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Journal articles on the topic 'Ingmar Bergman'

Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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1

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

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

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2

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

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3

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

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4

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

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5

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

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

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6

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

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7

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

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8

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

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9

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

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10

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

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Abstract Ingmar Bergman’s film Skammen [Shame] (1968), about a married couple trapped between the warring parties in a bloody civil war, triggered fierce ideological debate in Sweden. According to the harsh critics of the film, among whom the leading critic was well-known author Sara Lidman, Bergman had managed to create propaganda for the American government and its controversial war in Vietnam. In the present paper, the debate is studied historically in relation to ongoing research about the culture of the late 1960s in Sweden. The studied material consists of press clippings, Bergman scholarship, and Bergman’s own recently released papers at the Ingmar Bergman Foundation Archive in Stockholm. Furthermore, questions about meaning and interpretation regarding film viewing are dealt with, taking into consideration developments in contemporary film theory.

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11

Bain, Sophia. "A Service of Uncertainty." Film Matters 13, no. 2 (September 1, 2022): 114–16. http://dx.doi.org/10.1386/fm_00237_4.

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12

José, Monseny Bonifasi. "Les Femmes, le silence et le réel chez Ingmar Bergman." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 15–28. http://dx.doi.org/10.24193/subbdrama.2021.1.01.

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"The Women, the Silence and the Real in Ingmar Bergman. The main aim of this paper is to provide a psychoanalytic interpretation of the scream in the films of Ingmar Bergman, starting from Jacques Lacan’s consideration that the scream constitutes the abyss from which the silence emerges. After the outline of the difference between Silet and Taceo, the paper approaches three important aspects in the films of Bergman: the space of silence enveloping the silence of the film characters, the silence beyond the phallic, masculine order, and the silence as an empty void impossible to fill in the scream of Agnes (from Cries and Whispers). Keywords: woman, silence, real, anxiety, scream, death, dying, emptiness, voice. "

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13

Rey, Sandro Romero. "En el planeta Ingmar Bergman." Estudios Artísticos 5, no. 6 (January 3, 2019): 30–43. http://dx.doi.org/10.14483/25009311.14098.

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Fårö es una isla situada en el mar Báltico, al norte de la isla de Gotland. Allí, el director de cine sueco Ingmar Bergman estableció su residencia, donde rodaría algunas de las películas más importantes de su filmografía. El presente texto, es el resultado de un viaje al epicentro creativo de uno de los realizadores más importantes de la historia. La obra de Bergman, tanto para el teatro, como para la radio, el cine y la televisión, representa uno de los mejores ejemplos de lo que dio a llamarse “la creación de autor”. Poseedor de un estilo único y desgarrador, Bergman se aferró a los oficios de la representación con toda la vehemencia de un explorador radical de los asuntos de la vida y de la muerte. “El séptimo sello”, “Persona”, “Vergüenza”, “La hora del lobo”, “Escenas de un matrimonio”, “Fanny y Alexander”, entre muchas otras, forman parte del patrimonio artístico de la humanidad y recorrer los pasos de su gestor se convierte en una obra de arte en sí misma: trayecto de iniciación hacia los misterios de una industria que, gracias a los artificios de personalidades insustituibles como la de Ingmar Bergman, representa hoy por hoy, el triunfo de un estilo y de una tradición sin concesiones

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14

Mróz, Jowita. "Wątki egzystencjalne w twórczości Bergmana." Hybris 50, no. 3 (September 30, 2020): 44–74. http://dx.doi.org/10.18778/1689-4286.50.04.

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Ingmar Bergman wniósł do dyskusji o sztuce własną estetykę i autorski język. Zastanowię się, czy wykorzystywał filmowe medium do filozofowania w duchu egzystencjalizmu. Analizując Więzienie, Siódmą pieczęć, Tam, gdzie rosną poziomki, Gości Wieczerzy Pańskiej i Szepty i krzyki odwołuję się do: wypowiedzi artysty, interpretacji badaczy jego filmów i filozofii egzystencjalnej – Kierkegaarda, Sartre’a, Heideggera i Jaspersa. Perspektywa interpretacyjna, którą przyjmuję jest panoramiczna. Zakładam za Höök i Bergom-Larsson, że twórczość Bergmana stanowi spójną całość. W takiej perspektywie nie tylko ujawniają się związki filmów Bergmana z filozofią egzystencjalną, ale również jego filozoficzny punkt widzenia.

