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Insight into Bergman’s Persona

100%
Danielewicz A.
Nauka
|
2019
|
issue 1
EN
The aim of the article is to discuss Ingmar Bergman’s film Persona in a philosophical context and analyze the problem of the identity of the main characters. During the analysis, elements of existential thought and Sartre's philosophy were used. The psychological and philosophical layer of the film combines the common theme of broadly understood existence. The focus was on the identity problems of the main characters of the film and the linguistic layer in the context of the interpersonal conflict.
2
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Holding Your Tongue: The New Language of Silence

89%
Fjeld T.
Paedagogia Christiana
|
2020
|
vol. 2/46
93-103
EN
Ingmar Bergman’s middle years – from the late 1950s to the early 1970s – were a period of great creativity, but also of irreparable destruction on a private and artistic level. This paper takes stock of a film immediately preceding his great international breakthrough (with Persona in 1966), namely The Silence (1962). Rendering, in Bergman’s own words, ‘God’s silence’, the film also thematises absence, wordlessness, and the void in at least three additional senses: showing a child’s entry into the Symbolic Order, The Silence demonstrates the absence that is constitutive of this passage; giving an account of a specific relation between a master and his apprentice, the film shows a concrete example of the wordlessness at the core of their communication. Moreover, as an attempt to seek out the paternal figure, the film demonstrates the necessary void at the core of the new order – a community governed by silent praise.
PL
Lata „środkowe” Ingmara Bergmana – od końca lat 50. do początku lat 70. XX wieku – były okresem wielkiej kreatywności, ale zarazem nieodwracalnej destrukcji na polu prywatnym i artystycznym. Niniejszy artykuł nawiązuje do filmu bezpośrednio poprzedzającego wielki międzynarodowy przełom artysty (filmem Persona w 1966 roku), a mianowicie do Ciszy (1962). Realizując, według słów Bergmana, „ciszę Bożą”, film ten podejmuje tematykę nieobecności, bezsłowności i pustki w co najmniej trzech dodatkowych znaczeniach: ukazując wejście dziecka do Porządku Symbolicznego, ukazuje nieobecność jako kluczową dla tego fragmentu; relacjonując specyficzną relację mistrza i ucznia, wskazuje na konkretny przykład bezsłowności leżącej u podstaw ich komunikacji; i wreszcie, podejmując próbę poszukiwania ojcowskiej figury, film odsłania konieczną pustkę jako zaczyn nowego porządku: wspólnoty rządzącej się niemą pochwałą.
3
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Bauman and Bergman: A Short Note*

88%
Tester K.
Polish Sociological Review
|
2014
|
vol. 186
|
issue 2
225-232
EN
The influence on sociologists of texts by others is widely accepted and a standard line of investigation. However if books can be an influence it is not unreasonable to assume that other cultural products might be significant too in the formation of a sociologist. This Note addresses the possibility by exploring some of the possible meanings of a passing comment once made by Zygmunt Bauman. In conversation with the present author Bauman once said that Ingmar Bergman’s film Winter Light is important to him. This short Note attempts to work out why, and it focuses on the theme of vocation. It is crucial to stress that this Note was inspired by Bauman’s comment but works entirely at the level of publicly available texts. It is not to be assumed that Bauman would personally agree with this explanation.
4
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Bergman vs. Batman. Chwyt technicznej deziluzji w grach wideo na tle praktyk literackich i filmoznawczych

63%
Kubiński P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2015
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vol. 16
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issue 25
113-123
EN
Bergman vs. Batman. Technical Disillusion as an Artistic Device in Video Games in the Context of Literary and Film Techniques   The aim of the article is to present the idea of technical disillusion as an artistic device used in particular videogames. This phenomenon is analyzed using the example of Batman: Arkham Asylum (Rocksteady; 2009). Because of the far-reaching analogies with techniques present in other artistic discourses, the device of technical disillusion is also examined in the context of literature and film – especially in regards to Ingmar Bergman’s Persona. From this perspective, using technical disillusion as a device exposes its artistic potential and enables us to consider games as space for creative exploration.
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