Ingmar Bergman's Persona

Lloyd Michaels, Horton Andrew
Cambridge University Press, 2000 - 191 páginas
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
Bergmans Persona
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
Reviews of Persona
Select Bibliography
Photographic Credits
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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 20 - The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.
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...
Página 16 - This little rickety machine was my first conjuring set. And even today I remind myself with childish excitement that I am really a conjurer, since cinematography is based on deception of the human eye.

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