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15

Avancini, Atílio. "Instantes Mágicos de Ingmar Bergman." Intexto, no. 50 (August 31, 2020): 111–26. http://dx.doi.org/10.19132/1807-8583202050.111-126.

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O artigo tem por objeto o documentário A ilha de Bergman (2006) de Marie Nyreröd. O objetivo é estudar o pensamento cinematográfico do diretor Ingmar Bergman (1918-2007) ao analisar criticamente duas de suas obras clássicas: O sétimo selo (1956) e Persona (1965). Esta pesquisa privilegia a utilização de conceitos sobre a mensagem cinematográfica dentro do método teórico da mensagem obtusa de Roland Barthes. O pensamento do cineasta baseado em questões existenciais traz como resultado a dualidade vida-morte e realidade-ficção, e também o impacto poético de suas ideias para a atualidade. As contradições da vida são as inquietações do diretor sueco, que lança perguntas sem respostas definitivas. A conclusão é de que a sua obra autoral, baseada nesses dois filmes, procura buscar a perfeição e a dimensão psicológica-existencial, além de desvendar o caminho da interioridade.

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16

Marker, Lise-Lone, and Charles Leland. "Ingmar Bergman directed Chesterton's "Magic"." Chesterton Review 20, no. 1 (1994): 124. http://dx.doi.org/10.5840/chesterton199420125.

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17

Tóthová, Kristína. "Ingmar Bergman, the multimedial author." Theatralia, no. 1 (2019): 129–31. http://dx.doi.org/10.5817/ty2019-1-15.

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18

Azzam Gómez, Marcos. "Die Musik in Ingmar Bergmans Filmen." Kieler Beiträge zur Filmmusikforschung 11 (July 7, 2023): 278–301. http://dx.doi.org/10.59056/kbzf.2014.11.p278-301.

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In diesem Artikel werden einige generalisierbare Ergebnisse meiner Dissertation präsentiert, die Ende 2012 an der Universität von Salamanca (Spanien) verteidigt wurde und welche die Erforschung der Verwendung, Funktionalität und der Präsenz der Musik im Kino von Ingmar Bergman zum Gegenstand hat. Was die bereits vorhandene klassische Musik betrifft, so sind neben anderen bedeutenden Komponisten, die der Regisseur in sein Kino aufgenommen hat, vor allem die Werke von Johann Sebastian Bach hervorzuheben, daneben Chopin, Beethoven, Schumann und D. Scarlatti. Als Urheber von Original-Kompositionen für Bergmans Filme sind insbesondere Erland von Koch, Erik Nordgren und Lars Johan Werle zu erwähnen. Der vorliegende Artikel beschäftigt sich daneben auch mit interdisziplinären Aspekten der Musik, sprich, mit ihrer Beziehung zur Soziologie, Psychologie und Ästhetik in jenen Spielfilmen, bei denen das Drehbuch Anlass zu Überlegungen dieser Art gibt.

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19

Ford, Hamish, and Daniel Humphrey. "Situating Ingmar Bergman and world cinema." Popular Communication 19, no. 2 (April 3, 2021): 66–79. http://dx.doi.org/10.1080/15405702.2020.1868047.

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20

Kielemoes, Oswald. "No en Classicisme by Ingmar Bergman." Documenta 8, no. 4 (May 3, 2019): 204–7. http://dx.doi.org/10.21825/doc.v8i4.11075.

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21

Silva, Taísa M. Pinheiro, Dantielli Assumpção Garcia, Elaine Pereira Daróz, and Lucília Maria Abrahão e. Sousa. "O SONHO DE INGMAR BERGMAN: GRITOS E SUSSURROS, UMA MATERIALIDADE SIGNIFICANTE A COMPREENDER." Fragmentum, no. 54 (February 10, 2020): 159–78. http://dx.doi.org/10.5902/2179219438896.

