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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 EstéticaA 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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Holdar, Magdalena. "Scenography in Action : Space, Time and Movement in Theatre Productions by Ingmar Bergman." Doctoral thesis, Stockholm : Konstvetenskapliga institutionen, Stockholms universitet, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-427.
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Motta, Antonello. "Il volto del poeta dietro la maschera dell'architetto : gli allestimenti ibseniani di Ingmar Bergman /." Stockholm : Department of Musicology and Performance Studies, Stockholm University : Stiftelsen för utgivning av teatervetenskapliga studier, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6984.
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Tyushova, Elena. "L'art cinématographique d'Ingmar Bergman : une poétique d’impureté considérée dans quelques uns de ses films." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080017.
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À travers le prisme des impuretés esthétiques et poétiques L'art cinématographique d'Ingmar Bergman : une poétique d’impureté considérée dans quelques uns de ses films, Elena Tysuhova met en évidence les liens subtils, plus ou moins manifestes que les œuvres cinématographiques et télévisuelles du réalisateur suédois entretiennent avec les autres arts. En prenant en charge des considérations théoriques générales, préalables principiels, conceptuels et méthodologiques aux analyses filmiques, ainsi que les théories littéraires, linguistiques et esthétiques majeures, tout en déplaçant et situant le propos dans des pensées proprement cinématographiques, cette thèse de doctorat considère les films de Bergman en répondant à une « esthétique-poétique » ou à une « poétique-esthétique ». Les propos développés s'inscrivent résolument dans une perspective deleuzienne, privilégiant à la fois les singularités et les transversalités, s'attachant aux formes et configurations sensibles, dégageant les idées-formes, tout en s'intéressant aux liens d'impuretés noués avec d’autres arts, voire aux tentatives d'hybridations avec eux (selon l’idée d'Alain Badiou que l'art du cinéma est la tentative toujours renouvelée, bien qu'impossible, de fusionner les arts entre eux)Through the prism of aesthetic and poetic cross-fertilizations, Ingmar Bergman's Cinematic Art: A Poetics of Impurity Considered in Some of His Films highlights the subtle, more or less obvious links that the film and television works of the Swedish director maintain with other arts. By taking into account general theoretical considerations, prior conceptual and methodological principals to the film analyze, as well as the major literary, linguistic and aesthetic theories, while displacing and situating the subject of the thesis in properly cinematographic thoughts, this doctoral thesis considers the films of Bergman in accordance with a "poetic aesthetic" or an "aesthetic poetics". The developed analyses communicate a Gilles Deleuze perspective. They privilege both the singularities and the transversalities, focus on aesthetic forms and sensitive configurations, emit “idea-forms,” and reveal the links of impurity to other arts and the attempts to hybridize with them (according to the idea of Alain Badiou for whom cinematic art is the constantly repeated but impossible attempt to merge together the different arts)
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González, Aguilar Atenea Isabel. "Intertextualidad, auto-reflexividad y mise-en-scène en el cine de Ingmar Bergman." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400217.
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Esta tesis plantea una relectura de diversos filmes del realizador sueco Ingmar Bergman a través de las pautas que trazan una serie de cuestiones sobre la teoría y el análisis cinematográficos. Se ocupa asimismo de apoyar la necesidad de problematizar y, al mismo tiempo, diversificar el tipo de enfoques en los que se han convertido la mayor parte de los estudios sobre el “autor” dentro de los Film Studies, su correspondiente “obra” y el denominado “cine de arte”: acercamientos monolíticos opacados por ideas íntimamente ligadas al canon, a la intencionalidad y al esteticismo.
La composición audio-visual y los procedimientos formales del texto fílmico representan el objeto de este estudio más allá de sus constituyentes narrativos. El filme es planteado en esta tesis como un espacio de coexistencia y yuxtaposición de diversos mecanismos enunciativos, audio-visuales y plásticos cuya mise-en-scène es formulada como un tejido heterogéneo de registros y articulaciones interrelacionados; en otras palabras, como una acción en proceso continuo más que como una totalidad o un elemento orgánico. Dentro de este marco, se exponen las propiedades de la noción de escritura (écriture) de Jacques Derrida, que establece las bases fundamentales para abordar las condiciones y mecanismos que forman parte del fenómeno fílmico a través del análisis del montaje, concebido como el principal instrumento de enunciación dentro de la expresión y significación.
El segundo objetivo contesta una serie de preguntas que han surgido en el momento de estudiar los filmes de Bergman. Nociones como autoría, estilo, “cine de arte”, canon permiten desarrollar un nexo entre su trabajo y una propuesta de investigación y crítica, sobre todo puesto que la gran parte de sus películas indaga precisamente en dichas relaciones. La bibliografía existente sobre el cine de Bergman es ciertamente vasta, pero continúa dejando abierta una serie de interrogantes y un vacío en lo que respecta a aproximaciones de tipo formal y a análisis textuales propiamente donde se expongan las formas en que se construyen las relaciones espacio-temporales, la composición, los procesos de significación, así como el diálogo que ha mantenido con otros cines. Asimismo, existe una carencia de estudios que tomen en cuenta posturas y fuentes ideológicas así como enfoques de género (gender) más rigurosos.
En este trabajo se traza además un recorrido crítico por el cine producido en Suecia y en Escandinavia, se revisan las prácticas y tradiciones dentro de un contexto más amplio del cine occidental que han sido más relevantes y que Bergman también contribuyó a construir y se señalan los canales de circulación por los cuales han transitado sus películas, tanto en la teoría y el análisis como en la recepción, así como las formas en que esto se manifiesta en determinados filmes del director en la medida en que su filmografía representa un paradigma desafiante que ilustra de manera retrospectiva un panorama crucial de las tendencias cinematográficas críticas aún vigentes.This thesis proposes a rereading of several films of Swedish director Ingmar Bergman through the guidelines drawn by a number of issues regarding theory and film analysis. It also deals with the need to problematize and, at the same time, diversify the kind of approaches in which most studies on the “auteur”, his “oeuvre” and so called “art cinema” within Film Studies have become: rigid approaches overshadowed by ideas closely linked to the canon, intentionality and aestheticism. Audio-visual composition and formal techniques within the filmic text represent our object of study beyond narrative components. Film is regarded in this thesis as a space where various enunciative, audio-visual and plastic mechanisms coexist and overlap and whose mise-en-scène is formulated as a heterogeneous tissue of interrelated registers and articulations. In other words, as an action in continuous process rather than as a whole or an organic element. Within this framework, Jacques Derrida’s notion of writing (écriture), which establishes the fundamental basis to address the conditions and mechanisms that form part of the cinematic phenomenon by analyzing montage, is conceived as the main instrument of enunciation within expression and meaning. Our second objective answers a series of questions that have arisen when studying Bergman’s films. Notions such as authorship, style, “art film”, and canon allow us to develop a link between his work and a research and critical proposal, especially since much of his films delve precisely into in these issues. The existing bibliography on Bergman’s work is certainly vast, but still leaves a large number of questions unanswered and a vacuum regarding approaches of a formal nature as well as textual analysis that expose the ways in which spatiotemporal relations, composition, meaning processes and dialogue with other cinemas have been built. There is also a lack of studies that take into account ideological stances and sources and more rigorous gender approaches. This work also outlines a critical review of the cinema produced in Sweden and Scandinavia. Practices and traditions are reflected upon within a broader context of Western cinema that have been relevant and that Bergman also helped to establish. In addition, it highlights the channels through which his films have gone through, both in theory and analysis as well as in their reception and the ways in which this manifests itself in some of the director’s films to the extent that they represent a challenging paradigm that retrospectively illustrates a crucial outlook of film criticism tendencies still prevailing.
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El, Koussa May. "De la dynamique des larmes au cinéma. Douglas Sirk, Krzysztof Kieslowski, Ingmar Bergman." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010662.
