Maaret Koskinen, a professor of cinema studies and film critic for Sweden's largest national daily newspaper, was the first scholar given access to Bergman's private papers during the last years of his life.
Author: Maaret Koskinen
Publisher: University of Washington Press
Category: Performing Arts
Ingmar Bergman's 1963 film The Silence was made at a point in his career when his stature as one of the great art-film directors allowed him to push beyond the boundaries of what was acceptable to censorship boards in Sweden and the United States. The film's depiction of sexuality was, as Judith Crist wrote at the time in the New York Herald-Tribune, "not for the prudish." Yet Bergman's notebooks and screenplays reveal his tendency for self-censorship, both to dampen the literary quality of his screenwriting and to alter portions of the script that Bergman ultimately deemed too provocative. Maaret Koskinen, a professor of cinema studies and film critic for Sweden's largest national daily newspaper, was the first scholar given access to Bergman's private papers during the last years of his life. Bergman's notebooks reveal the difficulties he experienced in writing for the medium of moving images and his meditations on the relationship (or its lack) between moving images and the spoken or written word. Koskinen's attention to this intermedial framework is anchored in a close reading of the film, focusing on the many-faceted relationships between images and dialogue, music, sound, and silence. The Silence offers filmgoers an entryway into the cinematic, cultural, and sociopolitical issues of its time, but remains a classic - rich enough for scrutiny from a variety of perspectives and methodologies. Koskinen draws a picture of Bergman that challenges the traditional view of him as an auteur, revealing his attempts to overcome his own image as a creator of serious art films by making his work relevant to a new generation of filmgoers. Her exploration of the film touches on issues of censorship and the cinema of small nations, while shedding new light on the shifting views of Bergman and auteurist film, high art, and popular culture.
Interdisciplinary in nature, this book bridges the fields of music, sound, and film.
Author: Alexis Luko
Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman is the first musical examination of Bergman’s style as an auteur filmmaker. It provides a comprehensive examination of all three aspects (music, sound effects, and voice) of Bergman’s signature soundtrack-style. Through examinations of Bergman’s biographical links to music, the role of music, sound effects, silence, and voice, and Bergman’s working methods with sound technicians, mixers, and editors, this book argues that Bergman’s soundtracks are as superbly developed as his psychological narratives and breathtaking cinematography. Interdisciplinary in nature, this book bridges the fields of music, sound, and film.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online.
Author: Source Wikipedia
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (films not included). Pages: 37. Chapters: Wild Strawberries, Cries and Whispers, The Seventh Seal, Persona, Ingmar Bergman filmography, The Silence, Through a Glass Darkly, The Magic Flute, The Virgin Spring, Fanny and Alexander, Winter Light, Summer Interlude, Scenes from a Marriage, Hour of the Wolf, Shame, Smiles of a Summer Night, Saraband, Autumn Sonata, Face to Face, The Passion of Anna, Summer with Monika, The Serpent's Egg, The Touch, A Ship to India, Music in Darkness, The Magician, From the Life of the Marionettes, Port of Call, Secrets of Women, After the Rehearsal, The Image Makers, Dreams, Crisis, The Rite, Brink of Life, In the Presence of a Clown, The Devil's Eye, It Rains on Our Love, A Lesson in Love, Mr. Sleeman Is Coming, Thirst, Sawdust and Tinsel, This Can't Happen Here, All These Women, Prison, Rabies, The Venetian, To Joy, Karin's Face, The Making of Fanny and Alexander. Excerpt: The Seventh Seal (Swedish: ) is a 1957 Swedish film written and directed by Ingmar Bergman. Set during the Black Death, it tells of the journey of a medieval knight (Max von Sydow) and a game of chess he plays with the personification of Death (Bengt Ekerot), who has come to take his life. Bergman developed the film from his own play Wood Painting. The title refers to a passage from the Book of Revelation, used both at the very start of the film, and again towards the end, beginning with the words "And when the Lamb had opened the seventh seal, there was silence in heaven about the space of half an hour" (Revelation 8:1). Here the motif of silence refers to the "silence of God" which is a major theme of the film. The film is considered a major classic of world cinema. It helped Bergman to establish himself as a world-renowned director and contains scenes which have become iconic through parodies and homages. The Jesuit...
Acknowledged as one of the greatest filmmakers of this or any other time, Bergman has with few exceptions written his own screenplays—an uncommon practice in the film industry—and for this practice critics refer to him as a "literary" ...
Author: Frank Gado
Publisher: Duke University Press
Category: Performing Arts
Acknowledged as one of the greatest filmmakers of this or any other time, Bergman has with few exceptions written his own screenplays—an uncommon practice in the film industry—and for this practice critics refer to him as a "literary" filmmaker: In this work, Gado examines virtually the entire range of Bergman's literary output. While treating the matter of the visual preentation fo Bergman's films, Gado concentrates on story and narrative and their relationship to Bergman's personal history. Gado concludes that whatever the outward appearance of Bergman's works, they contain an elementary psychic fantasy that links them all, revealing an artist who hoped to be a dramatist, "the new Strindberg," and who saw the camera as an extension of his pen.
Hamilton, W. 'Ingmar Bergman and the Silence of God'. Motive 27, no. 2 (November) 1966: 36- 41. Addresses the most common theme discussed in Bergman's films ...
Author: Birgitta Steene
Publisher: Amsterdam University Press
Category: Performing Arts
Exhaustive compendium by one of the world's foremost experts on the Swedish master covers Bergman's life, his cultural background, his entire artistic career and extensive annotated bibliographies of interviews and critical writings on Bergman.
This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei Tarkovsky-Bergman's The Seventh Seal (1957), Through a Glass Darkly (1961), Winter Light (1963), and The Silence (1963), and Tarkovsky's Stalker (1979), ...
Author: Phoebe Pua
Category: Death of God theology
This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei Tarkovsky-Bergman's The Seventh Seal (1957), Through a Glass Darkly (1961), Winter Light (1963), and The Silence (1963), and Tarkovsky's Stalker (1979), Nostalghia (1983), and The Sacrifice (1986). These films were chosen as they represent the deepest periods of two directors' engagements with the possible death of God and the subsequent loss of intrinsic existential meaning-topics with which this thesis is principally concerned. As a starting point, this thesis argues that the films present the silence of God as the primary indicator of God's absence from the human world. Becoming aware of this silence thus causes one to interrogate religious certainties which have hitherto been taken to be timeless and true. This thesis then contends that, when faced with this silence and its implications, Bergman desperately sought evidence of God's existence while Tarkovsky unyieldingly maintained an attitude of faith. The directors' progressions toward these contrasting positions are evident through the uses of sound elements in their films. As Bergman unsuccessfully pursued evidence of God's existence, the soundscapes in his four films become increasingly minimal. The sparse use of sound reveals Bergman's conception of a Godless void. On the other hand, metaphysical silence in Tarkovsky's films was not perceived as emptiness. Instead, "silence" in his films was, paradoxically, often depicted through complex layers of sounds. Presented as manifestations of the metaphysical, the sounds of "silence" in Tarkovsky's films consequently become affirmations of faith. Through this sound-based approach to film analysis, this thesis sets out to explain why Bergman and Tarkovsky understood metaphysical silence so differently by examining how they portrayed literal silences.