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Neste texto, objetivamos, mobilizando como perspectiva teórica a Análise de Discurso, analisar como filme de Ingmar Bergman Gritos e Sussurros constrói suas personagens femininas, inscrevendo-as em uma tensão entre “revelar” e “ocultar” o seu (não) desejo de si.

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22

Vasseur-Legangneux, Patricia. "La mise en scène des Bacchantes par Ingmar Bergman." Kentron 14, no. 1 (1998): 173–87. http://dx.doi.org/10.3406/kent.1998.1598.

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La dernière oeuvre d’Euripide sera certainement la dernière mise en scène théâtrale du créateur suédois. C’est pourquoi on peut trouver dans ce spectacle toutes les questions qui préoccupent Bergman : la folie, la question de l’existence de Dieu, le rôle du théâtre dans la vie. Bergman pense qu’Euripide révèle le théâtre comme un monde, dangereux mais nécessaire, d’illusion et de de mensonges. Il donne ainsi au chœur un important rôle dramaturgique : les Bacchantes sont une troupe d’actrices qui installent le décor et invoquent sur scène la puissance de leur dieu. Elles utilisent des doubles de Dionysos et Penthée pour indiquer que tout ce que nous voyons n’est qu’une représentation théâtrale. De la même façon, Bergman montre comment le dieu du théâtre entraîne le roi Penthée dans son monde factice pour le conduire à la mort. Dès leur première confrontation, Dionysos séduit son cousin et prend le pouvoir sur lui malgré la violence dont use Penthée. Ainsi le monde du théâtre est plus réel et plus efficace qu’une tyrannie.

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23

Pērkone-Redoviča, Inga. "THE LONELINESS OF THE STRAWBERRY FIELD. PĒTERIS LAĶIS, INGMAR BERGMAN AND THE CINEMA ESSAY." Culture Crossroads 6 (November 14, 2022): 13–18. http://dx.doi.org/10.55877/cc.vol6.249.

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This article, written in a form of an essay, reviews the theoretical work of the Latvian philosopher Pēteris Laķis, in particular the essay devoted to the understanding of time; it also analyses the parallels with the creative work of the Swedish cinema and theatre director Ingmar Bergman. Ingmar Bergman’s films that were shown in the Soviet Union, especially his film “Wild Strawberries” (1957) had an immense effect upon thinking of the new genera- tion by expanding perceptions about the borders of both reality and art.

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McIlroy, Brian. "Birgitta Steene. Ingmar Bergman: A Reference Guide." Scandinavian-Canadian Studies 16 (December 1, 2006): 143–44. http://dx.doi.org/10.29173/scancan16.

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25

Ohlin, Peter. "Ingmar Bergman: Magician and Prophet Marc Gervais." Canadian Journal of Film Studies 9, no. 2 (October 2000): 86–89. http://dx.doi.org/10.3138/cjfs.9.2.86.

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26

Holmberg, Jan. "Film jako zajížďka. Ingmar Bergman jako spisovatel." Theatralia, no. 1 (2019): 105–13. http://dx.doi.org/10.5817/ty2019-1-10.

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27

Blackwell, Marilyn Johns. ": The Passion of Ingmar Bergman . Frank Gado." Film Quarterly 41, no. 3 (April 1988): 51–53. http://dx.doi.org/10.1525/fq.1988.41.3.04a00120.

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28

Dąbrowski, Radosław. "Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 87–107. http://dx.doi.org/10.14746/i.2018.33.08.

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Krzysztof Kieślowski and Ingmar Bergman belonged to different generations of film authors, but there was a certain artistic kinship between them. They were both interested in issues related to human existence, but their films also seem similar in terms of their aesthetic dimensions, in particular, their cinematographic style. Both directors also created films deriving from their private experience, often creating characters on screen who seem to be in some respect their alter egos. This articles deals with various similarities between the cinema of Kieślowski and Bergman.