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Selon Jean-Louis Leutrat, « les larmes sont un sujet éminemment cinématographique ». Art de l'image en mouvement, le cinéma ouvre la voie à une « dynamique» des larmes. Au cinéma, les larmes coulent dans l’image : elles apparaissent, se forment et se transforment. Connues pour leur faculté de purification, d'échange et d'union, les larmes permettent aux gens de communiquer leur désir d'être accueillis les uns dans les autres. Ainsi, dans le mélodrame, les larmes coulent afin de combattre la difficulté d'être en contact avec « l'autre ». Douglas Sirk, maître du mélodrame hollywoodien fait des larmes un moyen d'expression contre une stratégie qui caractérise son style, la séparation. Entre le besoin des personnages d'établir une union et une stratégie dominante de la séparation dans les films, une dynamique des larmes s'établit au cœur d'une tension entre l'union et la séparation. Dévoilement. communion, conversion, sont les trois étapes de la dynamique qui s'engendre. Avec son refus de montrer des larmes « réelles» pour des raisons éthiques, Krzysztof Kieslowski aggrave la tension entre la séparation dans un monde qui représente la « modernité », et l'écoulement des larmes. Il procure, en plus, à celles-ci une profondeur esthétique et leur donne différentes formes. Dans un cas plus extrême, Ingmar Bergman, à travers son style, interdit à ses personnages de verser des larmes, par peur de décoller le masque qui les protège du néant habitant leur monde. Les larmes touchent à une situation critique, elles appellent à l'union, tout en comportant le danger d'anéantissementAccording to Jean-Louis Leutrat, "tears are a highly cinematic subject". As an art of image in movement, cinema may attribute to tears a certain "dynamic". In cinema, the tears flow in the picture: they appear. are formed and transformed. Known for their ability of purification, exchange and union, tears allow people to communicate their desire to be received one in another. Hence, in Melodrama, tears flow to face the difficulty of getting in touch with the "ether". Douglas Sirk, the master of Melodrama in Hollywood, makes of tears a means of expression against a strategy that characterizes his style, the strategy of separation. Between the need to establish a union, and a dominant strategy of separation, a dynamic of tears is born in the core of the strength between union and separation. Unveiling, communion, conversion, are the three stages of the produced dynamic. In his approach of denying "real" tears for ethical reasons. Krzysztof Kieslowski increases the tension between separation in a "modern" world and the flow of tears, while providing them a more aesthetical depth and different forms. More extremely, Ingmar Bergman, through his style, prevents his characters from shedding tears, by fear of taking off the mask that protects them from the nothingness that haunts their world. Tears reach a critical state; they call for the union, while featuring the danger of annihilation
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Rodrigues, Maysa Puccinelli Victor. "A travessia da angústia : uma leitura psicanalítica da Trilogia do Silêncio, de Ingmar Bergman." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/14668.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2013.Submitted by Elna Araújo (elna@bce.unb.br) on 2013-11-20T22:59:09Z No. of bitstreams: 1 2013_MaysaPuccinelliVictorRodrigues.pdf: 5606079 bytes, checksum: 76fecd920c5fc564f2a386084a913e6f (MD5)
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A partir das contribuições de S. Freud e J. Lacan, propomos uma investigação acerca da teoria da angústia, em que pese suas ressonâncias com a arte. A expressão artística eleita será o cinema, especificamente representado pela obra Trilogia do Silêncio, do cineasta Ingmar Bergman, composta pelos filmes Através de um espelho (1961-62), Luz de Inverno (1961-62) e O Silêncio (1962). Para tal empreitada, propomos uma discussão conceitual que parte de uma revisão do pensamento destes autores, considerando pontos cruciais da teoria como o fenômeno do unheimlich, a questão do objeto na psicanálise e sua amarração nos registros Real/Simbólico/Imaginário. Em seguida, alçamos uma dialetização teórica entre angústia e fantasia, que nos conduzirá ao cerce da discussão direta com a obra. Nossa leitura será tangida pela consistência estética que alinhava as fontes da angústia infantil – solidão, escuridão e silêncio – ao bojo formal e conceitual da trilogia unificada no significante Silêncio. Assim, as obras ressoam paradigmáticas de um sistema discursivo que não se furta de abordar o real lacaniano, assinalado pelo que não engana: a angústia. Na metodologia deste trabalho, nos pautamos pela orientação ética de Freud e Lacan acerca da estética, a qual estabelece que a relação entre arte e psicanálise é sempre serviço gratuito da arte ofertado apenas à psicanálise. ______________________________________________________________________________ ABSTRACT
From the contributions of S. Freud and J. Lacan, we propose an investigation into the theory of angst, despite its resonances with art. The artistic expression elected is the cinema, specifically represented by the Trilogy of Silence, by the filmmaker Ingmar Bergman, mades by Throught a mirror (1961-62), Winter Light (1961-62) and The Silence (1962). For this enterprise, we propose a conceptual discussion that part of a revision of the thinking of these authors, considering the crucial points of the theory as the phenomenon of the unheimlich, the question of the object in psychoanalysis and its tying registers of Real / Symbolic / Imaginary. Then one, we propose a theoretical dialectic between fantasy and anxiety, which lead us to the discussion directly with the films. Our reading will be plucked by aesthetic consistency that lined the sources of infantile anxiety- loneliness, darkness and silence - the bulge formal and conceptual trilogy unified in significant Silence. Thus, the works resonate paradigmatic of a discursive system that does not hesitate from addressing the lacanian Real, marked by that does not disappoint: the angst. The methodology of this paper, we base on the ethical orientation of Freud and Lacan about aesthetics, which establishes the relationship between art and psychoanalysis is always art free service offered only to psychoanalysis.
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Hilmo, Svein. "Verda er ei scene : Teatralitet og teaterreferansar i Fanny och Alexander av Ingmar Bergman." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for kunst og medievitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26689.
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Tyushova, Elena. "L'art cinématographique d'Ingmar Bergman : une poétique d’impureté considérée dans quelques uns de ses films." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080017.
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À travers le prisme des impuretés esthétiques et poétiques L'art cinématographique d'Ingmar Bergman : une poétique d’impureté considérée dans quelques uns de ses films, Elena Tysuhova met en évidence les liens subtils, plus ou moins manifestes que les œuvres cinématographiques et télévisuelles du réalisateur suédois entretiennent avec les autres arts. En prenant en charge des considérations théoriques générales, préalables principiels, conceptuels et méthodologiques aux analyses filmiques, ainsi que les théories littéraires, linguistiques et esthétiques majeures, tout en déplaçant et situant le propos dans des pensées proprement cinématographiques, cette thèse de doctorat considère les films de Bergman en répondant à une « esthétique-poétique » ou à une « poétique-esthétique ». Les propos développés s'inscrivent résolument dans une perspective deleuzienne, privilégiant à la fois les singularités et les transversalités, s'attachant aux formes et configurations sensibles, dégageant les idées-formes, tout en s'intéressant aux liens d'impuretés noués avec d’autres arts, voire aux tentatives d'hybridations avec eux (selon l’idée d'Alain Badiou que l'art du cinéma est la tentative toujours renouvelée, bien qu'impossible, de fusionner les arts entre eux)Through the prism of aesthetic and poetic cross-fertilizations, Ingmar Bergman's Cinematic Art: A Poetics of Impurity Considered in Some of His Films highlights the subtle, more or less obvious links that the film and television works of the Swedish director maintain with other arts. By taking into account general theoretical considerations, prior conceptual and methodological principals to the film analyze, as well as the major literary, linguistic and aesthetic theories, while displacing and situating the subject of the thesis in properly cinematographic thoughts, this doctoral thesis considers the films of Bergman in accordance with a "poetic aesthetic" or an "aesthetic poetics". The developed analyses communicate a Gilles Deleuze perspective. They privilege both the singularities and the transversalities, focus on aesthetic forms and sensitive configurations, emit “idea-forms,” and reveal the links of impurity to other arts and the attempts to hybridize with them (according to the idea of Alain Badiou for whom cinematic art is the constantly repeated but impossible attempt to merge together the different arts)
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Sinay, Isadora Goldberg. "O silêncio de Deus em Morangos Silvestres e O Sétimo Selo de Ingmar Bergman." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/1916.
