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Persona Bergman

Review of: Persona Bergman

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On 06.02.2021
Last modified:06.02.2021

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Persona Bergman

Arte zeigt zunächst die Dokumentation "Der Film, der Ingmar Bergman rettete“ und danach den Film "Persona". The Reflexive Function of Bergman's. Persona. Paul Newell Campbell. The critical concept of reflexivity in film is now well established. Work of considerable​. Persona, von Ingmar Bergman, Regie: Anna Bergmann, Besetzung: Frau Elisabet Vogler: Karin Lithman, Schwester Alma: Corinna Harfouch, Ärztin: Franziska.

Persona (1966)

Persona ist ein in Schwarzweiß gedrehtes schwedisches Filmdrama von Ingmar Bergman aus dem Jahr Der Film verbindet die Erzählweise des. Persona, von Ingmar Bergman, Regie: Anna Bergmann, Besetzung: Frau Elisabet Vogler: Karin Lithman, Schwester Alma: Corinna Harfouch, Ärztin: Franziska. The Reflexive Function of Bergman's. Persona. Paul Newell Campbell. The critical concept of reflexivity in film is now well established. Work of considerable​.

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Persona Bergman

Persona Bergman (Vicky McClure), Leverkusen, Persona Bergman an die Sitten des Landes anzupassen, die in Tele5de gesamten Senderkette nun als "TV Now" betitelt ist. - Mehr zum Thema

Oktober Für Bergman-Biograf Hauke Lange-Fuchs stellte Einen Sommer lang den Auftakt einer Reihe so genannter Sommerfilme dar, die Chempionta Liga dem Hintergrund des schwedischen Sommers Rtlplus Stream und teilweise einen für Bergman ungewohnt heiteren Ton anschlugen. Sie bittet und bettelt, schreit und tobt. In: Deutsche Welle Anna Bergmann hat den Stoff als Koproduktion des Malmö Stadsteater und des Deutschen Theaters Berlin inszeniert.
Persona Bergman Persona (English Subtitled) () IMDb 1 h 7+ This genre-blurring, minimalist masterpiece from Ingmar Bergman follows a young nurse and her patient, an actress who has mysteriously gone mute. The women retreat to a seaside cottage to aid the actress's rehabilitation, but the intimacy embroils them in a stranger, stronger bond. H ere, for the centenary of Ingmar Bergman’s birth, is a rerelease of one of his fiercest, strangest, most sensually brilliant and unclassifiable pictures: Persona, from "Persona" Film completo ITA. Persona is a Swedish psychological drama film, written and directed by Ingmar Bergman and starring Bibi Andersson and Liv Ullmann. The story revolves around a young nurse named Alma (Andersson) and her patient, well-known stage actress Elisabet Vogler (Ullmann), who has suddenly stopped speaking. Out of all the Ingmar Bergman films I've seen, Persona is easily the most difficult. Others have difficult subject matters or portray difficult situations with clarity, but Persona is the first where I thought I understood what was happening both literally and thematically but I simply could not connect with it. Simon, John Ivan Retrieved 7 October The Corinthian. He summarized the blankness before a projector runs, leading to clips of classic animation, a comedic Im Fadenkreuz Allein Gegen Alle Stream filmcrucifixion and a penis, concluding that it summarized cinema. Archived from the original on 24 September Foster believed that Elisabet's gaze presents Alma with questions about her engagement to Karl-Henrik. Another possible reference to psychology is that when Elisabet falls mute, the play she is in is Electra by Sophocles or Euripides. See what's new with book lending at the Internet Archive. Bergman, Ingmar It is an integral part of the story Jamai Raja Alle Folgen that is why such close coordination is needed between director and Persona Bergman. The actress said that they tried to balance each other in their performances. At another point, Alma muses in a besotted, almost girlish, way about what it must be like to be Alien Zeichentrick. Retrieved 7 October I understand you, Elisabet.
Persona Bergman
Persona Bergman

Alma drives to town to mail their letters, and notices that Elisabet's is not sealed. She reads it. The letter says that Elisabet is "studying" Alma and mentions the nurse's orgy and abortion.

Furious, Alma accuses Elisabet of using her for some purpose. In the resulting fight, she threatens to scald Elisabet with boiling water and stops when Elisabet begs her not to.

This is the first time Alma is certain the actress has spoken since they met, though she thought Elisabet previously whispered to her when Alma was half-asleep.

Alma tells her that she knows Elisabet is a terrible person; when Elisabet runs off, Alma chases her and begs for forgiveness. Later, Elisabet looks at the famous photograph of Jews arrested in the Warsaw Ghetto from the Stroop Report.

One night, Alma hears a man outside calling for Elisabet; it is Elisabet's husband. He calls Alma "Elisabet" and, though the nurse tells him he is mistaken, they have sex.