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29

Pieper, Frederico. "Diálogos possíveis. As ambiguidades da vida em Paul Tillich e Ingmar Bermgan." Correlatio 16, no. 1 (August 18, 2017): 259. http://dx.doi.org/10.15603/1677-2644/correlatio.v16n1p259-289.

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Esse texto explora a relação entre linguagem cinematográfica e filosófica para se pensar a religião. Dessa perspectiva, o artigo propõe um diálogo entre Paul Tillich e o cineasta Ingmar Bergman sobre a constituição de si e o lugar do religioso nesse processo. Ambos concebem a vida como marcada pela ambiguidade, propondo o amor como possibilidade de superação do isolamento de si. Apesar das divergências no que concerne ao lugar da religião nesse processo, Bergman nos permite entrever a dificuldade existencial daquilo que Tillich pensa teoricamente.

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Mrozek-Sadowska, Ewa. "Fårö, wyspa Bergmana." Studia Scandinavica, no. 2 (22) (December 28, 2018): 26–45. http://dx.doi.org/10.26881/ss.2018.22.02.

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This paper is an attempt to investigate the relationship between Ingmar Bergman, the Swedish auteur and the island of Fårö in the Baltic, where he worked and lived for 40 years. Bergman said: “If one wished to be solemn, it could be said that I had found my landscape, my real home; if one wished to be funny, one could talk about love at first sight.” He discovered the island when looking for a location to shoot Through a Glass Darkly. Including Through a Glass Darkly, Bergman was to shoot six films and one television series on Fårö. He also made two documentary films about the island and its inhabitants: Fårö Document 1969 and Fårö Document 1979.

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Botvinova, E. D. "I. Rubanova. <i>Bergman. Theatre. Cinema</i>." Voprosy literatury, no. 3 (June 14, 2023): 198–203. http://dx.doi.org/10.31425/0042-8795-2023-3-198-203.

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The review discusses the first monograph about Ingmar Bergman in the Russian language. The author I. Rubanova refrains from a classical biography to offer an intellectual journey through the master filmmaker’s creations. In the scope of the book are works of a young Bergman as well as creations of an aging artist. Rubanova seems fascinated with Bergman’s lasting image in culture rather than the precise story of his directorial career. Dismissing the cliché about the artist as a loner, the author opens the way for new appreciation of I. Bergman. In the centre of Rubanova’s biographical sketches is Bergman’s little-known career as a playwright. Describing Bergman’s contemporary literary milieu, the author mentions his main influences. Rubanova points out that Bergman’s playwrighting follows the traditions of the national and world theatres, and describes it in terms of two main parallels: Strindberg – Bergman and Shakespeare – Bergman. Gleaning the smallest details relevant to Bergman’s image, Rubanova creates a story about the genius’s artistic evolution.

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García-Mansó, Angélica. "El sueño del filme 'Pasión' (1969) como viaje inverso de 'La vergüenza' (1968) en Ingmar Bergman." Área Abierta 21, no. 3 (October 13, 2021): 405–18. http://dx.doi.org/10.5209/arab.74096.

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Se analiza la escena del sueño de Anna en el filme Pasión (1969), de Ingmar Bergman, en tres niveles: en primer lugar, como relato autónomo; en segundo lugar, en el contexto del filme; y, finalmente, en relación con la película La Vergüenza (1968), del mismo Bergman, que es inmediatamente anterior y de la que proceden las imágenes. Se infiere respectivamente la importancia de lo extradiegético en el filme, una clave de lectura inversa a la que se ofrece en La Vergüenza y, finalmente, un paralelismo mitológico derivado de una aproximación comparada. Al cabo, sueño, mito y cine se manifiestan en Bergman como los tres lados de un triángulo sobre la exégesis de un filme, según confirma el relato del sueño escrito por el mismo director.

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Törnqvist, Egil. "Ingmar Bergman Directs ‘Long Day's Journey into Night’." New Theatre Quarterly 5, no. 20 (November 1989): 374–83. http://dx.doi.org/10.1017/s0266464x00003699.

