(PDF) Exploring Body as Sign in Bergman's Persona - Academia.edu
Alone among the elements that constitute the stage's semiotic field, the body is a sign that looks back. 1 An iconographic image in Ingmar Bergman 's Persona (1966) is that of the film's protagonist, Elisabet Vogler (Liv Ullmann) in the role of Elektra.
英格玛·伯格曼 - 维基百科，自由的百科全书
恩斯特·英格玛·柏格曼 （瑞典語： Ernst Ingmar Bergman[1]， 瑞典语发音： [ˈɪŋmar ˈbærjman] （ⓘ），1918年7月14日—2007年7月30日）， 瑞典 電影 、 戲劇 、以及 歌劇 導演。 他出生於一個 路德會 傳教士的家庭，最著名的作品包括《第七封印》（1957年）與《野草莓》（1957年）、《假面》（1966年）、《呼喊與細語》（1972年）和《芬妮和亞歷山大》（1982年）。 柏格曼從他對 人類狀態 的探索中，發現了憂鬱與絕望，同時也發現喜劇與希望。 除了導演之外，柏格 …
Manifestations of the Grotesque and Carnivalesque Body in Ingmar ...
2013年8月1日 · Ingmar Bergman’s 1957 film The Seventh Seal (Det Sjunde Inseglet) remains arguably his best-known work. If one talks of the existence of a genre of medieval film, and subsequently, the existence of a theory of medieval film, then The Seventh Seal ’s exclusion from a discussion of what constitutes medieval film might well be unthinkable.
英格玛·伯格曼（瑞典导演、编剧、制作人）_百度百科
英格玛·伯格曼（Ernst Ingmar Bergman，1918年7月14日~2007年7月30日），出生于 瑞典 乌普萨拉 ，瑞典导演、编剧、制作人。 1944年，编写个人第一个电影剧本《苦闷》 [1] 。
The method used by Bergman to make time perceptible is to insist on the body, denuding it through a process of painful unveiling which is often accompanied by monologs, with the character gazing at the mirror image of his own conscience
The filmography of Ingmar Bergman is often described in terms whose aptness is hard to deny, but whose connotations can be a bit hazier – “dark,” “serious,” and “melodramatic” are often used to describe his films, doubtless due to particular themes reoccurring throughout
Bergman, Ingmar - Senses of Cinema
2002年12月12日 · Ingmar Bergman’s mature cinema provokes the viewer into an intimate engagement in which a range of uncomfortable feelings are opened up, shared and laid bare. And this often occurs, quite literally, face-to-face. An encounter with Bergman’s seminal 1966 film Persona is exemplary here.
The Sensation of Time in Ingmar Bergman’s Poetics of Bodies.
2014年9月25日 · 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.
Ingmar Bergman: A Reference Guide on JSTOR
Since the 1940s when he first made his appearance in the Swedish film and theatre world, Ingmar Bergman has produced a large body of work for the screen, the st...
Bergman's Legacy - Universe - Ingmar Bergman
What struck these young filmmakers was not only the outdoors shooting and the naked body of Harriet Andersson, but also the effect of detachment, particularly at the end of the film, when the camera stops on a weary Monika. What were we dreaming …