Wyniki wyszukiwania - Biblioteka Nauki

1

The Sensation of Time in Ingmar Bergman’s Poetics of Bodies and Minds

100%

Pezzetti F.

Acta Universitatis Sapientiae, Film and Media Studies

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2014

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tom 8

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nr 1

41-58

EN

Bergman’s cinema does more than just focus on a personal reflection of the body as an emotive and emotional vector; his cinema, through the transitory fragility of the human body as represented by his actors, defines the possibilities of a perceptive horizon in which the experience of passing time becomes tangible. Even though the Swedish director’s entire opus is traversed by this reflection, it is particularly evident in the films he made during the 1960s, in which the “room-sized” dimension of the sets permits a higher concentration of space and time. In this “concentration,” in this claustrophobic dimension in which Bergman forces his characters to exist, there is an often inflammable accumulation of affections and emotions searching for release through human contact which is often frustrated, denied, and/or impossible. This situation creates characters who act according to solipsistic directives, in whom physiological and mental traits are fused together, and the notion of phenomenological reality is cancelled out and supplanted by aspects of dreamlike hallucinations, phantasmagorical creations, and psychic drifting. Starting from Hour of the Wolf, this essay highlights the process through which, by fixing in images the physicality of his characters’ sensations, Bergman defines a complex temporal horizon, in which the phenomenological dimension of the linear passage of time merges with, and often turns into, a subjective perception of passing time, creating a synchretic relationship between the quantitative time of the action and the qualitative time of the sensation.

2

The Seventh Seal on the Czech stage

100%

Stehlíková E.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2019

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tom 22

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nr 1

61-75

EN

Whatever might be the reason for the theatre taking so much inspiration from film in the 21st century, the fact remains that the work of Ingmar Bergman is inspiring for theatre-makers all over the world. In this article, I briefly focus on three Czech productions of The Seventh Seal; namely a performance by the students of the Prague Conservatory which was put on under the title Wood Painting in 1995; a production by the independent student group Oldstars of 2011 and finally the only production on a professional stage, in the National Theatre in Brno in 2013, which is also recorded in the Swedish database. I also draw the reader's attention to special productions inspired by some motifs of Bergman's Seventh Seal. These, however, set the story in the present (In a Dark House in the Middle of the Night in 2006) from the now defunct Seven and a Half Theatre (Divadlo Sedm a půl), and Persons produced by the Theatre on the Balustrade in 2018.

3

Zanurzenie w przeszłości. O memoracyjnej podróży seniorów na przykładzie wybranych filmów

89%

Gajak-Toczek M.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2019

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nr 4

21-35

EN

The author refers to the educational role of film, which can help shape the attitudes of young people so that they can actively accompany seniors and take steps to prepare for a dignified and committed experience of their own “evening” of existence. She indicates that film narratives showing adaptations to the last stage of existence can take various forms. The memorising perspective of the journey into the depths of oneself as a tool for searching for knowledge and acquiring new skills was particularly highlighted.

PL

Autorka nawiązuje do wychowawczej roli filmu, która może pomóc w kształtowaniu postaw młodych ludzi tak, by potrafili aktywnie towarzyszyć seniorom oraz podjęli działania przygotowujące do godnego i zaangażowanego doznawania własnego „wieczoru” egzystencji. Wskazuje, że narracje filmowe ukazujące przystosowanie do ostatniego etapu istnienia mogą przybierać różne formy. Szczególnie wyeksponowano memoracyjną perspektywę podróży w głąb siebie jako narzędzie poszukiwania wiedzy i zdobywania nowych umiejętności.

4

Zerwany film. „Crux interpretum” jako problem teorii i praktyki interpretacji (na przykładzie „Persony” Ingmara Bergmana)

89%

Koschany R.

Kwartalnik Filmowy

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2022

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nr 119 (Nowa) teoria filmu

136-152

PL

Persona (1966) Ingmara Bergmana jest uznawana za jeden z najbardziej tajemniczych i wielowymiarowych filmów wszech czasów, na co bez wątpienia wpłynął także słynny moment zerwania i spłonięcia taśmy filmowej. Czy jest to moment wpisany w opowiedzianą historię, czy też zewnętrzny wobec niej? Znak dany od reżysera, narratora czy może jeszcze innej instancji? To tylko nieliczne i przykładowe pytania spośród tych zadawanych przez interpretatorów, udzielających następnie niejednokrotnie szczegółowych, wyczerpujących i logicznych odpowiedzi, ale także zdających sprawę z trudności w ich formułowaniu. W artykule nie tyle (czy nie tylko) referowane są istniejące już wykładnie, ile przede wszystkim formułowany jest związany z nimi teoretycznie ważki problem interpretacji, która nie ma szansy na zadowalające rozstrzygnięcie. Crux interpretum to bowiem nieinterpretowalne miejsce w tekście, a jednocześnie miejsce zapalne dla teorii interpretacji w ogóle.