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Previous issue date: 2014-05-09The presente dissertation is composed by the analysis of two fiction feature films, Wild Strawberrys and The Seventh Seal, by Ingmar Bergman. The analysis highlights, in both works, the theme of the Silence of God, importante aspect in the work of the filmmaker. Ingmar Bergman is one of the biggest names in contemporary art and his films articulate philosphy and religion, making then a piece of fundamental interest to the Science of Religions as a manifestation of essential reflections in the artistic production of a society. The analysis supports itself in the works of film analysis by Jesse Kalin and Paisley Livingston and focus in understanding the silence of God as a form of abandom and seeing the carachters search for a personal answer from the divinity as a way of conquering meaning and mercy in their lives. As the analysis goes it is verified that this answer can not be found in the transcendency, by exactly when the caracther stop looking in its direction and turns his sight to the concrete and imanent
A presente dissertação de mestrado é composta da análise de dois longa-metragens de ficção, Morangos Silvestres e O Sétimo Selo, de Ingmar Bergman . A análise busca mapear nas duas obras a temática do silêncio de Deus, aspecto relevante na obra do cineasta em questão. Ingmar Bergman é um dos maiores nomes da arte contemporânea e seus filmes articulam filosofia e religião, tornando-os de interesse fundamental para as ciências da religião como manifestação de reflexões essenciais na matéria artística de uma sociedade. A análise, que tem como substrato teórico os trabalhos de Jesse Kalin e Paisley Livingston no campo da análise fílmica, centra-se no entendimento do silêncio de Deus como abandono e na busca dos personagens por uma resposta pessoal da divindade como maneira de imbuir suas vidas de sentido e misericórdia. Ao longo da análise, contudo, verifica-se que essa resposta encontra-se não na transcendência, mas justamente no ato de retirar os olhos dela e volta-los para a o concreto e o imanente
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Aho, Lucy. ""Det kanske inte finns någon där" : En tematisk analys av forskning om Ingmar Bergman och religion." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-80031.
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Denna rapport är en metaanalys av forskning inom fältet film och religion som handlar Ingmar Bergman och religion. Syftet är att redogöra för framträdande religiös tematik i forskning om Ingmar Bergmans filmer. Metoden som har använts kan kallas för ”en tematisk analys av en litteraturöversikt”. Källmaterialet som ligger till grund för analysen utgörs av två vetenskapliga artiklar, ett kapitel ur en monografi samt ett antologibidrag. De teman som lokaliserats i litteraturen utgörs av tre huvudteman: ”religiöst berättarmönster”, ”Gud” och ”människans helighet”. ”Religiöst berättarmönster” har två sub-teman: ”bikt” och ”konst och religion” och ”Gud” utgörs av två sub-teman: ”en frånvarande och tyst Gud” och ”en tvetydig inställning”.
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Freitas, Luiz Gustavo Onisto de. "Kierkegaard e Bergman: autores éticos." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/11836.
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Previous issue date: 2010-05-21This work is a study of cinema of the Swedish director Ingmar Bergman second point of view of the concepts of Danish philosopher Soeren Aabye Kierkegaard. According to an ethical axis common to both authors, it is observed how the cinematographic language used by Bergman presents important concepts of Kierkegaardian philosophy, like despair, anguish, faith and paradox
Este trabalho consiste em um estudo do cinema do diretor sueco Ingmar Bergman segundo o ponto de vista dos conceitos do filósofo dinamarquês Soeren Aabye Kierkegaard. De acordo com um eixo ético comum aos dois autores, observa-se como a linguagem cinematográfica utilizada por Bergman apresenta conceitos importantes da filosofia kierkegaardiana, como o desespero, a angústia, o paradoxo e a fé
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Teixeira, Antonio Alder. "Estratégias narrativas na filmografia de Ingmar Bergman: o diálogo entre o clássico e o moderno." Universidade Federal de Minas Gerais, 2014. http://hdl.handle.net/1843/JSSS-9PWJLZ.
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This study constitutes an approach of Ingmar Bergmans filmography, from the point of view of narrative strategies adopted by the filmmaker, in face of what is established by the grammar of classic cinema, thus pointing out possibilities of research on the aesthetic components that show indexes of modernity in his art. In opposition to what has been a dominant trend of major criticism about the vast production of the Swedish director, we intended to examine the technical choices made by Bergman , such as scriptwriting, direction, assembly procedures, scale plans, angles and camera movements, lighting, sound and color palette. We made then a cutout of his filmography, establishing a possible division of the different phases of his trajectory, electing eight films, in view of its narrative structure, that could be representative of his recognized authorial cinema.Este trabalho constitui uma abordagem da filmografia de Ingmar Bergman (1918-2007) sob o ponto de vista das estratégias narrativas adotadas pelo cineasta sueco em face do que estabelece a gramática do chamado Cinema Clássico, apontando, assim, possibilidades de investigação em torno dos componentes estéticos que evidenciam a presença de índices de modernidade em seus filmes. Na contramão do que tem sido uma tendência dominante da grande crítica sobre a vasta produção do realizador, a tese procura examinar as estratégias narrativas utilizadas por Bergman em alguns de seus filmes, que evidenciam, efetivamente, uma flexibilidade para com os parâmetros estéticos tradicionalmente observados no cânone cinematográfico. Para isso, faz um recorte em sua filmografia, estabelecendo uma divisão possível de diferentes fases da trajetória do cineasta, a partir da seleção de oito filmes que, na perspectiva de sua estrutura narrativa, possam ser tomados como realizações representativas do seu cinema reconhecidamente autoral.
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Río, Kuroiwa Susana Elvira del. "Fresas salvajes y Persona : el encuentro con uno mismo y las relaciones humanas en el cine de Ingmar Bergman." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2004. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5899.
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Fresas salvajes y Persona: el encuentro con uno mismo y las relaciones humanas en el cine de Ingmar Bergman tiene como objetivo analizar la obra de Bergman a través de dos películas, Fresas salvajes (1957) y Persona (1966), realizadas en décadas y contextos diversos, lo que permite establecer considerables comparaciones, tanto a nivel de forma como de contenido. Ingmar Bergman es un cineasta sueco cuya época de mayor actividad cinematográfica se ubica en las décadas de los cincuenta, sesenta e inicios de los setenta. Su filmografía, que incluye más de medio centenar de películas, se explica a la luz del cine de autor; de ahí que el análisis de su obra exija descifrar el universo personal que plantea el director. Este trabajo de investigación considera que Bergman aborda temas existenciales, que a manera de motivos, aparecen en forma reiterada en sus películas. Con la intención de reconocer las variaciones de estos motivos, la presente tesis analiza la evolución en sus filmes de dos características de la existencia, el encuentro con uno mismo y las relaciones humanas. Se trata de dos matrices, cuya delimitación incluye la revisión de tres influencias en la obra de Bergman: el luteranismo, el existencialismo y el entorno sueco. El análisis también considera la vida personal del director. Para comprender el universo cinematográfico de Bergman, se tuvo en cuenta el visionado de un número considerable de sus filmes, así como la revisión de publicaciones en torno al director, el cine y las variables escogidas -el luteranismo, el existencialismo y el entorno sueco. A lo largo del trabajo se realizaron entrevistas a expertos de diversas disciplinas, que -desde sus perspectivas particulares- dieron luces para estudiar la obra de Bergman. La primera parte de este trabajo elabora las definiciones de las dos matrices de investigación a la luz de las variables mencionadas. El segundo y tercer capítulo presentan el análisis de las dos películas, Fresas salvajes y Persona, respectivamente, además de establecer semejanzas y diferencias entre ambos filmes.
Los resultados de esta investigación indican cómo la interpretación de Bergman del encuentro con uno mismo y las relaciones humanas varía considerablemente en su obra y cómo se manifiestan estos cambios a través del uso de los recursos cinematográficos.Tesis
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Berinde, Ruxandra. "Moving images of home : tracing an architectural phenomenography through the films of Ingmar Bergman and Andrei Tarkovsky." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/12658/.
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The research started by asking the question: "How is the meaning and memory of home communicated through the films of Ingmar Bergman and Andrei Tarkovsky?" The meaning this question was seeking entailed elements such as architectural experience, perception, memories and dreams, and the research thus enquired film's mechanisms for rendering legible such ineffable concepts, with a focus on the two particular case studies of Tarkovsky and Bergman. Building upon claims that film has the ability to communicate direct experiences of lived space, the thesis peruses theoretical intersecting findings that encircle the research quest: architecture and film, phenomenology, as well as other adjacent fields. The aim is to draw creative splices that outline an original view on the architectural experience of home, as read throughout the work and life of these two artists. Therefore, among the main outputs of the thesis was to rewrite the biographies of Bergman and Tarkovsky based on their spatial element, a recreated life-writing in which place gains a central role of life journeys and choices. From these reconsidered biographies, new understandings about home, dwelling and place attachment are drawn. The methodological aim of the study is to propose an architectural phenomenography (literally a writing of phenomena), a redefined view on architectural phenomenology that uses autobiographical film as a research tool to allow explorations on the concept of home. The established routes of phenomenological inquiry make use of linguistic material in order to read and write descriptions and in such a manner to reach the essence of phenomena. By replacing the majority of the linguistic research data with audiovisual material provided by the films, the novelty of the present approach lies in considering moving images as portent of inscribed phenomenological descriptions, legible through film viewing. The essential factors for selecting Bergman and Tarkovsky as the case-study filmmakers was the strength of their works to communicate the space of home in its lived form. Due to this peculiar quality, the present study looked at these works attempting to trace a method of writing spatial experience on the imponderable surface of film. Throughout the thesis, this method was termed as architectural phenomenography, and it was defined as a communicative medium through which, once spatial experiences have been written on film, they silently await a proper deciphering. This study therefore strives to answer the silent call of these experiential moving images and to disclose them as categories of architectural experiences.