Alma meets with Elisabet to talk about why Elisabet tore up the photo of her son. Alma tells much of Elisabet's story: that she wanted the only thing she did not have, motherhood, and became pregnant.

Regretting her decision, Elisabet attempted a failed self-induced abortion and gave birth to a boy whom she despises, but her son craves her love.

Alma ends the story in distress, asserting her identity and denying that she is Elisabet. She later coaxes Elisabet to say the word "nothing", and leaves the cottage as a crew films her.

According to Bergman, the story had its roots in a chance encounter with past collaborator Bibi Andersson [n 3] in a Stockholm street.

Andersson, who was with Liv Ullmann, introduced Ullmann to him. This inspired the beginning of his story, a vision of two women "wearing big hats and laying their hands alongside each other".

Bergman had been in a romantic relationship with Andersson and was attracted to Ullmann; of Persona ' s conception, Andersson said, "He saw our friendship, and he wanted to get Bergman wrote Persona in nine weeks while recovering from pneumonia, [23] and much of his work was done in the Sophiahemmet hospital.

Alma remains on the island and plans to write Elisabet a letter until she sees the Holocaust photo and abandons her plan.

Bergman appealed to filmmaker Kenne Fant for funding for the project. Supportive, Fant asked about the film's concept and Bergman shared his vision of women comparing hands.

Fant assumed that the film would be inexpensive, and agreed to fund it. And that in these two instances when working in total freedom, I touched wordless secrets that only the cinema can discover.

If I had not found the strength to make that film, I would probably have been all washed up. One significant point: for the first time I did not care in the least whether the result would be a commercial success".

Bergman had planned to cast Andersson and Ullmann in The Cannibals , a large project he abandoned after becoming ill, but he still hoped to pair them in a project.

That made me the one he wanted to work with Vineberg called the roles of Margaretha Krook and Gunnar Björnstrand "abbreviated guest appearances".

Bergman cast Jörgen Lindström as Elisabet's son after using him in his film The Silence. Andersson said that she and Ullmann agreed to play their parts as different sides of the same personality, and they assumed that personality was Bergman's.

The actress said that they tried to balance each other in their performances. Although the scene where Alma describes her orgy was in the screenplay, Andersson said in that Bergman had been advised to remove it from the film.

She insisted that it be shot, volunteering to alter dialogue she felt was too obviously written by a man. For the scene in which Andersson and Ullmann meet in the bedroom at night and their faces overlap, a large amount of smoke was used in the studio to make a blurrier shot.

Bergman used a mirror to compose the shots. The screenplay called for a "close-up of Alma with a strange resemblance to Elisabet".

The actresses were unaware of the effect until a screening in the Moviola. According to Ullmann, the scene where Alma describes Elisabet's motherhood was filmed with two cameras, one filming each actress, and shots of each were intended to be mixed in editing.

Then Bergman decided that each angle communicated something important and used both in their entirety, one after the other. Bergman was unhappy with the sound in the scene where Alma describes the orgy, so he told Andersson to reread the scene, which she did in a lower voice.

It was recorded and dubbed in. The score , by Lars Johan Werle , uses four cellos, three violins and other instruments. Werle described his effort to meet Bergman's requests without a description of the scenes Werle would score:.

Then he came with vague hints about how the films would look, but I understood him anyway and he gave me some keywords I was a little surprised to be part of an artistic work that I had so little time to digest One wonders how it is even possible that one could only see the movie once or twice and then compose the music.

In addition to Werle's score, the filmmakers sampled Johann Sebastian Bach 's Violin Concerto in E major. Persona has been subject to a variety of interpretations.

According to Professor Thomas Elsaesser , the film "has been for film critics and scholars what climbing Everest is for mountaineers: the ultimate professional challenge.

Besides Citizen Kane , it is probably the most written-about film in the canon". Critic Peter Cowie wrote, "Everything one says about Persona may be contradicted; the opposite will also be true".

Academic Frank Gado called Cowie's assessment "patent nonsense", but agreed there was "critical disarray"; editor Lloyd Michaels said that although Cowie exaggerated somewhat, he welcomed the "critical licence" to study the film.

Michaels summarized what he calls "the most widely held view" of Persona : [54] that it is "a kind of modernist horror movie".

Bergman said that although he had an idea of what the story meant, he would not share it because he felt that his audience should draw its own conclusions.

He hoped the film would be felt rather than understood. The "silence of God" is a theme Bergman explored extensively in his previous work.

According to author Paul Coates, Persona was the "aftermath" of that exploration. Analysis has focused on the characters' resemblance, demonstrated in shots of overlapping faces in which one face is visible and part of another is seen behind it, suggesting the possibility that the characters are one, [17] and their duality.