EN

Ingmar Bergman’s Persona (1966) is considered one of the most mysterious and multidimensional films of all time, which was undoubtedly influenced by the famous moment of tearing and burning of the film reel. Is that moment inherent in the story or external to it? Is it a sign given by the director, narrator, or some other instance? These are just a few examples of questions asked by the interpreters, who then often give detailed, exhaustive, and logical answers, but also report difficulties in formulating them. The paper presents not only the existing interpretations, but above all the theoretically important problem of interpretation which has no chance to be satisfactorily resolved. Crux interpretum is an uninterpretable place in the text, and at the same time a trigger for the theory of interpretation in general.

5

Transnarodowe i narodowe szlaki kina nordyckiego

89%

Rutkowska T.

Kwartalnik Filmowy

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2021

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nr 115 Film formy, film treści

256-262

PL

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.

EN

Tadeusz Szczepański, Polish expert on Scandinavian cinema, author of an extensive monograph on Ingmar Bergman and a book about Jan Troell, has now published the historical work Kino nordyckie. Pierwsze stulecie [Nordic Cinema: The First Century] (2020), which covers the time span from silent cinema, through the classical period and new wave cinema, till the end of the 20th century. His approach takes into account the complex cultural phenomenon of this cinema emerging in five countries: Sweden, Denmark, Norway, Finland and Iceland. The author distinguishes the common features of Nordic cinematographies, but also their individual national specifics. The key figure in this historical presentation is Ingmar Bergman: his work, as well as the impact he has had on the cinema of this region.

6

Problematyka Boga i śmierci w „Siódmej pieczęci” Ingmara Bergmana

89%

Leszczyński S.

Kultura – Media – Teologia

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2015

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nr 22

21-31

PL

Artykuł prezentuje problematykę boga i śmierci w „siódmej pieczęci” Ingmara Bergmana. Film przedstawia osobisty stosunek reżysera do wiary, której poszukuje. Jego postawa może być postawą współczesnych ludzi, ponieważ zagadnienia te dotyczą spraw ostatecznych, od których nie można uciec. Celem tekstu jest wskazanie na te problemy, które również dzisiaj mogą być aktualne. Dzieło to jest uniwersalne w swojej wymowie, ale jednocześnie bardzo osobiste. Reżyser zmaga się z problemem boga, który będzie obecny w kolejnych jego filmach. Ostatecznie Bergman przyjął postawę wątpiącą, a „siódma pieczęć” stała się początkiem wychodzenia z dziedzictwa luterańskiego kościoła, w którym się wychował. Dzieło zawiera bogatą symbolikę, która potwierdza, że jest ono osadzone w kulturze chrześcijańskiej. Kluczową rolę odgrywają motyw tańca śmierci oraz historia głównego bohatera grającego ze śmiercią w szachy. Film ma wymowę moralitetu.

EN

The article presents the questions of god and death in „the seventh seal” by Ingmar Bergman. The film shows director’s personal attitude to faith which is looking for. His attitude can be similar to attitude of people nowadays, because these questions refer to the final things, from which we cannot escape. The aim of this article is to point to the problems which can be actual today as well. This masterpiece has a universal meaning and personal also. Film director is faced with the problem of god who will be present in his next films. In the end Bergman doubted and „the seventh seal” became the beginning of the process of leaving the heritage of the lutheran church in which he grew up. This work contains the rich symbolism rooted in christian culture. The dance of death and history of main character who is playing in chess with death are the key here. The film has a moral nature.

7

Ingmar Bergman's Guests at the Last Supper in the time of nuclear threats

88%

Dlask J.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2019

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tom 22

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nr 1

76-87

EN

This article discusses the film Nattvardsgästerna (1963) – released in the U.S. as Winter Light, and in the U.K. as The Communicants – in the context of the Swedish post-war religious scene and Ingmar Bergman's other productions of the period. The film is read theologically with an assumption that the author carries on a certain religious dialogue, whatever its form may be. With the basis of the film in the title, it asks about the meaning of the Lord's Supper celebration and of the individual 'guests', i.e. the film's main characters: Tomas Ericsson, Märta Lundberg and Jonas Persson. The article applies a comparative perspective to the relevant texts of the Old and (especially) New Testaments and includes pericopes and verses concerning the doubting Thomas, the biblical Martha and the prophet Jonah.

8

Differently Married: Revising Wittgenstein, Remembering Bergman

75%

Lipszyc A.

