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1

Ingmar Bergman's Guests at the Last Supper in the time of nuclear threats

100%

Dlask J.

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

76-87

EN

This article discusses the film Nattvardsgästerna (1963) – released in the U.S. as Winter Light, and in the U.K. as The Communicants – in the context of the Swedish post-war religious scene and Ingmar Bergman's other productions of the period. The film is read theologically with an assumption that the author carries on a certain religious dialogue, whatever its form may be. With the basis of the film in the title, it asks about the meaning of the Lord's Supper celebration and of the individual 'guests', i.e. the film's main characters: Tomas Ericsson, Märta Lundberg and Jonas Persson. The article applies a comparative perspective to the relevant texts of the Old and (especially) New Testaments and includes pericopes and verses concerning the doubting Thomas, the biblical Martha and the prophet Jonah.

2

„Dlaczego zrobiono to mojej Pippi?”, czyli szwedzki film zaangażowany społecznie

86%

Adamski T.

Pogranicze. Studia Społeczne

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2015

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vol. 26

13-30

EN

In the article I examine the modes of social involvement that are present in contemporary Swedish cinematography. In my opinion, many of the directors from this Scandinavian country are trying to include in their works the elements of social criticism. They also intend to inform, or to change the attitudes of their viewers. Problems that appear in these films are related, inter alia, to the questions of equality, globalization, multiculturalism, migration, emancipation of women, trafficking, and consumerism.

3

Fårö, wyspa Bergmana

72%

Mrozek-Sadowska E.

Studia Scandinavica

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2018

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issue 2 (22)

26-45

EN

This paper is an attempt to investigate the relationship between Ingmar Bergman, the Swedish auteur and the island of Fårö in the Baltic, where he worked and lived for 40 years. Bergman said: “If one wished to be solemn, it could be said that I had found my landscape, my real home; if one wished to be funny, one could talk about love at first sight.” He discovered the island when looking for a location to shoot Through a Glass Darkly. Including Through a Glass Darkly, Bergman was to shoot six films and one television series on Fårö. He also made two documentary films about the island and its inhabitants: Fårö Document 1969 and Fårö Document 1979.

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1 Pogranicze. Studia Społeczne

1 Studia Scandinavica

1 Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

1 Adamski T.

1 Dlask J.

1 Mrozek-Sadowska E.

1 2019

1 2018

1 2015

Ingmar Bergman's Guests at the Last Supper in the time of nuclear threats

„Dlaczego zrobiono to mojej Pippi?”, czyli szwedzki film zaangażowany społecznie

Fårö, wyspa Bergmana