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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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“I am thou… Thou art I…” How Persona 4’s Young Adult Fiction Communicates Japanese Values

88%
Dwulecki S.
Creatio Fantastica
|
2017
|
issue 1(56)
97-113
EN
Life is Strange, INSIDE, Oxenfree—all these video games represent a seemingly entirely new genre. Young Adult videogames diverge from the male, gloomy grown-up stereotypes and replace them with adolescent protagonists in their coming of age stories. Their commercial success seem to validate their endeavors. However, YA narratives are hidden in plain sights for many years within JRPGs. Shin Megami Tensei – Persona 4 (short Persona 4 or P4) is a cultural ambassador. This paper examines how the game’s procedural rhetoric in combination with its Young Adult story advocate in favor of specific Japanese values. The time structure of P4 reinforces a longterm orientation and requires strategic planning as well as tactical flexibility. So-called “Social Links” represents Japan unique take on collectivism. Each link encapsulates a small YA narrative and offers different benefits to social-active protagonist. Finally, grinding mechanics reflect the notion of repetition-based learning. Japanese schools teach through engaging with developing several solutions to a singular problem. The same holds true for the grinding process. All these elements combined create a game rhetoric promoting these aspects of Japanese culture
3
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Joanna Szczepkowska przerywa spektakl

88%
Waligóra K.
Didaskalia. Gazeta Teatralna
|
2020
|
issue 159
1-38
EN
The article analyses the events that took place in Warsaw on 13 February 2010 during the premiere of Krystian’s Lupa production of Persona. Ciało Simone (Persona: Simone’s Body). The actress Joanna Szczepkowska, who played one of the main roles, interrupted the performance for a few seconds by doing three things: she stepped in among the spectators, raised her hand in a Hitler salute and bared her buttocks. The article examines the reasons for the actress’s insubordination and then reflects on the meaning of her behaviour and the reactions provoked by it in the theatre community.
4
Content available remote

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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vol. 22
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issue 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.
5
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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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