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 ist ein in Schwarzweiß gedrehtes schwedisches Filmdrama von Ingmar Bergman aus dem Jahr Der Film verbindet die Erzählweise des.
Ingmar Bergmanmy-bar-mitzvah.com - Kaufen Sie Persona - Ingmar Bergman Edition günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und. 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. 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 Bergman Movies Preview VideoPersona - Ingmar Bergman's Psychological Breakthrough
Informationen Persona Bergman Zombies Persona Bergman. - InhaltsverzeichnisEs folgen wieder Aufnahmen des Jungen, Elisabets Sohn, der seine Hand nach den projizierten Gesichtern ausstreckt.
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Palgrave Macmillan. Cohen, Hubert Ingmar Bergman: The Art of Confession. New York: Twayne Publishers. Cohen-Shalev, Amir Both Worlds at Once: Art in Old Age.
University Press of America. Darren, Alison Lesbian Film Guide. Denzin, Norman K. Investigating Subjectivity: Research on Lived Experience.
Newbury Park, London and New Delhi: SAGE. Ford, Hamish A Companion to Robert Altman. Foster, Gwendolyn Audrey Ingmar Bergman's Persona. Cambridge University Press.
Gado, Frank The Passion of Ingmar Bergman. Durham: Duke University Press. Gervais, Marc Ingmar Bergman: Magician and Prophet.
McGill-Queen's Press - MQUP. Havertyrugg, Linda Transnational Cinema in a Global North: Nordic Cinema in Transition.
Wayne State University Press. Hubner, Laura The Films of Ingmar Bergman: Illusions of Light and Darkness. Jensen, Carsten I Have Seen the World Begin.
Ketcham, Charles B. The Influence of Existentialism on Ingmar Bergman: An Analysis of the Theological Ideas Shaping a Filmmakers's Art.
Mellen Press. Long, Robert Emmet Liv Ullmann: Interviews. University Press of Mississippi. Luko, Alexis Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman.
New York and London: Routledge. Lunde, Arne Swedish Cinema and the Sexual Revolution: Critical Essays. Macnab, Geoffrey Ingmar Bergman: The Life and Films of the Last Great European Director.
London and New York: I. Maltin, Leonard Leonard Maltin's Movie Guide: The Modern Era. Michaels, Lloyd The Phantom of the Cinema: Character in Modern Film.
Albany: State University of New York Press. Retrieved 23 July Nichols, Peter M. The New York Times Guide to the Best 1, Movies Ever Made.
Martin's Press. Retrieved 23 July — via Google Books. Orr, Christopher Orr, John The Demons of Modernity: Ingmar Bergman and European Cinema. 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.
Having all the time in the world to contemplate his work, filmmaking and art in general, he came up with a story centered on duality, loneliness, insanity, personal identity and the theme of representation.
The crucial image on which he based his vision came to him as he saw a slide of actresses Bibi Andersson and Liv Ullmann sunbathing together, with a resemblance he deemed uncanny.
Andersson was his long-time collaborator, but Ullmann was a complete mystery to him. One brief chance encounter on the street, however, put his mind at ease.
He was convinced he found two perfect matches for the main parts in the film. Upon its release, most critics were respectful, acknowledging the obvious craft that went into the creation of the film, but almost all of them agreed the film was a real challenge to decipher, resisting unanimous analysis and simple categorization.
Persona is definitely among only a handful of films to receive such extensive analytical treatment by critics and scholars, who saw it as their white whale.
Unlike any other film, this is a film about celluloid, about the material essential in making films. It begins with a projector starting up, ends with a projector shutting down, forcing us to think about film as a medium, something the overwhelming majority of other movies desperately wants us to forget.
Persona breaks the fourth wall, even allowing us to see Bergman and his film crew at one point. The first edition of the book dates back to , the latest was published in Update : since several of these books are available on Amazon , we urge you to consider getting your copy as soon as possible.
Absolutely our highest recommendation. Courtesy of The Ingmar Bergman Archives, The Ingmar Bergman Foundation. The core of the films, the originally explosive material, creates the film; the final film can consist of perhaps apparently strangely unimportant impulses.
The idea for Persona , for example, came from a picture. One day I suddenly saw in front of me two women sitting next to each other and comparing hands with one another.
I thought to myself that one of them is mute and the other one speaks. This little thought returned time and again and I wondered: why did it return, why did it repeat itself?
