Ingmar Bergman: Persona. SE, , R: Ingmar Bergman mit Bibi Andersson, Liv Ullmann, Margareta Krook, 85 Min, OmeU. The temptation is to take Bergman's. Persona, von Ingmar Bergman, Regie: Anna Bergmann, Besetzung: Frau Elisabet Vogler: Karin Lithman, Schwester Alma: Corinna Harfouch, Ärztin: Franziska. Arte zeigt zunächst die Dokumentation "Der Film, der Ingmar Bergman rettete“ und danach den Film "Persona".
Persona (1966)Persona ist ein in Schwarzweiß gedrehtes schwedisches Filmdrama von Ingmar Bergman aus dem Jahr Der Film verbindet die Erzählweise des. Arte zeigt zunächst die Dokumentation "Der Film, der Ingmar Bergman rettete“ und danach den Film "Persona". 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 Bergman Un'analisi del cult che ha segnato irreversibilmente la settima arte, Persona di Ingmar Bergman VideoPersona - Ingmar Bergman's Psychological Breakthrough
Michaels, Lloyd The Phantom of the Cinema: Character in Modern Film. Albany: State University of New York Press. Retrieved 23 July Nichols, Peter M.
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New York and Oxford: Berghahn Books. Pamerleau, William C. Existentialist Cinema. Remes, Justin 17 March Motion less Pictures: The Cinema of Stasis.
Columbia University Press. Shargel, Raphael Ingmar Bergman: Interviews. Simon, John Ivan Ingmar Bergman Directs. Harcourt Brace Jovanovich.
Singer, Irving Ingmar Bergman, Cinematic Philosopher: Reflections on His Creativity. Cambridge and London: MIT Press. Sitney, P. Adams Modernist Montage: The Obscurity of Vision in Cinema and Literature.
New York: Columbia University Press. Soila, Tytti Nordic National Cinemas. London and New York: Routledge.
Sontag, Susan Styles of Radical Will. Steene, Birgitta Ingmar Bergman: A Reference Guide. Amsterdam: Amsterdam University Press.
Stigsdotter, Ingrid; Bergfelder, Tim The New Film History: Sources, Methods, Approaches. Szaniawski, Jeremi The Cinema of Alexander Sokurov: Figures of Paradox.
London and New York: Columbia University Press. Thomson, David How to Watch a Movie. New York: Knopf Doubleday Publishing Group. Tiffin, George A Star is Born: The Moment an Actress becomes an Icon.
Head of Zeus. Törnqvist, Egil Between Stage and Screen: Ingmar Bergman Directs. Amsterdam University Press. Bergman's Muses: Aesthetic Versatility in Film, Theatre, Television and Radio.
Vermilye, Jerry 1 January Ingmar Bergman: His Life and Films. Vineberg, Steve Wartenberg, Thomas E. The Routledge Companion to Philosophy and Film.
Weinstein, Arnold Northern Arts: The Breakthrough of Scandinavian Literature and Art, from Ibsen to Bergman. Princeton and Oxford: Princeton University Press.
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Ingmar Bergman: New Edition. Young, Barbara 15 October The Persona of Ingmar Bergman: Conquering Demons through Film. Ingmar Bergman.
Filmography , Stage productions , Bibliography , Accolades. Crisis It Rains on Our Love A Ship Bound for India Music in Darkness Port of Call Prison Thirst To Joy This Can't Happen Here Summer Interlude Secrets of Women Summer with Monika Sawdust and Tinsel A Lesson in Love Dreams Smiles of a Summer Night The Seventh Seal Wild Strawberries Brink of Life The Magician The Virgin Spring The Devil's Eye Through a Glass Darkly Winter Light The Silence All These Women Persona Hour of the Wolf Shame The Rite The Passion of Anna The Touch Cries and Whispers Scenes from a Marriage The Magic Flute Face to Face The Serpent's Egg Autumn Sonata From the Life of the Marionettes Fanny and Alexander After the Rehearsal The Blessed Ones In the Presence of a Clown Saraband Torment Woman Without a Face Eva While the City Sleeps Divorced Last Pair Out The Pleasure Garden The Lie The Best Intentions Sunday's Children Private Confessions Faithless Sleeman Is Coming The Venetian Rabies The Image Makers Bergman Week Ingmar Bergman Makes a Movie The Dove The Seduction of Ingmar Bergman Ingmar Bergman Award Ingmar Bergman's Cinema.
Erik Bergman father Dag Bergman brother Margareta Bergman sister Eva Bergman daughter Mats Bergman son Anna Bergman daughter Daniel Bergman son Linn Ullmann daughter.
Awards for Persona. Citizen Kane L'Avventura The Rules of the Game Greed Ugetsu Monogatari Battleship Potemkin Bicycle Thieves Ivan the Terrible La Terra Trema L'Atalante.
Citizen Kane The Rules of the Game Tokyo Story Vertigo The Searchers L'Atalante The Passion of Joan of Arc Pather Panchali Battleship Potemkin A Space Odyssey.
Strangelove or: How I Learned to Stop Worrying and Love the Bomb Bicycle Thieves Raging Bull Vertigo Rashomon The Rules of the Game Seven Samurai.
Man with a Movie Camera Shoah Sans Soleil Night and Fog The Thin Blue Line Chronicle of a Summer Nanook of the North The Gleaners and I Dont Look Back Grey Gardens.