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In connection with the Eugene O'Neill centenary in 1988 Ingmar Bergman directed Long Day's Journey into Night at the Royal Dramatic Theatre in Stockholm, where this play (like A Touch of the Poet and Hughie), also had its world premiere. While the director of the 1956 production, Bengt Ekerot, settled for a realistic approach. Bergman's pruned version, widely acclaimed both inside and outside Sweden, is existentially stylized. Here Egil Türnqvist discusses especially the visual aspects of the production, partly on the basis of information from the scenographer, Gunilla Palmstierna-Weiss. Egil Törnqvist received his doctorate from Uppsala University in 1969, and since then has been Professor of Scandinavian Studies at the University of Amsterdam. His publications include A Drama of Souls: Studies in O'Neill's Super-Naturalistic Technique (1968). Strindberg och Bergman: Spöksonaten – drama och iscensättning (1973), Strindbergian Drama: Themes and Structure (1982), and (with Barry Jacobs) Strindberg's Miss Julie: a Play and Its Transpositions (1988). He contributed a production study of Bergman's production of Strindberg's Ghost Sonata to the original series of Theatre Quarterly, No. 11 (1973).

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Leopoldo, Rafael. "INGMAR BERGMAN E A FILOSOFIA EXISTENCIAL: NOTAS SOBRE O FRACASSO E A MATURIDADE AMOROSA." Sapere Aude 7, no. 13 (December 5, 2017): 462. http://dx.doi.org/10.5752/p.2177-6342.2016v7n13p462.

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<p>O presente texto visa analisar a experiência cinematografia de Ingmar Bergman, e principalmente seu filme <em>Monika e o Desejo</em>, como também vários autores da filosofia da existência, para refletir sobre o fracasso e a maturidade amorosa. Com relação à filosofia existencial são salientados os autores Jean-Paul Sartre e Albert Camus. Com relação ao primeiro filósofo aponto, principalmente, a sua visão das relações humanas como conflitivas, a vontade de solidão dos amantes, o ser em abertura para o outro, como também a liberdade. Com relação ao segundo filósofo saliento o seu conceito de “absurdo” e as relações que podem se tornar mecânicas, o mundo que pode desmoronar na perda de sentido. Ao final do texto tento esboçar algumas hipóteses, sobre uma famosa cena deste filme. Trata-se do plano-olhar de Monika que foi comentado por Jean-Luc Godard. É exatamente esta cena o cume sobre estas notas do fracasso e também da maturidade amorosa.</p>PALAVRAS-CHAVES: Filosofia da existência. Fracasso amoroso. Amor. Ingmar Bergman.

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35

Chen, Yue. "The Redemption of Oedipus: A Discussion on the Father Images in Ingmar Bergman’s Films from 1953 to 1982." International Journal of Arts and Humanities Studies 3, no. 1 (March 17, 2023): 70–76. http://dx.doi.org/10.32996/ijahs.2023.3.1.10.

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The intention of this essay is to track the evolving father characters in Ingmar Bergman’s films through three decades. By case studying the constitution of father characters in Summer with Monica (1953), Wild Strawberries (1957), Fanny and Alexander (1982) and textual analyzing the context from the biography and interviews of Ingmar Bergman, this essay would capture the recurring features of those father images and reveal how they vary not only along with the promotion of gender equality and women’s economic empowerment at the societal level but also following Bergman’s paradoxical process of struggling from rebelling against to reconciling with fatherhood. It is noteworthy that a growing yearning for reconciliation has occurred in Bergman’s films since 1953, compared with the hateful spiritual patricide reflected in those earlier works. By referring to Kohut’s (1984) reconceptualization of the Freudian Oedipus complex, this essay would exhibit this trajectory of transforming father images in Bergman’s film as a journey of self-redemption, and confirm that Bergman has reconciled with his paternal dilemma and himself within Fanny and Alexander.

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Da Silva, Valney Veras, and Jose da Cruz Lopes Marques. "A fé que oprime em Ingmar Bergman: Considerações a partir de “Luz de Inverno” e “O Sétimo Selo”." TEOLITERARIA - Revista de Literaturas e Teologias ISSN 2236-993 7, no. 13 (July 21, 2017): 264. http://dx.doi.org/10.19143/2236-9937.2017v7n13p264-287.