Hyde instead of his benign alter ego, Dr. Singer wrote that Bergman expanded on Stevenson's exploration of duality, the " good and evil , light and dark aspects of our nature", depicting it as "oneness" in the shot.

Gado saw Persona as a "double-threaded process of discovery involving motherhood". The nurse realizes that she has done what Elisabet tried and failed to do: erase a child from her life by abortion.

Young compared Bergman's relationship with his mother, Karin, to Alma "hungry for someone to listen to her and to love her" and Elisabet "ravenous for precious time".

About the theme of duality, author Birgitta Steene wrote that Alma represents the soul and Elisabet a "stern" goddess.

Persona 's title reflects the Latin word for "mask" and Carl Jung 's theory of persona , an external identity separate from the soul " alma ".

Bergman agreed, saying that Jung's theory "fits well in this case". Alma's secret is revealed in her orgy monologue, and critic Robin Wood related it to a combination of shame and nostalgia perhaps indicating the character's sexual liberation.

According to Wood, the incident touched on unfaithfulness and juvenile sexuality ; [76] in Swedish, the young boys are called " pojkar " and are in need of coaching.

Cinema historian P. Adams Sitney summarized the story as following the course of psychoanalysis : a referral, followed by the first interview, disclosures and the discovery of the patient's root problem.

Another possible reference to psychology is that when Elisabet falls mute, the play she is in is Electra by Sophocles or Euripides.

The story fits Bergman's motif of "warring women", seen earlier in The Silence and later in Cries and Whispers and Autumn Sonata.

By depicting this tension as experienced primarily by women, Bergman may be said to "problematize the position of woman as other"; the role society assigns women is "essentially foreign to their subjecthood".

The theme of merging and doubling surfaces early in the film, when Alma says that she saw one of Elisabet's films and was struck by the thought that they were alike.

Analysts have noted possible lesbian under- [14] and overtones. Foster believed that Elisabet's gaze presents Alma with questions about her engagement to Karl-Henrik.

Persona is the Latin word for "mask" and referred to a mouthpiece actors wore to increase the audibility of their lines. In Greek drama, persona came to mean a character, separate from an actor.

Elisabet is a stage actress and, according to Singer, is seen in "mask-like makeup" suggesting a "theatrical persona".

Singer wrote that Elisabet wears "thick and artificial eyelashes" even when she is not acting. According to Törnqvist, Elisabet makes a fist, symbolizing her revolt against the notion of meaningful performance.

According to Singer, Bergman confronts his viewers with "the nature of his art form". Although Alma initially believes that artists "created out of compassion, out of a need to help", she sees Elisabet laugh at performances on a radio program and finds herself the subject of the actress's study.

True, Alma does seem to grow progressively more vulnerable; in the course of the film she is reduced to fits of hysteria, cruelty, childish dependence and probably delusion.

Take, for instance, the scene which starts with the abrupt presence of a middle-aged man wearing dark glasses Gunner Björnstrand near the beach cottage.

Then we see the two women together shortly after? While Elizabeth has voluntarily? After all, we do see it happening. The insufficiency of the clues Bergman has planted must be taken to indicate that he intends the film to remain partly encoded.

The viewer can only move towards, but never achieve, certainty about the action. One prime piece of evidence is a sequence occurring soon after the two women arrive at the seaside.

But if that is so, two important points may be taken as established early in the film. One is that Alma is hallucinating—and, presumably, will continue doing so.

However, some clues, too complex to describe here are given in the lighting of certain scenes. But even to make any headway sorting out what Alma imagines from what may be taken as really happening is a minor achievement.

And it quickly becomes a misleading one, unless subsumed under the larger issue of the form of exposition employed by the film. It is. But a correct understanding of Persona must go beyond the psychological point of view.

But whatever the background of her condition, it is much more in the sheer fact of it than in its causes that Bergman wishes to involve the viewer.

I am inclined to impute a privileged status to the speech the psychiatrist makes to Elizabeth, before she departs with Alma to the cottage.

The psychiatrist tells the silent, stony-faced Elizabeth that she has understood her case. She has grasped that Elizabeth wants to be sincere, not to play a role; to make the inner and the outer come together.

And that having rejected suicide as a solution, she has decided to be mute. In a sense, Persona takes a position beyond psychology.

As it does, in an analogous sense, beyond eroticism. There is, above all, the connection between the two women themselves which, in its feverish proximity, its caresses, its sheer passionateness avowed by Alma in word, gesture and fantasy could hardly fail, it would seem, to suggest a powerful, if largely inhibited, sexual involvement.

But in fact, what might be sexual in feeling is largely transposed into something beyond sexuality, beyond eroticism even. The only purely sexual episode is the scene in—which Alma, sitting across the room from Elizabeth, tells the story of the beach orgy.

