Ingmar Bergman's Persona
Long held to be among the world's greatest filmmakers, Ingmar Bergman shaped international art cinema from the 1950s to the 1980s. Among his many works, Persona is often considered to be his masterpiece and is often described as one of the central works of Modernism. Bergman himself claimed that this film 'touched wordless secrets only the cinema can discover'. The essays collected in this volume, and published for the first time, use a variety of methodologies to explore topics such as acting technique, genre, and dramaturgy. It also includes translations of Bergman's early writings that have never before been available in English, as well as an updated filmography and bibliography that cover the filmmaker's most recent work.
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Bergmans Persona through a Native Mindscape
Persona and the 1960s Art Cinema
Scenes from the Class Struggle in Sweden Persona as Brechtian Melodrama
Persona and the Seduction of Performance
Feminist Theory and the Performance of Lesbian Desire in Persona
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actors actress Alf Sjoberg Alma and Elisabet Alma's Anna art cinema artist audience Autumn Sonata beach becomes begins Bergman's film Bergman's Persona Bibi Andersson Birger Malmsten Brechtian camera characters close-up Cries and Whispers critics dramaturgy dream Dreamplay Eastmancolor Egerman Electra Elisa Elisabet Elisabet Vogler Elizabeth emotional Erland Josephson essay Eva Dahlbeck face Fanny and Alexander fantasy film's filmmaking Godard Gunnar Bjornstrand Gunnar Fischer Cast Harriet Andersson Henrik heterosexual hospital husband Ingmar Bergman Director Ingmar Bergman Photography Ingrid Thulin lesbian lesbian desire lesbian phallus Liv Ullmann Max von Sydow melodrama modernist monologue mother movie mute narrative nurse's Oedipal performance play Production psychiatrist psychological queer reading relationship role Royal Dramatic Theater scene screen seems self-reflexive sequence sexual shot silence social Sontag spectator stage Stig Stockholm story Strindberg's studio Summer Night Sven Nykvist Sven Nykvist Cast Svensk Filmindustri Screenplay Swedish theatrical theme tion Victor Sjostrom viewer women York
Página 16 - ... advantage of a certain human weakness, an apparatus with which I can sway my audience in a highly emotional manner — make them laugh, scream with fright, smile, believe in fairy stories, become indignant, feel shocked, charmed, deeply moved or perhaps yawn with boredom. Thus I am either an impostor or, when the audience is willing to be taken in, a conjurer.
Página 16 - I see a film which has a running time of one hour, I sit through twenty-seven minutes of complete darkness— the blankness between frames. When I show a film I am guilty of deceit. I use an apparatus which is constructed to take advantage of a certain human weakness, an apparatus with which I can sway my audience in a highly emotional manner...