Guldbagge Award for Best Film. Wallenberg Il Capitano: A Swedish Requiem House of Angels The Slingshot A Pizza in Jordbro All Things Fair Hamsun Tic Tac Show Me Love Tsatsiki, morsan och polisen Songs from the Second Floor As White as in Snow Lilya 4-ever Evil Dalecarlians Nina's Journey Kidz in da Hood You, the Living Everlasting Moments The Girl with the Dragon Tattoo Sebbe She Monkeys Eat Sleep Die The Reunion Force Majeure The Here After The Giant The Nile Hilton Incident Border And Then We Danced Spring Uje spring National Society of Film Critics Award for Best Film.
Swedish submissions for the Academy Award for Best International Feature Film. Wallenberg The Ox House of Angels The Slingshot The Last Dance All Things Fair Jerusalem Tic Tac Show Me Love Under the Sun Songs from the Second Floor Ingmar Bergman.
Svensk Filmindustri. Sven Nykvist. Ulla Ryghe. Lars Johan Werle. Bibi Lindström. But that good fortune releases nobody who cares about films from acclaiming work as original and triumphant as Persona.
It is depressing that the film has thus far received only a fraction of the attention it deserves—at least in New York and Paris. That signature has come to mean a prodigal tirelessly productive career; a rather facile, often merely beautiful, by now it seemed almost over-size body of work; a lavishly inventive, sensual, yet somewhat melodramatic talent, employed with what appeared to be a certain complacency, and prone to embarrassing displays of intellectual bad taste.
From the Fellini of the North, exacting filmgoers could hardly be blamed for not expecting, ever, a truly great film. But Persona happily forces one to put aside such dismissive preconceptions about its author.
And Persona draws heavily on the themes and schematic cast established in The Silence. The principal characters in both films are two women bound together in a passionate agonised relationship, one of them the mother of a drastically neglected small boy.
Both films take up the themes of the scandal of the erotic, the polarities of violence and powerlessness, reason and unreason, language and silence, the intelligible and the unintelligible.
Persona is bound to trouble, perplex and frustrate most filmgoers—at least as much as Marienbad did in its day. Or so one would suppose. But, heaping imperturbability upon relative neglect, critical reaction has shied away from associating anything very baffling with the film.
The critics have allowed, mildly, that the latest Bergman is unnecessarily obscure. But the difficulties and rewards of Persona are much more formidable than such banal objections would suggest.
Of course, evidence of these difficulties is available anyway. Like Marienbad , Persona seems to be full of obscurity.
One common approach to a film presenting difficulties of this now fairly familiar sort is to declare such distinctions to be irrelevant, and the film to be actually all of one piece.
But this approach merely postpones the difficulty, it seems to me. For example: causal connections observed in one portion of the film are flouted in another part; several equally persuasive but mutually exclusive explanations are given of the same event.
These discordant internal relations are only transposed, intact, when the whole film is relocated in the mind. The most skilful attempt to arrange a single, plausible anecdote out of the film must leave out or contradict some of its key sections, images and procedures.
According to this account, Persona tells the story of two women. One is a successful actress, evidently in her mid-thirties, named Elizabeth Vogler Liv Ullmann , now suffering from an enigmatic mental collapse whose chief symptoms are muteness and a near-catatonic lassitude.
But it was widely reported that the film, until shortly before it was released, contained a brief closing scene which showed Elizabeth on the stage again, apparently completely recovered.
From this, presumably, the viewer was to infer that the nurse is now mute and has taken on the burden of her despair. Some regard the transaction between Elizabeth and Alma as illustrating some impersonal law which operates intermittently in human affairs, no ultimate responsibility pertains to either of them.
Other critics move quickly to an even more general plane, and extract from Persona a diagnosis of the contemporary dissociation of personality, a demonstration of the inevitable failure of good will and trust and predictably correct views on such matters as the alienated affluent society, the nature of madness, psychiatry and its limitations, the American war in Vietnam, the Western legacy of sexual guilt, and the Six Million.
Then they often go on, as Michel Cournot did in Le Nouvel Observateur, to chide Bergman for this vulgar didacticism which they have imputed to him.
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.
User icon An illustration of a person's head and chest. Sign up Log in. 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. Sogno che Lynch identifica come esperienza onirica e Bergman come mera illusione.
Persona ha cambiato irreversibilmente tutti i prodotti dal in poi. Il film di Ingmar Bergman fu recensito dallo scrittore italiano Alberto Moravia.
Inoltre Moravia guardo con critica anche la riflessione di Bergman sul silenzio e sulla messa in scena.
Egli ritiene che il regista svedese riesca ad esprimere maggiormente, in queste occasioni, il misterioso dramma che si cela nella psiche dei suoi personaggi.
Qualunque siano le vostre idee su Persona e sul cinema di Bergman, riflettete. Pensate e collegate, analizzando e ponderando sulla grandezza d questo film.
Ma fatelo senza parlare, in silenzio, come Elisabeth. Danilo Monti 1 Gennaio 11 minuti di lettura. Facebook Twitter LinkedIn Tumblr Pinterest Reddit Skype Messenger Messenger WhatsApp Telegram Line Condividi via Email.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. 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. Arguably Bergman's finest film, Persona explores the human condition with intense curiosity, immense technical skill, and beguiling warmth. Starring Liv Ullmann, Bibi Andersson By the midsixties, Ingmar Bergman had already conjured many of the cinema’s most unforgettable images. But with the radical PERSONA, he attained new levels of visual poetry. Elizabeth, a character in Ingmar Bergman's "Persona," uses two to answer it: "No, don't!" She is an actress who one night stopped speaking in the middle of the performance, and has been silent ever since. Now her nurse, Alma, has in a fit of rage started to throw a pot of boiling water at her.