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O presente artigo tenciona propor um diálogo entre teologia e cinema, tendo como fio condutor a temática da fé e suas possíveis relações à luz da doutrina cristã. Para este fim, a discussão será conduzida a partir de dois filmes que aprofundam a problemática da fé. A visão de uma fé que oprime, angustia e desespera em virtude de seu caráter paradoxal e absurdo será discutida a partir dos filmes Luz de inverno e O sétimo selo do cineasta sueco Ingmar Bergman. Eventualmente, recorreremos a categorias da filosofia kierkegaardiana a fim de lançar luz ao entendimento apresentado por Bergman nos filme supracitados.

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Rodríguez Serrano, Aarón. "Martin Heidegger en El Rincón de las Fresas Salvajes (Smultronstället, Ingmar Bergman, 1957): narrativas audiovisuales para mostrar la temporalidad." Comunicación y Hombre, no. 12 (June 15, 2016): 273–89. http://dx.doi.org/10.32466/eufv-cyh.2016.12.203.273-289.

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El presente trabajo pretende explorar la posible traducción cinematográfica del término heideggeriano Temporalidad (Zeitlichkeit) tal y cómo queda reflejada en la película Fresas Salvajes (Smultronstället, Ingmar Bergman, 1957). Para ello, se propondrá en primer lugar una aproximación a la problemática estética de Heidegger en su aplicación cinematográfica. Posteriormente, se estudiarán algunos de los diferentes recursos audiovisuales usados por Bergman para encarar la mostración de la temporalidad desde tres perspectivas narrativas diferentes: la presentación del personaje principal, la escritura simbólica de elementos relacionados con el tiempo y su vivencia, y finalmente, la problemática relacionada con el encuentro ante los otros.

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Lopes Marques, José Da Cruz. "A fé que oprime em Ingmar Bergman: Considerações a partir de “Luz de Inverno” e “O Sétimo Selo”." Correlatio 16, no. 1 (August 18, 2017): 237. http://dx.doi.org/10.15603/1677-2644/correlatio.v16n1p237-258.

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O presente artigo tenciona propor um diálogo entre teologia e cinema, tendo como fio condutor a temática da fé e suas possíveis relações à luz da doutrina cristã. Para este fim, a discussão será conduzida a partir de dois filmes que aprofundam a problemática da fé. A visão de uma fé que oprime, angustia e desespera em virtude de seu caráter paradoxal e absurdo será discutida a partir dos filmes Luz de inverno e O sétimo selo do cineasta sueco Ingmar Bergman. Eventualmente, recorreremos a categorias da filosofia kierkegaardiana a fim de lançar luz ao entendimento apresentado por Bergman nos filme supracitados.

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Kraiński, Roman Aleksander. "Obecność Victora Sjöströma w twórczości Ingmara Bergmana na przykładzie filmu "Tam, gdzie rosną poziomki"." Studia Scandinavica, no. 7(27) (December 15, 2023): 63–76. http://dx.doi.org/10.26881/ss.2023.27.05.

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Ingmar Bergman was a filmmaker deeply immersed in the tradition of both classical and silent cinema. It can be inferred from his comments that Victor Sjöström played a particularly important role in his work. This article attempts to trace Sjöström’s influence on the film Wild Strawberries, on which, according to Bergman, he was to have a considerable impact. The study juxtaposes selected elements of Sjöström’s works with the film in focus and presents a broader cinematic-historical context to show Bergman’s profound connection with the silent film era and the significant role that Sjöström played in his development.

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GÓMEZ. "LA MÚSICA EN EL CINE DE INGMAR BERGMAN." Revista de Musicología 35, no. 2 (2012): 363. http://dx.doi.org/10.2307/24246274.

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Larsson, Mariah. "Ingmar Bergman, Swedish sexploitation and early Swedish porn." Journal of Scandinavian Cinema 5, no. 1 (March 1, 2015): 49–61. http://dx.doi.org/10.1386/jsca.5.1.49_1.