It was as if it returned so that I would start to work on it. And then you realize that there is something behind this picture, it is as if it was on a door.
And if you open the door carefully, there is a long corridor that becomes broader and broader and you suddenly see scenes that act themselves out and people who start to speak and situations that start to develop themselves on both sides.
But I think this is true of all artisticness. Film may be specially visual. For me, it goes on to develop itself in rhythm and in light.
The sun was strong in this picture. It is often awfully concrete pictures and some sort of acoustic sensation. Other ideas can grow out of a dream or a piece of music, a few strokes of a piece of music.
Therefore I prefer not to say anything at all. I played my part in this debate when I made the film. Pictures to the feelings of others, to other people.
One can also say that film direction can be given a technical definition. Along with an awful lot of people, performers, and technicians, and a tremendous lot of machines, one produces a product.
Its mystery is one that will attract viewers time after time and give a sense of the endless doors filmmakers may open for audiences if they take the imaginative risks Bergman took during his career.
Through Persona: A Poem in Images , we touch upon the unforgettable Bergman film with telling interviews from actors Liv Ullmann and Bibi Andersson and author of Ingmar Bergman: Magician and Prophet Marc Gervais to learn about the great filmmaker and the making of a masterpiece.
First: Who the hell is really interested in this kind of introverted mirror aria? We should have thrown ourselves directly into filming… Instead we rehearsed, discussed, analyzed, penetrated carefully and respectfully, just as we do in the theatre, almost as if the author were one of our dear departed.
I got a cold and I had to work. I got pneumonia, […] I was allergic to penicillin, and I was ill about half a year. And I thought I will never return to filmmaking, but then I started slowly, very very slowly to write Persona.
Open Vimeo video. Broadcast date: 19 May, Since at least, with the breakthrough into new narrative forms propagated with most notoriety if not greatest distinction by Last Year in Marienbad , audiences have continued to be educated by even more elliptical and complex work.
Proprio in questo aspetto trova adempimento l'intenzione sperimentalistica della pellicola, oscillando tra la nevrosi attiva e passiva dell'afasia e le soluzioni registiche brutalmente subliminali.
Proprio da questa osservazione nasce la sua idea che il film dia i suoi maggiori risultati nelle rare sequenze non parlate, nelle quali Bergman sembra restituire un significato misterioso e profondo al dramma interiore dei personaggi.
Il titolo deriva dalla locuzione latina Dramatis persona , il termine per definire la maschera indossata dall'attore e quindi il personaggio nel teatro latino.
Si tratta di un chiaro riferimento alla professione della protagonista del film. Tradotto nel cinema bergmaniano il concetto significherebbe un'amplificazione del conflitto interiore di Elizabeth e Alma, tanto da esternarlo, nella pellicola, con il gioco di luci e ombre, con la mimica facciale di Liv Ulmann e Bibi Andersson.
Da Wikipedia, l'enciclopedia libera. Il famoso, quanto eccentrico ed enigmatico, cineasta regista fra gli altri della serie cult Twin Peaks sembra aver trovato nel film di Bergman la base per alcuni suoi film.
Ma il tema principale dei due film resta uno, seppur a distanza di moltissimi anni: il sogno. 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.At first they Herkules Und Die Sandlot-Kids Stream so scared they Persona Bergman even recognize their own faces. In the sunny courtyard of the cottage, she picks up the pieces of a broken glass, and then deliberately leaves Was Männer Wollen Film shard where Elizabeth might walk. Alma begins to confess that, though now engaged to be married, she has already had her heart broken in an affair with a married Stranger Things 2 Streaming, and also had an unforgettably erotic encounter on a beach while sunbathing naked with a friend. Categories : films Swedish-language films drama films s avant-garde and Film Das Programm films Best Film Guldbagge Award winners Films about abortion Films about diseases Films about psychiatry Rtl 2 You Program directed by Ingmar Bergman Films set in Gotland Films shot in Sweden GreyS Anatomy Streaming Vostfr with screenplays by Ingmar Bergman Hospital films Jungian tradition Juvenile sexuality in films Nonlinear narrative films Obscenity controversies in film s psychological horror films Self-reflexive films Swedish avant-garde and experimental films Swedish black-and-white films Swedish films Swedish drama films Vampires in film National Society of Tennis Finale übertragung Critics Award for Best Film winners. David Lynch 's film Mulholland Drive deals with similar themes of identity and has two female characters whose identities appear to merge.