Eidos. A Journal for Philosophy of Culture

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2019

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tom 3

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nr 1(7)

51–63

EN

In the first part of the paper the author offers a frank reassessment of Ludwig Wittgenstein’s philosophy. He dismisses the Tractatus as philosophically irrelevant but points to the unshaken validity of the main tenents of Wittgenstein’s later philosophy, especially the idea of speech acts being inevitably interwoven with extralinguistic, bodily practices. In the second part the author identifies radical limitations of Wittgenstein’s thought, which he tries to eliminate by combining it with Foucault’s understanding of power and Derrida’s understanding of iterability. The latter link opens the path to viewing language-games as theatrical spectacles. In the third part of the paper the author illustrates the revised model of language-games/spectacles by relating it to two films, Scenes from a Marriage (directed by Ingmar Bergman) and Faithless (written by Bergman and directed by Liv Ullmann). This connection enables the author to enrich the model with an affective dimension which comes to the fore in Bergman’s analysis of the breakup of a marriage.

9

The temporality of truth : deception and self-deception in Ingmar Bergman's The Best Intentions

75%

Perregaard B.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2019

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tom 22

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nr 1

31-44

EN

Ingmar Bergman's novel, The Best Intentions, is about the life and love of his parents. In transforming his parents into the characters, Henrik and Anna, Bergman offers a compelling analysis of the driving forces behind their real-life actions and choices. The paper draws from the work of the Danish philosopher, Søren Kierkegaard, to demonstrate the way that Bergman's analysis is connected to a particular understanding of the dynamics of the self. I ask: how and why are Bergman's two characters led to deception and self-deception during the most critical years of their lives? Bergman's intuitions about the embodied, relational self arguably have to do with his experience as a stage director. Through his work, he is aware of the way that players distinguish between their own selves and the roles, characters, voices, and identities they perform. Bergman exploits the techniques, concepts, and metaphors of the theater in the narration of this story of a 'life catastrophe'.

10

Persona revisited : filling in the gaps via the original script

75%

Švachová R.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2019

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tom 22

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nr 1

13-30

EN

In this article, I compare Bergman's original script of Persona with its final film version and discuss several differences between the two. I focus on three larger alternations, namely on omitting several of Elizabeth's replicas or transferring them to Alma as well as on a complete change of the ending scene. I speculate on how the dialogue and the scene would have changed the film if the director had not decided to modify or omit them, suggest possible reasons for such steps having been taken, and present arguments for how Bergman shifted to cinematic modernism and turned away from psychologizing during the process of making Persona. Furthermore, I breakdown and analyse the script version of the middle sequence of Persona, using positioning theory to uncover the motives behind Alma's and Elizabeth's verbal actions, and respectively the refusal of such action.

11

Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship

63%

Dąbrowski R.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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tom 24

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nr 33

87-107

EN

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.

12

Silent Bergman full of words

63%

Hanáčková A. , Bojda T.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2019

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tom 22

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nr 1

45-60

EN

Ingmar Bergman, in addition to producing a large number of films, also worked for the theatre and in radio. All of his activities were intertwined and influenced one another. The paper outlines Bergman's traces in radio with an emphasis on Czech radio production. It reflects the biographic readings, monodrama, dialogic plays as well as more extensive plays which, thanks to their intimate setting, the intensity of relationships among characters and meaning, correspond to the character of Bergman's late work. Relying on the analyses by Jess Kalin and radio theoreticians Martin Shingler and Cindy Wieringa, the authors look into the imaginativeness of Bergman's plays with a particular focus on the dimensions of silence and words.

13

On Parody

63%

Fredericksen D.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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tom 14

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nr 23

25-28

PL

The essay consists of a series of examples of parody, and of statements regarding the nature and functions of parody. One is allowed to wonder if the form of the essay parodies obsessive-compulsive thought. Parody is taken to be a form of irony within the verbal, visual, and acoustical arts. As well, the claim is made that it is often unwittingly manifested in personal behavior, and in theories of human nature upon which forms of utopian thought and social engineering are based. Examples are drawn from film, painting, literature and literary criticism, psychotherapy, teaching, the writing of history, social engineering, and jokes. Parody is taken to be a major means for combating the corruption of consciousness in both its personal and communal forms.

14

Dark memories in the provincial words of Ingmar Bergman's Fanny and Alexander and Federico Fellini's Amarcord

51%

Marklund A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2013

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tom 12

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nr 21

33-42

EN

Dark memories in the provincial words of Ingmar Bergman's Fanny and Alexander and Federico Fellini's Amarcord This article about Federico Fellini’s Amarcord (1973) and Ingmar Bergman’s Fanny and Alexander (1982) concerns one aspect of the directors’ childhood memories, namely how authoritarian institutions are used to disrupt otherwise fairly idyllic and nostalgic lives and worlds. The films blend detailed memories with playful fantasies, combine experiences of the directors’ alter egos, Titta and Alexander, with rituals of family and larger communities in the provincial cities of Rimini and Uppsala. In each film, bitter memories are given a central role. This article explores the similarities of these bitter memories, as they are imagined in the mature auteurs’ last exceptionally successful films.