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Hanet, Kari. "Review & Booknote: Ingmar Bergman, Film and Stage." Media Information Australia 75, no. 1 (February 1995): 168. http://dx.doi.org/10.1177/1329878x9507500136.

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Cortés Vieco, Francisco José. "'HAMLET' EN EL REINO INFANTIL ESCANDINAVO DE 'FANNY Y ALEXANDER' DE INGMAR BERGMAN." Anuari de Filologia. Literatures Contemporànies, no. 13 (December 30, 2023): 21–43. http://dx.doi.org/10.1344/aflc2023.13.2.

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El escritor y director de cine Ingmar Bergman recolecta ingredientes del universo de Hamlet, tragedia de William Shakespeare, que condimentan su célebre Fanny y Alexander, obra que abre y cierra el telón en la vida de la familia Ekdahl, artistas suecos de ficción del siglo xx, que deambulan desde el orden al caos, desde la desgracia al júbilo y la alegría. La idolatría de Bergman hacia el genial dramaturgo renacentista es germen que fecunda su original creación polimórfica ―relato escrito, película y serie de televisión― con fuerte vocación escénica, y teje un enriquecedor intertexto entre Hamlet y Fanny y Alexander, además de alimentar una simbiosis entre sus respectivos protagonistas: el príncipe danés y un niño sueco. Desterrando cualquier intencionalidad de imitar a Hamlet, la obra de Bergman glorifica la idea común del teatro dentro del teatro, indaga en la condición humana y entroniza la evolución shakesperiana de sus personajes y acontecimientos.

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Gutiérrez Noriega, Mariana. "El cine personal y político de Travis Wilkerson." Interpretatio. Revista de hermenéutica 3, no. 2 (September 13, 2018): 299. http://dx.doi.org/10.19130/irh.3.2.2018.141.

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En el marco de la octava edición del ficunam, que se realizó del 28 de febrero al 6 de marzo de 2018, la Cátedra Ingmar Bergman organizó una clase magistral con el cineasta estadounidense Travis Wilkerson, considerado por algunos como el creador del Tercer Cine. Además de esta clase magistral, el ficunam dedicó una retrospectiva a su trabajo fílmico.

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Aliyevna, Choriyeva Madina. "EXISTENTIALISM AND ITS FUNCTION." Journal of Social Sciences and Humanities Research Fundamentals 3, no. 12 (December 1, 2023): 9–11. http://dx.doi.org/10.55640/jsshrf-03-12-03.

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In this article, the author presented his research resultson the function of existentialism. Existentialism has become a significant phenomenon in Western culture. This philosophy greatly influenced the work of artists Alberto Giacometti and Jackson Pollock, as well as film directors Jean-Luc Godard and Ingmar Bergman. This concept still plays a significant role in the intellectual world today

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liyevna, Choriyeva Madina. "AESTHETICS IN THE WORK OF ABULKASIM FIRDAVS." European International Journal of Pedagogics 3, no. 12 (December 30, 2023): 42–44. http://dx.doi.org/10.55640/eijp-03-12-11.

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In this article, the author presented his research results on the function of existentialism. Existentialism has become a significant phenomenon in Western culture. This philosophy greatly influenced the work of artists Alberto Giacometti and Jackson Pollock, as well as film directors Jean-Luc Godard and Ingmar Bergman. This concept still plays a significant role in the intellectual world today

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Aliyevna, Choriyeva Madina. "RUDAKI AND HIS SOME PHILOSOPHICAL AND ETHICAL VIEWS." Journal of Social Sciences and Humanities Research Fundamentals 3, no. 12 (December 1, 2023): 67–70. http://dx.doi.org/10.55640/jsshrf-03-12-16.

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In this article, the author presented his research results on the function of existentialism. Existentialism has become a significant phenomenon in Western culture. This philosophy greatly influenced the work of artists Alberto Giacometti and Jackson Pollock, as well as film directors Jean-Luc Godard and Ingmar Bergman. This concept still plays a significant role in the intellectual world today

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Hurtado, Guillermo. "Personas en peligro." Revista de filosofía DIÁNOIA 66, no. 86 (May 31, 2021): 79. http://dx.doi.org/10.22201/iifs.18704913e.2021.86.1775.

