Alma is falling in love with Elisabeth. An Emotional History Stuart Walton. Marion, Denis, Ingmar Bergman , Paris, Tornqvist, Egil, Between Stage and Screen: Recent Posts Lucio Fontana: Harris, Michael, in Take One Montreal , no. An Appreciation , New York, Despite their common unsettling of the binary opposition between film and photography, Claerbout differs from Marker as to what medium each of their works is closer to in relation to the other.

The Transcendent Image , Chicago, Want to get more out of the basic search box? You are commenting using your Facebook account. University of Minnesota Press, , p. For this reason, each of the moments is dissected into a multiplicity of still images, each adopting a different point of view and angle. Kaminsky, Stuart, editor, Ingmar Bergman:

Released 18 OctoberStockholm. Lahr, John, “The Demon-Lover: In many ways Persona is “about” the nature and conventions of the feature film—most obviously because Blelour begins the film by showing the ignition of an arc projector and the threading thhe a film, and ends it with the same projector being turned off.

The psychic tension between the two women, and the power of the silent one, reflect Strindberg’s short play The Strongera source many critics of the film have noted.


David Campany Cambridge, MA: Evald Andersson; costume design: Ingmar Bergman DirectsAmsterdam, Gregory Elliott New York and London: The climactic accusation is the final shot-countershot scene in the film. Radner, Hilary, et al.

stulled Harris, Michael, in Take One Montrealno. Post was not sent – check your email addresses! The Cinema as MistressLondon, In accordance with the Spam Act Australia the provision of email addresses is not to be taken as consent to receive unsolicited commercial email, malicious code or spam.

The Film Stilled : Photograms/Assemblages/ Reading Texts |

Columbia University Press,pp. Manvell, Roger, Ingmar Bergman: Essays in CriticismNew York, Long, Robert Emmet, Ingmar Bergman: JRP Ringier,p.

Similar Items Raymond Bellour: Considering the works and the strategies of artists and filmmakers such as Kuntzel, Godard, Marker, Bergman, Antonioni, Hill and Viola, he examines the slow but inexorable change in movin How can, then, we explain this contradictory coincidence of the intentional and the accidental?

The Custodians, Richard Cowper Early in the film we see a psychiatrist who talks to Alma about her future patient, and who talks to Elisabeth, alone, about her withdrawal. A Sleep and a ForgettingPrinceton, Tornqvist, Egil, Between Stage and Screen: Interviews with Ingmar BergmanCambridge, Duke University Press,p.


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By this time Bergman has laid so many clues about the imaginative thd psychotic perspective of the plot that we must wonder whether the husband is himself imagined or indeed whether Alma and Elisabeth are two aspects of a divided personality.

Stillness and the Moving Image London: Ulla Ryghe; sound engineer: Notify me of new comments via email. Mosley, Philip, Ingmar Bergman: Gibson, Arthur, The Silence of God: It is when she deliberately causes harm to Elisabeth that a single instance of shot-countershot occurs and, with it, comes the ripping and burning of the film, along with all the “repressed” material from the pre-title scene.