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Borlizzi, Vincenzo. "Trois questions sur le modelage des films - Les obstacles visuels, la pesanteur et la durée." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030039.
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Cette recherche naît de l’interaction entre deux idées d’Eisenstein : en 1934 il affirma qu’un film est plus résistant que le granit, mais l’année d’après il soutint qu’il n’y aucune réalité physique dans les films, que de reflets et des ombres grises. La question de ce travail est donc : un réalisateur peut il toucher son film ? Un film n’est pas un objet. La contradiction entre les deux idées d’Eisenstein peut être dépassée si les films commencent à être étudiés au-delà de l’analogie “ombre-granit”, sans des mots qui chosifient les images. Si chaque image peut être étudiée en tant que partie intégrante d’un film, si chaque film peut être considéré comme un corps visuel suggérant des questions et devenant une matière de la pensée visuelle, alors les idées d’Eisenstein ne peuvent pas seulement exprimer la force physique d’un film, mais aussi un outil qu’un réalisateur peut développer pour modeler son œuvre : les ombres et les éclairages. La question peut être redéfinie : comment un réalisateur pourrait-il toucher son film ? Comment un film pourrait-il proposer des questions à propos de sa forme visuelle et de son interaction avec les forces physiques qui essaient de le modeler ?Cette étude n’impose pas de définition dogmatique sur le modelage, mais elle essaie d’approfondir trois chemins : la création par le biais des éclairages et des obstacles visuels dans les films de Bergman avec l’actrice Harriet Andersson ; le modelage et le problème de la pesanteur des corps dans certaines œuvres de Ford et Hitchcock ; les parcours du modelage pour exprimer la durée des corps humains (les yeux de Vera Miles) ou extrahumains (la désagrégation des coings à cause de la lumière)This research is brought about by the interaction between two ideas Eisenstein wrote : in 1934 hestated that a film is stronger than granite, but the next year he maintained there is no physical reality in films, only reflections and grey shadows. So, the question of this work is : can a film director touch his film? A movie is not an object. Contradiction between the two Eisenstein ideas isapparent and can be overcome if films begin to be studied beyond “shadow-granite” analogy,without any words that compel an image to be a thing.On the contrary, if every image can be studied as an integrating part of a film, if each movie can be considered as a visual body which suggests some questions and which becomes a material of visualthought, then Eisenstein ideas can express not only the physical force of a film, but also oneinstrument a director can develop to touch and to model his film: shadows and lights.Consequently, the question can be redefined : how could a director touch his film? How could afilm propose some questions about its visual form and about its interaction with physical forces that try to model it ?This study does not impose a dogmatic definition about film modelling, it tries to examine threemodelling paths thoroughly : film creation by lights and visual obstacles in Bergman movies withthe actress Harriet Andersson ; film modelling and the problem of force of gravity on the bodies insome works by Ford and Hitchcock ; finally the ways to model movies by expressing duration ofhuman (the modelling of the eyes of Vera Miles) or extra-human bodies (Victor Erice film creationand disintegration of the fruits of a quince-tree because of the light)
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Vasconcellos, Andreia Rocha de. "Reductio ad silentium: Ingmar Bergman, os sentidos e ressentimentos da redenção moral em meio aos escombros de Deus." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/1907.
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Previous issue date: 2013-11-27This thesis analyses the silence of God throughout the movie The seventh seal (1957), by Ingmar Bergman, from two fundamental concepts developed by the critic Jesse Kalin: ontological reduction and geography of the soul. The moral vacuity which bursts from the dismantling of the Medieval world grounded over the image and the similarity of a crescently silent God is eschatologically lived by the characters of Bergman's consecrated film. We analyse The seventh seal in order to apprehend the ways the protomodern narrative conflicts help us understand our own times
Esta dissertação analisa o silêncio de Deus no filme O sétimo selo (1957), de Ingmar Bergman, a partir de dois conceitos fundamentais desenvolvidos pelo crítico Jesse Kalin: redução ontológica e geografia da alma. A vacuidade moral que irrompe com a desestruturação do mundo medieval alicerçado segundo a imagem e semelhança de um Deus cada vez mais silencioso é vivenciada escatologicamente pelas personagens do consagrado filme de Bergman. Analisamos O sétimo selo a fim de apreender como os conflitos narrativos protomodernos nos ajudam a compreender nossa própria época
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Zeng, Hainan. "Hybridity, Fluidity and Ingmar Bergman's Alternative Moral Picture : The ideological value of Fanny and Alexander (1983)." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169627.
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Bergman has claimed that he does not have any ideological intention behind his films. He has also been generally criticized for his bourgeois outlook and lack of ideology. Among the vast amount of Bergman studies as well, the ideological aspect of Bergman’s films has been an under-researched area. This thesis will focus on the five-hour television version of Fanny and Alexander (Ingmar Bergman, 1983) and investigate the interrelationship between the formal features of narrative, character, music and their ideological functions, utilizing ideological and formalist approaches. The premise of this study is: films are cultural products that implicitly or explicitly carry ideological messages. Bergman’s films are no exception. Through the blend of contradictory elements in narrative and the representation of fluid subjectivity, Bergman’s cinematic vision provides an “alternative moral picture”, an expression coined by Hector Rodriguez, and functions as ideology critique. This thesis intends to shed more light on the ideological value embedded in Bergman’s films in general, and Fanny and Alexander in particular, and contribute to a comprehensive field of Bergman research.
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Kockum, Åsa fe. "Biskopens skugga : en studie av biskopens skugga i Ingmar Bergmans film Fanny & Alexander." Thesis, University of Gävle, Ämnesavdelningen för kultur- och religionsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-6293.
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Den här uppsatsen är en kvalitativ studie med hjälp av jungiansk psykologi som fokuserar på Ingmar Bergmans film Fanny & Alexander. Syftet är att studera biskopens skugga. Filmen handlar om familjen Ekdahl som domineras av en rik och begåvad änka, Helena, samt hennes tre söner. Sonen Oscar dör och hans fru Emelie gifter sig med biskopen. Hennes barn Fanny och Alexander följer med henne in i äktenskapet med biskopen. Tillsammans flyttar de till biskopens spartanska och stränga hem. Alexander väcker biskopens vrede och skugga genom att vägra följa hans regler och ritualer. Biskopen dör eller kanske man kan säga transformeras när han genomgår den smärtsamma processen med att möta sin skugga.
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Holmgren, Lindsay. "The journey within : empathy and ontology in William Faulkner's Absalom, Absalom! and Ingmar Bergman's Persona." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33904.
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"The Journey Within" deals with how the receiver (reader/viewer) engages with the novel and the film. The thesis primarily focuses on Faulkner's novel, incorporating Persona largely as a means by which to illustrate the more carefully concealed reader-engagement strategies in Absalom, Absalom! Starting with a review of Faulkner criticism that opens itself up to this inquiry, the thesis leads into a detail study of the engagement strategies used to foster identification, alignment, sympathy, and empathy among receivers. Employing Umberto Eco's criticism involving "Model Readers" who "actualize" texts, as well as other reader and viewer response theory, I demonstrate that certain receivers experience a specific, heightened engagement with the work. This "Model" receiver restructures her ideologies to accord with what the work expects from her. Ultimately, this particular engagement leads to ontological participation in the work among its receivers. Martin Heidegger's phenomenological investigation, Being and Time, helps illustrate this ontological participation.
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Tysklind, Fredrik, and Hanna Duke. "Känslomässiga analfabeter : projektiv identifikation utifrån en analys av Scener ur ett äktenskap." Thesis, Stockholm University, Department of Psychology, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6644.