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Describo tres caminos de personalización: el de la autenticidad, el del reconocimiento y el de la compenetración. En cada uno de ellos se corre el riesgo de caer en “vértigos existenciales” como los descritos por Sören Kierkegaard y Carlos Pereda. Con base en lo anterior, ofrezco una interpretación de la película de Ingmar Bergman Persona y propongo algunas estrategias para el cuidado de la persona.

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Moreta Velayos, Francisco Ignacio, Carolina Moreta Montero, Flori Sánchez de la Mano, Carmen Ramírez Oribe, Manuela Alina Sica Sica, and Nieves Montero Sánchez. "El séptimo sello (1957), entre pestes y sindemias." Revista de Medicina y Cine 18, no. 1 (February 22, 2022): 39–48. http://dx.doi.org/10.14201/rmc.27919.

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Tal que, a otros muchos, sin duda, con el inicio de los confinamientos decretados para intentar contener la actual pandemia, nos vino a la cabeza El séptimo sello (1957) de Bergman, relacionando los acontecimientos del tiempo en que se desarrolla la película con los que vivíamos y vivimos actualmente: la epidemia de Peste Negra que asolaba Suecia en el siglo XIV de un lado y la pandemia por Covid-19 de otro, sindemias ambas como algunos prefieren llamarlas. Tomando como disculpa la obra de Ingmar Bergman nuestra pretensión es hacer algunas comparaciones entre la peste medieval y la pandemia actual aportando algunas reflexiones y opiniones personales surgidas muchas de ellas de nuestra propia experiencia durante estos largos meses.

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Solovyeva, Maria. "Agnes’ Self-Reflection in Ingmar Bergman’s Cries and Whispers." Journal of Flm Arts and Film Studies 11, no. 4 (December 30, 2019): 114–25. http://dx.doi.org/10.17816/vgik114114-125.

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The essay explores Ingmar Bergmans film Cries and Whispers (Viskningar och rop, 1972) from the perspective of the protagonists selfreflection as the main plot-constructing tool. The self-reflection of the main protagonist Agnes is presented by Bergman in a variety of forms which create, by mixing with each other, a polyphony of senses and images. The author analyses those dramatic tools which make it possible to immerse a spectator into Agness inner feelings. Her diary is her conscious self-reflection and, therefore, becomes a cinematic instrument for a study of her psychology. Bergman explores the visual images of the main protagonists self-reflection and, logically, turns them into symbols. This is exemplified by the symbolic comparison of her mothers and her sisters images to a bouquet of magnificent white roses. And then, a close-up of a flower shows symbolically the true nature of Agness mother: the flower turns out to be an artificial one, revealing the hypocrisy of Agness externally beautiful mother. The protagonists conscious striving to understand herself is also revealed through the use of an analytical voice-over monologue accompanying a sequence of reminiscences about the mother. The essay analyses the same sequence from the viewpoint of the objectorientation of Agness self-reflection. Within this sequence, self-reflection changes its object, becoming either introspective or extrospective. Agnes recomprehends herself either through the prism of herself or through the prism of the others. Quick alternation of these two types of self-reflection indicates the causal connection between Agness identity and her relationship with her mother. Significantly, the sequence's ending is the moment of the closest rapprochement between Agnes and her mother - that is, between two types of self-reflection. A protagonist's self-reflection could be an effective tool of creating semantic resonance. An example of this is provided in the film's final sequence, in which Anna, the servant, reads the diary of the dead Agnes. This sequence is a reminiscence of those several minutes of Agness life when she was absolutely happy. It begins with Anna reading the diary and turns into the visualisation of a diary entry accompanied by the Annas voice-over on Agnes's behalf. This creates a triple resonance of the film's semantic content. In the author's opinion, the above examples confirm that a characters selfreflection can become an effective dramatic tool for exploring a characters psychology and a technique of revealing the meanings in their polyphony.

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