de comportamento, linguagens e crenças do povo sueco, para mapear o cenário sociocultural no qual Bergman estava imerso. Destarte, meu aporte teórico-metodológico para fazer a interlocução entre a sociedade sueca e o cineasta, através da película “Saraband”, são os conceitos de Norbert Elias (1993,1994, 1995, 1997, 2001, 2006, 2011): configuração, individuação e habitus. Fiz nos primeiros dois capítulos uma revisão bibliográfica e histórica sobre Bergman e sobre a Suécia, para depois adentrar no terceiro capítulo sobre a análise do filme à luz das informações apresentadas e da teoria processual de Elias. Nesta análise, pude constatar como a relação de interdependência entre indivíduo e sociedade é refletida no filme.

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Pires, Lara Vanessa Casal. "Uma reflexão sobre o filme Persona (1965), de Ingmar Bergman." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/11922.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Filosofia na área de especialização em Estética
A presente dissertação tem como objecto de estudo o filme Persona (1965) de Ingmar Bergman e a tese filosófica proposta a partir da análise deste filme é a de que o sonho de ser em vez de parecer faz parte da natureza humana. No filme em estudo, temos dois personagens que procuram dar sentido às suas acções, mas que, confrontados com a impossibilidade de ser, a impossibilidade de não usarem máscaras, a impossibilidade de darem sentido às suas vidas de uma forma que não dependa da criação de mentiras e ilusões, vivem o niilismo. Este estudo centra-se numa discussão sobre a experiência que salva o ser humano do ilusório, ou seja, sonho de ser, a partir das questões propostas por Ingmar Bergman em Persona (1965): O que faço agora? O que é a verdade? Qual a relação da arte com a vida? Através da análise do filme, propõe-se também uma reflexão sobre o artista enquanto criador e sobre a obra de arte como construção de uma “verdade na aparência”. As reflexões filosóficas suscitadas pelo filme e expostas na sua análise são inspiradas no estudo da filosofia de Nietzsche.

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Puigdomènech, López Jordi. "Genealogía y esperanza en la filosofía de la existencia de Ingmar Bergman." Doctoral thesis, Universitat de Barcelona, 2001. http://hdl.handle.net/10803/1748.

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La presente Tesis propone una interpretación del conjunto de la obra cinematográfica de Ingmar Bergman (46 películas) desde los datos aportados por el "último Bergman", es decir, dos libros de memorias, tres novelas autobiográficas y esis películas escritas y realizadas durante las dos últimas décadas.

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Neumann, Anyssa Charlotte. "Sound, act, presence : pre-existing music in the films of Ingmar Bergman." Thesis, King's College London (University of London), 2017. https://kclpure.kcl.ac.uk/portal/en/theses/sound-act-presence(ce171b0f-b7e7-4ce2-9c49-2d465062aaba).html.

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This thesis explores the appearance, function, and meaning of pre-existing music in the films of Swedish filmmaker Ingmar Bergman (1918-2007), with an emphasis on works from the Western classical canon. Active as a director, producer, and writer for sixty-one years, Bergman used his love of music to fuel his films in both form and content, largely eschewing traditional soundtrack scores in favour of pre-existing music used sparingly but precisely, incorporating music into the lives of his characters, and finding artistic inspiration in the works and lives of the composers. This study’s primary focus is to trace patterns of musical usage in Bergman’s oeuvre through a series of case studies that link film-specific events to broader cultural traditions. Chapter One focuses on Bergman’s relationship with music, sketching his musical life from childhood to his early years as a director and examining how he used the history and language of music to enhance his own biographical legend, interpret his cinematic techniques, and justify his artistic choices. Using The Silence (1963) as a case study, Chapter Two considers the onscreen representation of listening to music (music as sound) and explores how the act of listening can create for Bergman’s characters a channel of communication between listeners and with a larger cultural history, mediated through technology. Chapter Three traces the dynamics of onscreen musical performance (music as act) back to a broader tradition of ritual humiliation, using Music in Darkness (1948) and Autumn Sonata (1978) as case studies. Focusing on In the Presence of a Clown (1997) as a case study, Chapter Four draws upon theories of the Gothic and the uncanny to illuminate how music becomes a haunting presence, enabling Bergman’s characters to transgress the boundaries of fantasy and reality, past and present. The conclusion looks at Bergman’s last film, Saraband (2003), which weaves music through its structure, soundscape, and narrative and offers a glimpse of music at its most transcendent, a gateway to the beyond.

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Olson, Ted. "Two Essays: Ingmar Bergman's "The Seventh Seal" and "Winter Light."." Digital Commons @ East Tennessee State University, 2018. https://www.amzn.com/1841505595.