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Projektiv identifikation är enligt den psykoanalytiska teorin grundläggande vid mellanmänskliga relationer. Samtidigt som begreppets betydelse och användningsområde är omdiskuterade finns förvånansvärt få empiriska forskningsresultat. Denna teoretiska, explorativa och kvalitativa studie utgår ifrån Ingmar Bergmans manus Scener ur ett äktenskap för att utforska begreppets användbarhet på en parrelation. Texten analyseras med tematisk analys och diskuteras utifrån hur projektiv identifikation kan förstås genom karaktärerna Johans och Mariannes relation. I texten illustreras en process som mynnar ut i ett återtagande av projektioner via tre olika tillstånd av inre relaterande: rigitt, rollbytande och rörligt. Dessa faser liknar ett kluvet, pre-ambivalent och ambivalent relaterande. Parenheten bildar ett projektivt system som kan utgöra ett grundläggande fokus i en parterapi. Mer empirisk forskning kring ämnet vore önskvärt för att denna teoretiska förståelse skulle kunna tillämpas i större utsträckning.
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Rebelo, António Júlio Andrade. "As máscaras da maldade humana, em Ingmar bergman: chave para a compreensão de uma rede conceptual de tratamento fílmico e filosófico." Doctoral thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/11415.
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As Máscaras da Maldade Humana, em Ingmar Bergman – Chave para a compreensão de uma rede conceptual de tratamento fílmico e filosófico
A análise feita à cinematografia de Ingmar Bergman destaca a temática da maldade como questão central. Para isso, trabalhando com filmes e textos do realizador sueco, partiu-se de um levantamento das influências religiosas e literárias marcantes, directamente ligadas à construção da noção de maldade. Esta noção, fazendo a ligação com o conceito filosófico de mal, na acepção de mal moral, separou-se gradualmente deste, ganhando um significado próprio. Neste percurso, construiu-se uma reflexão comprometendo filósofos e conceitos inscritos no Existencialismo. Esta incursão ao universo filosófico estabeleceu previamente uma correlação com o contexto da filosofia do cinema, explorando-se neste âmbito problemas surgidos da reflexão em torno da filmografia de Bergman. Prosseguindo neste propósito reflexivo, e correspondendo à última parte deste estudo, foi intenção isolar e dar conta das diferentes configurações da noção de maldade – “máscaras” –, demonstrando a capacidade do cinema para enunciar conceitos e, desse modo, ser ocasião de pensamento; ### ABSTRACT:
The Masks of Human Wickedness in Ingmar Bergman films – a key to understand a conceptual net of filmic and philosophical approach
The key question to my analysis of Ingmar Bergman's cinematography highlights the topic of wickedness. I worked on his films and texts. I started by doing a survey of the most striking religious e literary influences, which are directly associated to the construction of the notion of wickedness. When I associated this with the philosophical concept of moral evil, it split itself gradually from the concept, and it got its proper meaning. My reflexion compromises philosophers and concepts that are part of Existentialism. This foray into the philosophical universe has previously established a correlation with the context of philosophy in the cinema, exploiting, thus, problems that came up from the reflexion around Bergman's filmography. Finally, I tried to isolate and account for the different configurations of wickedness – “masks” –, showing the capability of the cinema to state concepts and, thus, to be an occasion of thought.
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Yoon, Hyuneok. "Le cheminement spirituel d'Ingmar Bergman à travers les films principaux après les années 50 : Analyse à travers la Subjectivité kierkegaardienne." Lyon 2, 1998. http://theses.univ-lyon2.fr/sdx/theses/lyon2/1998/hyoon.
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Les films de Bergman de la période postérieure à 1950 relatent le cheminement du cinéaste qui tente de s'affranchir de l'ordre établi. Ce parcours intérieur conduit, selon nous, le spectateur à réfléchir sur l'importance de la Subjectivité au sens kierkegaardien. Initialement méconnu, le pouvoir libérateur de la Subjectivité fait l'objet d'une découverte progressive par les personnages bergmaniens. Trois étapes peuvent être distinguées. Dans les films de la première période (jeux d'Eté 1951 - L'Oeil du Diable 1960), les personnages se révoltent contre la société, ses conventions et le dogmatisme religieux, face auxquels ils demeurent impuissants et éprouvent une souffrance. A l'inverse, dans les fims de la seconde période (A travers le miroir 1961 - Une Passion 1969), les personnages parviennent à échapper à l'emprise de la Vérité objective. Cette liberté conquise rend possible l'introduction du concept de choix, et, donc, d'angoisse dans l'univers bergmanien. De plus, les personnages se trouvent confrontés au phénomène de la perte de sens des valeurs et soumis aux formes de violence les plus variées. Au cours de la troisième période (Le Lien 1971 - Après la Répétition 1984), les personnages tentent d'acquérir la capacité d'assumer leur propre existence". "Etre sujet à part entière" devient une exigence fondamentale. L'atteinte de la reprise, comme continuation et recommencement perpétuels, constituera l'ultime étape de l'affranchissement du sujetBergman movies belonging to the period directly following 1950 deal with the film director progressive attempt to free herself from commonly accepted values and attitudes. In our opinion, that inward trip leads the spectator to consider the importance of Subjectivity in the Kierkegaardian way. Originally unknown, the freeing power of Subjectivity is gradually discovered by the Bergmanian characters. Three stages can be identified. In the first period movies (Summer Interlude 1951 - The Devil's Eye 1960), the characters rebel against society. Confronted with its conventions and to religious dogmatism they feel powerless and the whole situation hurts them. On the contrary, in the second period (Winter Light 1961 - The Passion of Anna 1969), the characters manage to escape objective truth. This newly conquered freedom opens the way to the concept of choice in the Bergmanian world and consequently to anguish. Moreover the characters are confronted with the experience of losing all reference to common values and they are submitted to various types of violence. During the third period (The Touch 1971 - After the Rehearsal 1984) the characters try to develop the ability to take upon themselves the responsability for their own existence. To be a fully self recognized subject becomes an essential prerequisite. The final stage of the subject freedom is determined by the repetition Gjentagelsen" : endless progression and new beginnings
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Burdino, Fanny. "Visible et invisible dans le cinéma d'Ingmar Bergman : la matrice Fanny et Alexandre." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080124/document.
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En 1982, Ingmar Bergman avait pris la décision d’arrêter le cinéma avec une œuvre qu’il voulait ultime : Fanny et Alexandre. Il ne tint pas tout à fait parole et continua à réaliser des œuvres pour la télévision, ce qu’était déjà Fanny et Alexandre. Une fresque de 5h40, film somme et sommet cinématographique. Notre travail souhaite comprendre la complexité d’une œuvre qui renferme à elle seule tous les motifs du cinéaste. Notre désir est de l’étudier sous l’angle de deux notions : le visible et l’invisible. Ces notions viennent d’emblée interroger la présence et l’absence, le plein et le vide, le conscient et l’inconscient, le blanc, couleur de la transparence, et le rouge, celle de l’intérieur de l’âme. Il semble donc que les notions de visible et invisible sondent un univers clivé à l’image d’une œuvre qui, dans sa narration même, oppose la troupe de théâtre à la solitude de l’évêque, la foi dans l’imaginaire à la foi en Dieu, l’enfance à la vieillesse, la vie à la mort, le bien au mal, l’eau de la rivière au feu qui brûle vif le « diable ». Mais notre propos est de tenter de dépasser cette opposition formelle pour parvenir à démontrer sa réversibilité. Les dimensions de visible et d’invisible apparaissent finalement non comme duales mais complémentaires, elles sont un endroit et un envers, où l’invisible est la profondeur du visible. Nous supposons que cette réversibilité, c’est-à-dire un lien qui organise les opposés en manifestant en même temps leur interdépendance, montre comment l’esthétique baroque gouverne le cinéma bergmanienIn 1982, Ingmar Bergman had decided to stop making movies with a piece of work he considered as final – Fanny and Alexander. He didn’t quite keep his word, and kept directing TV works – which he had already started to do with Fanny and Alexander. A 5h40-long epic, a comprehensive piece of work and a cinematic pinnacle. Our research tries to understand the complexity of a piece of work enclosing all of the filmmaker’s motifs. We wish to study it through two notions: the visible and the invisible. These notions immediately question the present and the absent, the full and the empty, the conscious and the unconscious, the white– the color of transparency –, and red as representing the inside of the soul. It thus seems that the notions of visible and invisible probe a divided universe, reflecting a piece of work which, in its very narrative, brings into opposition the theater troupe and the bishop’s solitude, belief in fantasy and faith in God, childhood and old age, life and death, right and wrong, the river stream and the fire that burns “the devil”… Yet, we wish to go beyond this formal opposition to demonstrate its reversibility. Indeed, the dimensions of the visible and the invisible eventually appear as being complementary rather than dual: they represent one side and its reverse, the invisible is the visible’s depth. From our study of the paradigmatic duo “the visible and the invisible”, we assume a reversibility, i.e. a bond that both structures opposites and brings out their interdependence – thus showing how baroque aesthetics reign over Bergman’s cinema
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Mussi, Luciana Helena. "Reflexão sobre a angústia existencial do cinema de Ingmar Bergman no envelhecer diante da ameaça iminente de morte e do desejo de vida." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/12396.