Alma speaks, transfixed, reliving the memory and at the same time consciously delivering up this shameful secret to Elizabeth as her greatest gift of love.

Entirely through discourse, without any recourse to images through a flashback , a violent sexual atmosphere is generated.

In this respect, Persona makes a remarkable modification of the structure of The Silence , where the love-hate relationship between the sisters had an unmistakable sexual energy.

In Persona , Bergman has achieved a more interesting situation by delicately excising or transcending the possible sexual implications of the tie between the two women.

It is a remarkable feat of moral and psychological poise. One predictable result of a work constituted along these principles is that the action would appear intermittent, porous shot through with intimations of absence, of what could not be univocally said.

What is envisaged instead is the possibility of an extended narration composed of events which are not wholly explicated, but which are nevertheless possible.

Often there might exist what could be called a dormant plot. Still, critics have better things to do than ferreting out the story line as if the author had — through mereclumsiness or error or frivolity or lack of craft concealed it.

Take the matter of information. This is, of course, a highly manipulated quest for knowledge. Did anything happen last year at Marienbad?

Where is Alma going when she boards a bus alone in one of the final shots of Persona? A great precursor of this conception of narration is Flaubert.

And the method can be seen in Madame Bovary, in the persistent use of the off-centre detail in description. The result of the new narration, then, is a tendency to de-dramatise.

But it is a story which proceeds by omissions. The audience is being haunted, as it were, by the sense of a lost or absent meaning to which even the artist himself has no access.

Web icon An illustration of a computer application window Wayback Machine Texts icon An illustration of an open book.

Books Video icon An illustration of two cells of a film strip. Video Audio icon An illustration of an audio speaker. Audio Software icon An illustration of a 3.

Proprio in questo aspetto trova adempimento l'intenzione sperimentalistica della pellicola, oscillando tra la nevrosi attiva e passiva dell'afasia e le soluzioni registiche brutalmente subliminali.

Proprio da questa osservazione nasce la sua idea che il film dia i suoi maggiori risultati nelle rare sequenze non parlate, nelle quali Bergman sembra restituire un significato misterioso e profondo al dramma interiore dei personaggi.

Il titolo deriva dalla locuzione latina Dramatis persona , il termine per definire la maschera indossata dall'attore e quindi il personaggio nel teatro latino.

Si tratta di un chiaro riferimento alla professione della protagonista del film. Tradotto nel cinema bergmaniano il concetto significherebbe un'amplificazione del conflitto interiore di Elizabeth e Alma, tanto da esternarlo, nella pellicola, con il gioco di luci e ombre, con la mimica facciale di Liv Ulmann e Bibi Andersson.

Da Wikipedia, l'enciclopedia libera. A riempirla sono solo alcuni corpi, forse morti. Poi un bambino si alza dal suo letto, cominciando ad accarezzare un enorme schermo che si trova davanti a lui.

Il suggerimento di quello che stiamo per vedere. Uno dei possibili fili conduttori del film sembra essere nelle parole che pronuncia la dottoressa ad Elisabeth.

Tu vuoi essere, non sembrare di essere. Questo ti provoca un senso di vertigine per il timore di essere scoperta, messa a nudo, smascherata. Le due si spogliano della loro persona e si intrecciano.

Le due sono accomunate anche dal segreto che portano dentro: la rinuncia, se pur in maniera diversa, di un figlio. Esse ormai sono come la stessa persona e ferendosi a vicenda non fanno altro che, simbolicamente, ferire se stesse le azioni sbagliate che hanno commesso.

In primis il rinunciare ad un figlio.

Nach einer `Elektra'-Aufführung verharrt die berühmte Schauspielerin Elisabeth Vogler schweigend in ihrer Rolle. Die junge Krankenschwester Alma kümmert sich daraufhin um die apathische Künstlerin. Auf einer einsamen Insel verbringen beide einige. Persona ist ein in Schwarzweiß gedrehtes schwedisches Filmdrama von Ingmar Bergman aus dem Jahr Der Film verbindet die Erzählweise des. Ernst Ingmar Bergman [ˌiŋːmaɾ ˈbæɾːʝman] (* Juli in Uppsala, Schweden; † Juli auf Fårö, Schweden) war ein schwedischer. Persona, von Ingmar Bergman, Regie: Anna Bergmann, Besetzung: Frau Elisabet Vogler: Karin Lithman, Schwester Alma: Corinna Harfouch, Ärztin: Franziska.

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1 Kommentar

  1. Kagor

    Nach meiner Meinung irren Sie sich. Geben Sie wir werden besprechen. Schreiben Sie mir in PM, wir werden reden.

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