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Boasting landmark classics like Ingmar Bergman’s The Seventh Seal and screen legends such as Greta Garbo, Sweden is home today to a rich and exciting contemporary national cinema that comprises the works of a diverse group of cinematographers, including Tomas Alfredson, Roy Andersson, and Nils Arden Oplev, director of The Girl with the Dragon Tattoo. In Directory of World Cinema: Sweden, Marcelline Block has assembled a team of leading international experts to situate Sweden’s film industry in a global context. Among the topics discussed in this volume are the characteristic genres of Swedish cinema—among them silent films, erotica, animation, and crime noir—and the great impact Swedish films have had on filmmakers internationally, especially in America and France for whose audiences Swedish films have often been adapted. Additional essays examine the significance of Swedish directors and actors—among them Ingrid Bergman—who have made a lasting contribution to global cinema. Completing this volume are reviews of classic and contemporary Swedish films and recommendations for further reading.

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Books on the topic "Ingmar Bergman"

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Victor, Kayfetz, ed. Ingmar Bergman. 5th ed. Stockholm: Swedish Institute, 2007.

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1947-, Grant Barry Keith, ed. Ingmar Bergman. Detroit, Mich: Wayne State University Press, 2012.

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1942-, Costa Antonio, ed. Ingmar Bergman. Venezia: Marsilio, 2009.

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Bergman, Ingmar. Paris: Cahiers du cinéma, 2007.

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Michel, Estève, ed. Ingmar Bergman. Paris: Lettres modernes Minard, 1999.

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Ingmar Bergman. Paris: Cahiers du cinéma, 2011.

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Koskinen, Maaret (EDT). Ingmar Bergman. Stockholm: Swedish Institute, 1993.

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Bergman, Ingmar. Bergman o Bergmane: Ingmar Bergman v teatre i kino. Moskva: "Raduga", 1985.

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Törnqvist, Egil. Filmdiktaren Ingmar Bergman. [Stockholm]: Arena, 1993.

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1938-, Björkman Stig, ed. Bergman on Bergman: Interviews with Ingmar Bergman. New York: Simon and Schuster, 1986.

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Book chapters on the topic "Ingmar Bergman"

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Schröder, Stephan Michael. "Bergman, Ingmar." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_9256-1.

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Hamilton, James W. "Ingmar Bergman." In A Psychoanalytic Approach to Visual Artists, 125–34. Routledge, 2018. http://dx.doi.org/10.4324/9780429471452-7.

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Rushton, Richard. "Ingmar Bergman." In Modern European cinema and love. Manchester University Press, 2023. http://dx.doi.org/10.7765/9781526149442.00010.

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"Bergman transnational." In Ingmar Bergman. Manchester University Press, 2021. http://dx.doi.org/10.7765/9789198557718.00008.

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"Acknowledgements." In Ingmar Bergman, 9–10. Amsterdam University Press, 2006. http://dx.doi.org/10.1515/9789048508815-001.

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"Preface." In Ingmar Bergman, 11–22. Amsterdam University Press, 2006. http://dx.doi.org/10.1515/9789048508815-002.

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"Chapter I: Life and Work." In Ingmar Bergman, 23–48. Amsterdam University Press, 2006. http://dx.doi.org/10.1515/9789048508815-003.

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"Chapter II: The Writer." In Ingmar Bergman, 49–130. Amsterdam University Press, 2006. http://dx.doi.org/10.1515/9789048508815-004.

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"Chapter III: The Filmmaker." In Ingmar Bergman, 131–54. Amsterdam University Press, 2006. http://dx.doi.org/10.1515/9789048508815-005.

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"Chapter IV: Filmography." In Ingmar Bergman, 155–370. Amsterdam University Press, 2006. http://dx.doi.org/10.1515/9789048508815-006.

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Conference papers on the topic "Ingmar Bergman"

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Hashemipour, Saman. "INTERTEXTUALİTY İN ASGHAR FARHADİ’S THE SALESMAN." In 2. Uluslararası Sinema Sempozyumu. Yakın Doğu Üniversitesi İletişim Araştırmaları Merkezi, 2022. http://dx.doi.org/10.32955/neuilamer2022-03-0214/ch12.

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Farhadi’s The Salesman, which won the Best Screenplay award at the 2016 Cannes Film Festival and the Best Foreign Language Film in the 89th Academy Awards, got universal acclaim and behooved for academic debates. The intertextual references in The Salesman optimized with the film’s explicit references to Arthur Miller’s drama play, The Death of a Salesman. However, the director, Asghar Farhadi, includes more subtle intertextual references to attract the audience to some masterpieces of art. This study introduces referenced sources to emphasize parallels between Farhadi’s film and other literary and artistic works to determine the central themes of the movie in order to evaluate the protagonist and antagonist’s actions thoroughly and accurately. Out of The Death of a Salesman, the film establishes intertextual relations with plays such as Hamlet by Shakespeare and Out at Sea by Slawomir Mrozek, “The Cow” —a short story—by Gholam-Hossein Saedi, Gilemard—a novel—by Bozorg Alavi, and movies such as Shame by Ingmar Bergman and The Godfather by Francis Ford Coppola. These intertextual relations are the film’s central conflict that should be evaluated in the realm of the challenge between tradition and modernity. In addition, of course, various manifestations of such resistance are reflected in the facedown between the past and the future.

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