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This paper aims to reflect on Ingmar Bergman existential anguish towards aging before the imminent threat of death and the desire to live. The main question was: how to live under such a devastating anguish being, at the same time, aware of our finitude and of our desire to live? To probe these existence questions, The Bergman Island documentary, focusing on the films The Seventh Seal and Wild Strawbwerries, the Greek Goddess Demeter s path and her transformation forms and the philosopher Cicero s reflections on aging were used. Bergman and his films, dealt with in an enigmatic atmosphere, led this research to the existential anguish scenery built, woven and understood by means of feelings resulting from the documentary images, words and dialogs. Crossing the researcher s experience and feelings with the filmmaker s report on the Island of Farö, the composition of such anguish was created: the Imminent Threat of Death and the Desire to Live as events to make us search understanding of the enigma of life and death. However, on the way we came across a God whose word silences, as God s true Silence. The One who repudiates Finitude as Awareness of Death. The Seventh Seal faithfully portraits the silence of such God in the face of the evil as an unquestionable and frightening event. If, at old age, the probability of imminent death is higher and the awareness of finitude is even higher, in Wild Strawberries we come to face the perspective of the end itself. Recollecting the character and Bergman, we come across the Travel into Solitary Old Age, in a time that seems to be over, through the trails of Old Bergman Existential Memories. The Existential Trialogue within the Gap of Time described a fictional meeting among Bergman, the filmmaker, Cicero, the thinker and the researcher. Aiming at getting past time effects, defeating sovereignty of the years that separate the three ones involved through gathering of the arts cinema, philosophy and science considering all as understanding and reflection on what death/life means at aging. Cinema, art that brings closer to one s life, that portraits reality and life movement, referring to our own experiences, life vivid recalls, deep memory excavations, through a permanent trip between youth and old age. Biographies crossing one another in the line of time, oscillating between death pains and life setbacks
Este trabalho tem como objetivo refletir sobre a angústia existencial do cinema de Ingmar Bergman no envelhecer diante da ameaça iminente da morte e do desejo de vida. A pergunta central foi: como viver com esta arrasadora angústia quando nos sabemos finitos e, ao mesmo tempo, sedentos de vida? Para pensar estas questões da existência, foram utilizados o documentário A Ilha de Bergman, focando os filmes O Sétimo Selo e Morangos Silvestres, a trajetória da Deusa Grega Deméter e seu caminho de transformação e as reflexões do filósofo Cícero sobre o envelhecer. Bergman e seus filmes envoltos numa atmosfera enigmática, conduziram esta pesquisa ao cenário da angústia existencial construída, tecida e entendida por sensações provocadas por imagens, palavras e diálogos do documentário. Cruzando impressões e experiências da pesquisadora com o relato do cineasta na Ilha de Farö, nasceu a composição desta angústia: a Ameaça Imimente de Morte e do Desejo de Vida como acontecimentos que nos levam à busca por conhecimento do enigma de vida e morte. Mas nesta caminhada, encontramos um Deus que se cala, num verdadeiro Silêncio de Deus. Aquele que denuncia a Finitude como Consciência da Morte. O Sétimo Selo retrata fielmente esse Deus que se omite e cede espaço à maldita como fato indiscutível e apavorante. Se na velhice a probabilidade de morte iminente é maior e a consciência de finitude ainda mais, chegamos no enfrentamento da perspectiva do próprio fim em Morangos Silvestres. No rememorar do personagem e de Bergman, nos deparamos com a Viagem pela Velhice Solitária, num tempo que parece se esgotar, na trilha das Lembranças Existencias do Velho Bergman. O Triálogo Existencial na Brecha do Tempo descreveu um encontro ficcional entre Bergman, o cineasta, Cícero, o pensador e a pesquisadora. Teve por propósito driblar o efeito do tempo, anular a soberania dos anos que separam os três envolvidos através do encontro das artes cinema, filosofia e ciência tudo pela compreensão e reflexão do que significam morte/vida no envelhecer. Cinema, arte que aproxima ao viver de cada um, que retrata a realidade e o movimento da vida, nos remetendo às nossas próprias experiências, lembranças das fases vividas, escavações profundas na memória, numa viagem constante entre juventude e velhice. Biografias que se cruzam na linha do tempo oscilando entre as dores da morte e os reveses da vida
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Kobayashi, Saki. "“Pansarskeppet kvinnligheten” deconstructed : A study of Eva Dahlbeck’s stardom in the intersection between Swedish post-war popular film culture and the auteur Ingmar Bergman." Thesis, Stockholms universitet, Filmvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157390.
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Eva Dahlbeck was one of Sweden’s most respected and popular actresses from the 1940s to the 1960s and is now remembered for her work with Ingmar Bergman, who allegedly nicknamed her “Pansarskeppet kvinnligheten” (“H.M.S. Femininity”). However, Dahlbeck had already established herself as a star long before her collaborations with Bergman. The popularity of Bergman’s three comedies (Waiting Women (Kvinnors väntan, 1952), A Lesson in Love (En lektion i kärlek, 1954), and Smiles of a Summer Night (Sommarnattens leende, 1955)) suggests that they catered to the Swedish audience’s desire to see the star Dahlbeck. To explore the interrelation between Swedish post-war popular film culture and the auteur Bergman, this thesis examines the stardom of Dahlbeck, who can, as inter-texts between various films, bridge the gap between popular film and auteur film. Focusing on the decade from 1946 to 1956, the process whereby her star image was created, the aspects that constructed it, and its relation to her characters in three Bergman titles will be analysed. In doing so, this thesis will illustrate how the concept “Pansarskeppet kvinnligheten” was interactively constructed by Bergman’s films, the post-war Swedish film industry, and the media discourses which cultivated the star cult as a part of popular culture.
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Cabart, Anaïs. "Cinéma analytique et transfert : l’expérience spectatorielle dans "Persona" et "L’Heure du loup" de Bergman et "Antichrist", "Melancholia" et "Nymphomaniac" de Von Trier." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30039/document.
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Le développement simultané du cinéma et de la psychanalyse a donné lieu à de nombreuses études confrontant et associant ces deux sphères. Cette thèse interroge plus particulièrement le transfert comme phénomène se manifestant dans la rencontre entre le spectateur et le film, et s’appuie sur les théories de psychanalyse jungienne. À partir de la prise en compte d’un cinéma analytique, associant réflexivité et thématique psychologique, l’hypothèse émise est celle de la présence de « psychés-films », facilitant l’étude du phénomène de transfert dans l’expérience spectatorielle. À travers leur construction spatiale et temporelle et par leur constitution figurale, ces « psychés-films » s’apparentent à des psychés projetées à l’écran et visuellement accessibles. Dans son acception jungienne, le transfert est un phénomène transpersonnel aux conséquences psychiques et physiques et qui engage deux individus dont les inconscients communiquent entre eux. En mettant en évidence les spécificités d’un tel phénomène au cinéma, cette thèse interroge la possibilité d’envisager un inconscient propre au film, notamment à l’aide de théories d’esthétique du cinéma, et les conséquences éventuelles, dans le corps et dans la psyché, d’une rencontre transférentielle entre le spectateur et le film. Afin d’étudier la possibilité d’un transfert dans l’expérience spectatorielle, cinq films interprétables en tant que « psychés-films » sont analysés sous un angle jungien : Persona et L’Heure du loup, réalisés par Ingmar Bergman et Antichrist, Melancholia et Nymphomaniac, réalisés par Lars von Trier. Pour ce faire, cette recherche s’effectue suivant des perspectives psychanalytique (Jung, Ferenczi, Freud, Abraham et Török), esthétique (Brenez, Lefebvre, Vancheri) et philosophique (Damasio, Derrida), et par la prise en compte d’un spectateur idéalThe simultaneous development of cinema and psychoanalysis led to many studies confronting and associating these two fields. This thesis examines more specifically transference as a phenomenon arising in the encounter between spectator and film, and is based on Jungian psychoanalytic theories. Considering an analytic cinema, which associates reflexivity and psychological themes, I hypothesised the existence of “psyche-films”, enabling the study of the psychoanalytic transference within spectator’s experience. Through their spatial and temporal constructions and their figural composition, these “psyche-films” are akin to psyches projected on screen and visually accessible. According to Jung, transference is a transpersonal phenomenon with psychological and physical consequences, involving two individuals whose unconscious communicate together. Bringing out the characteristics of such a phenomenon, this thesis explores the possibility of considering the film’s own unconscious, in particular with the help of film aesthetics theories, and questions the consequences, inside body and psyche, that might be caused by the transferential encounter between spectator and film. In order to study the possibility of such a transference in the spectator’s experience, five films regarded as “psyche-films” are analysed using a Jungian perspective: Persona and Hour of the Wolf, directed by Ingmar Bergman and Antichrist, Melancholia and Nymphomaniac, directed by Lars von Trier. To this end, this research is performed using psychoanalytic (Jung, Ferenczi, Freud, Abraham and Török), aesthetic (Brenez, Lefebvre, Vancheri) and philosophical (Damasio, Derrida) perspectives, and considering an ideal spectator
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Tjäderklo, Ninni. "“Min kärlek ser ut hur fan som helst” : En analys av kärleksbegreppet i Ingmar Bergmans serie Scener ur ett äktenskap, belyst med teologi av Werner G. Jeanrond." Thesis, Enskilda Högskolan Stockholm, Teologiska högskolan Stockholm, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ths:diva-130.
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Min studie syftar till att, utifrån Werner G. Jeanronds teologiska förståelse av kärlek undersöka den kärlek som kommer till uttryck i Ingmar Bergmans serien Scener ur ett äktenskap. Uppsatsens huvudsakliga frågeställning lyder; Hur framträder kärleksbegreppet i Ingmar Bergmans serie Scener ur ett äktenskap belyst genom Werner G. Jeanronds teologi om kärlek i boken Kärlekens teologi? Utifrån denna analys undersöker uppsatsen slutligen även följande frågeställning; Hur framträder Jeanronds teologi om kärlek i boken Kärlekens teologi belyst genom Bergmans serie Scener ur ett äktenskap?
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Montazeri, Leila. "Le cadre et la substance de la pensée bergmanienne ; l'influence de l'enseignement écclesiastique sur l'encadrement." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA192.
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Notre travail concerne le cinéma d'Ingmar Bergman et son esthétique. en effet, si ses œuvres dont nous en analyserons que trois (des fraises sauvage, à travers le miroir et persona) parce que nous les considérons comme représentatives, sont données comme narratives, il n'en demeure pas moins qu'elles sont mises en scène de façon très particulière.c'est pourquoi nous avons formulé l'hypothèse suivante que le cadrage choisi par bergman renvoie à sa pensée intime, pensée qui a été fortement surdéterminée voire formatée par la religion protestante. nous nous attacherons tout au long de notre thèse à démontrer sa spécificité et comment l'image de dieu et la pensée religieuse font partie intégrante de ses œuvresThe aesthetic analysis of Ingmar Bergman’s movies requires a study of the theological and iconographic signifiers. The paradoxical effects of framing and the mobility of the filmic image tell a story of the soul and make it possible to map out an intuitive route for the individuals implied in the story. The unfolding of different points of view involve the soul and give some spiritual scope to this idiosyncratic cinema. In Bergman’s style, spirituality cannot be found within a fiction, but within a form. Style comes out from thought and from the exposure of a wandering search for “the self”. This process is enriched through the shift from dramatic narration to anti dramatic pictures and from linear plot to non figurative forms. In accordance with our active existence, Bergman prefers the figures that are shut in by the edge of the frame, the dissolved images, the empty compositions and disconnected looks: man didn’t come to the world intentionally, but was thrown into it and later forsaken on earth. The framing is a space where the characters can meet with sacred things and have a spiritual experience. A contradiction between earthly matters and heavenly ones remains the main subject within the frame.The study of the relationship between the image and the film script introduces Bergman’s cosmology: it is not the script which builds up the image but the image itself which generates an idea to be developed further.The faces are transformed in portraits, in their search for human truth and, on a wider scale, for man's commitment in Creation. In this sense, nature neither embodies material reality nor serves as a mere filmic object, but it stands out as a form of the sacred
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Moa, Marken. "Leka, ljuga, trolla : En jämförande läsning av August Strindbergs och Ingmar Bergmans konstnärsporträtt i ”Den romantiske klockaren på Rånö”, I havsbandet, Vargtimmen samt Fanny och Alexander." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-432041.
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In this essay, I study how the artist is portrayed in the works of August Strindberg and Ingmar Bergman. I compare Strindberg’s novels The Romantic Organist (1888) and By the Open Sea (1890) with Bergman’s The Hour of the Wolf (1968) and Fanny and Alexander (1982). It should be noted that I’m focusing on the film manuscripts (“Filmberättelser”) of Bergman rather than the films. My aim is to study how the works of Strindberg and Bergman correspond in regards to the artist motif. Strindberg’s influence on the works of Ingmar Bergman has been wildly recognized among scholars and critics for decades, but no extensive study has before been made on the subject of the artist.
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Schwarz, Pedro Max. "(Des)construindo persona." Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/8046.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
The purpose of this research is to make an analysis of the themes and aesthetics of the film Persona, from Ingmar Bergman, 1966. The first chapter is my analysis of the work, following the model of the writers Anne Goliot-Lété and Francis Vanoye, and the second chapter discusses the critical texts, analysis and interviews connected to the film. I also discussed the difficulties related to the interpretation of movies, and I tried in my own analysis to be very close to the movie itself, despite the tentations to invent more.
A pesquisa tem como objetivo fazer uma análise estilístico-temática do filme Persona, de Ingmar Bergman, 1966. O primeiro capítulo é a minha análise da obra, seguindo o modelo dos escritores Anne Goliot-Lété e Francis Vanoye, e o segundo trata da discussão de textos críticos, de análises e entrevistas ligados à obra. Busquei nesse trabalho discutir as dificuldades ligadas à interpretação de uma obra cinematográfica, atendo-me à questão de não deixar de lado a leitura do filme em si, a despeito das tentações que certos temas e rastros estilísticos podem despertar.
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Cordischi, Camilla. "Den gamle och filmen : Om den nya generationen äldre och dess plats i det cinematiska rummet. En representationsstudie." Thesis, Stockholms universitet, Institutionen för mediestudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-87384.
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Within the field of cinema studies, the question of visual representation is a fundamental pillar. An immense volume of theoretical work has been written on the subject, with various academic approaches such as feministic, postcolonial and gay/lesbian. Yet there is a large social group that seems to have been overlooked within the representational discourse: the elderly. This group of people appears to be a blind spot on the multicultural retina, too often neglected within the area of cultural studies. But as the baby boomer generation, who has always redefined the different stages of life (youth, adulthood, middle age), is entering old age, things are slowly changing. Utilizing a post-structural framework, this essay investigates the visual representation of elderly within the cinematic landscape of the western world. Since the subject is somewhat uncharted territory, a broad interdisciplinary approach is necessary where modern social gerontology meets the field of cinema studies. In a cultural context, social grouping based on age implies a distinct position versus the normative, compare to other types of minorities. Changes of sex, skin colour or sexual preference are uncommon, whereas changing age is the fate of every human being. The elderly as the “the Other” is thus every man’s future destiny. This rather unique position carries an immanent paradox since the only way to avoid the periphery in question is death. As a philosophical counterpoint to this rather dystopian outlook, Gilles Deleuze’s theory of becoming is brought into the discussion. The theoretical part of the essay ends with the ontology of age, a historical review of the field of gerontology and the concept of ageism. After a descriptive section, where contemporary examples of film and other media with old age as a main theme are identified, the analytical part of the essay ensues. With the French sociologist Pierre Bourdieu as a theoretical frame of reference, a close reading of the films Avalon (Axel Petersén, 2011), About Schmidt (Alexander Payne, 2002) and RED (Robert Schwentke, 2010) are performed, emphasising aging identity and imposed age-normative behaviour. The semiotics of the aged body is discussed through Jacques Lacans mirror stage and Julia Kristevas abject theory, exemplified by the works of Donigan Cumming. The final part of the essay concerns the great eternal questions within film philosophy: life, death, time and memory, which for the elderly are not merely philosophical concerns but rather notable existential realities. Using Deleuze as a philosophical toolbox, these grand topics are illuminated with examples from The Curious Case of Benjamin Button (David Fincher, 2008), Amour (Michael Haneke, 2012) and Ingmar Bergmans classical works, such as Smultronstället (1957), Saraband (2003) and Gycklarnas afton (1953).
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Gustafsson, Fredrik. "Hasse Ekman : a question of authorship in a national context." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3421.
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This thesis takes a historical approach to its subject and focuses on Swedish cinema of the 1940s and 1950s. The thesis argues that Swedish cinema experienced a renaissance in the 1940s, lasting approximately from 1940 to 1953. It further suggests that one of the most important filmmakers in this renaissance was Hasse Ekman. By focussing upon Ekman and this renaissance, a much-needed contextualisation of Ingmar Bergman will be achieved. Ingmar Bergman is one of the most well-known and well-researched filmmakers of all time, but there are still gaps in the material surrounding him, and one such gap concerns his cinematic origins. Bergman was a part of the 1940s renaissance, during which Bergman worked with, and was influenced by, other filmmakers and in particular Ekman. The thesis is divided into three parts. The first part introduces the relevant literature and discusses ideas of authorship and national cinema. It also provides a historic overview of Swedish society and cinema during the 1940s and 1950s, providing the context needed to better understand the films of Ekman, and Bergman too. This part also looks at the 1930s to illustrate what came before this renaissance, and how the films of the 1940s differed from what had gone before. The second part is a chronological overview of Ekman's career from the late-1930s to his move to Spain in 1964. The last part is a discussion of Ekman's relation to Swedish society and his view of the world, based on close textual readings of his films. The aim of the thesis is to present, for the first time, a coherent and extensive overview of Ekman's career and body of work, while also situating it in the specific context in which it emerged, thereby shedding new light on an important, though neglected, episode in cinema history.
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Tisseur, Pierre. "Coulisses : scénario original ; suivi de Condensation et déplacement dans l'onirisme au cinéma." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27548/27548.pdf.
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Kainrathová, Edita. "Sven Nykvist a jeho práce se světlem." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202819.
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The subject of my thesis is the work of the cinematographer Sven Nykvist. The
center of the work is the subject of light, its analysis, its meaning and use in a
film`s story. In the conclusion of my work I mention his worldwide success.
Based on his biographical data I attempt to look into his personal life, and on a
more general level, I consider the theme of creative work versus personal and
family life.
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Lee, Ik-Joo. "Les images du paysage insulaire cinématographique : une dialectique de la fermeture et de l'ouverture." Paris 1, 2012. http://www.theses.fr/2012PA010599.
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L'île n'est pas seulement cet espace naturellement isolé, qui peut figurer métaphoriquement l'espace d'une fermeture. Dans l'histoire occidentale, et dés la culture grecque antique, l'image de l'île a toujours été en même temps celle de la fermeture et de l'ouverture. Cette dialectique de deux images qui s'opposent font de l'île par excellence un « espace abstrait », espace dont la complexité ne peut être rendue par une image visuelle au moyen d'une figuration simple. C'est ainsi que pour les cinéastes (modernes) le paysage insulaire est devenu de façon privilégiée l'espace d'une expérimentation cinématographique comme les films de l'île de Farö d'Ingmar Bergman, "Printemps, été, automne, hiver. . . Et printemps" de Kim Ki-duk, "LÎle nue" de Kaneto Shindo et la trilogie de "LÎle-aux-Coudres" de Pierre Perrault.
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Bootes, Christine Diane. "Crises of the self: an examination of alienation in Ingmar Bergman's film trilogy." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192292.
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Bergmann-Wolf, Inga [Verfasser]. "Oceanographic applications of GRACE gravity data on global and regional scales / Inga Bergmann-Wolf." Berlin : Freie Universität Berlin, 2016. http://d-nb.info/1082237965/34.
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Eby, Caitlin C. "A Lighting Design for Ingmar Bergman's Nora| Using Light and Sky to Explore the Perils of Gender Roles and the Agency of Women." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10750013.
Full textAbstract:
Nora is the story of a woman struggling with her agency in a world in which men dominate. My lighting design for the play was embodied by a vast sky made of light with a low- hanging sun that symbolized how the power of women held back by their circumstances of time, place, and the strict gender roles therein. Contrasted by the harsh lighting of her home, the lighting heightens Nora’s feelings of oppression and underlying desire to break free from societal norms and take agency over her life.
The following report examines the point of view, inspiration, development, final execution, and a self-critique of the lighting design by Caitlin C. Eby for California State University, Long Beach Theatre Arts Department’s 2017 Cal Rep production of Nora by Ingmar Bergman. It is submitted in partial fulfillment for completion of the Master of Fine Arts degree option in Lighting Design.
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Antonino, Martina. "Bergmans spelifierade landskap : Interaktioner mellan det digitala och det rumsliga, där användarens intressen, drivkrafter och motiv ingår i spelet." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-48726.
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This is a thesis in information design focusing on spatial design. This project is a collaboration with visitor center Bergmancenter on Fårö, who has asked for an interactive aspect to their permanent exhibition Fårö – Ingmar Bergman’s Filmic landscape. Bergmancenter is open for the public during the summer season, May to September. Fårö, which has a population of 500, is a popular destination, which makes the number of inhabitants increase significantly during the summer. Tourism significantly affects Bergmancenter. This work will be based on how exhibition content can be shaped so that it benefits the users who visit Bergmancenter as a quick stop on their way through Fårö, a crowd of users with different conditions in previous knowledge, interests and motivation. The work is partly based on theories in exhibition design – storytelling, hierarchies and multimodality. The design concept is based on culture –and media consumption and aims to meet the user’s interests, motives and motivations. By compressing information, distributing it on the user’s terms and allowing the user to create their own experience, the concept allows the user to discover the cinematic landscape on Fårö through the auteur Ingmar Bergman.Detta är ett examensarbete inom informationsdesign med inriktning på rumslig gestaltning. Projektet görs i samarbete med besökscentret Bergmancenter på Fårö, som önskat skapa en interaktiv aspekt till sin basutställning Fårö – Ingmar Bergmans filmiska landskap. Bergmancenter har öppet för allmänheten under sommarsäsongen, maj till september. Fårö, som är ett populärt resmål har 500 invånare, ett antal som ökar markant under sommarsäsongen. Turismen påverkar Bergmancenter signifikant. Arbetet kommer att utgå från hur utställningsinnehållet kan formas så att det kan gynnar användarna som besöker Bergmancenter som ett stopp på vägen genom Fårö, en användarskara med olika förutsättningar när det kommer till förkunskaper, intresse och motivation. Arbetet grundar sig bland annat i teorier inom utställningsdesign – storytelling, hierarkier och multimodalitet. Designkonceptet baserar sig på unga vuxnas kultur- och mediekonsumtion och syftar till att möta användarens intressen, motiv och drivkrafter. Genom att komprimera information, distribuera den på användarens villkor och låta användaren skapa sin egen upplevelse kan konceptförslaget få användaren att upptäcka det filmiska landskapet på Fårö genom auteuren Ingmar Bergman.
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Moňoková, Veronika. "Transcendetálno v díle "Yzur" od Leopolda Lugonese." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313225.
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The diploma thesis attempts to identify transcendental elements of "Yzur", a short story by Leopoldo Lugones. The thesis propounds several theoretical-practical methods regarding the matter. One of the methods is to compare "Yzur" to "Persona", the work of art of the Swedish film maker and screenwriter Ingmar Bergman. The comparison of both texts is based on their complementary reading. It is possible to determinate this way the transcendental points of the short story emerging from the following interlaced levels of the texts: the linguistic level, the stylistic level, the structural level, the thematic level and the interpretative one. One of the most outstanding transcendental elements of "Yzur" is precisely the richness of the possible interpretations. Other important transcendental features include the ambiguity, the contrasts and the active participation of the reader. Key words: Leopoldo Lugones, Persona, Ingmar Bergman, transcendental