Published on August 7, 2007
Bergman Pages • Bergman: Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls. Bergman Pages 2007 : * video clips * biblio ... I do not know when I will have a chance to update this page, although I have reference to Bergman in all my film classes. He is good for dramatic structure analysis, even as a script-writing example! I use Bergman to illustrate quot;subjective cameraquot; and POV -- quot;subjective timequot;... It's impossible to do without de-objectivization of space. Sometimes I compare Bergman with Felinni, they are similar in being opposite. Tarkovsky was inspired by Bergman more, than Bergman's had ever expressed in his admiration for Tarkovsky. Bergman as any real artist is uneven. There is quot;early Bergmanquot; and quot;late Bergmanquot;... but this is for the film historians to talk about. He is a master. There are many crafted filmmakers, movie-makers, I should say. Bergman makes films, even when he shoots movies. quot;Film-Artistquot; is something of the past. Bergman was both. He advanced film language without being quot;experimentalquot; -- you can see him narrating in his most formalistic films. HOW was never separated from WHAT. Bergman is simple. This simplicity is missing in postmodernity. He was born before it. I should speak about Bergman in past tense. Film is merceless, it looks antique after 50 years... Films and especially movies do age quickly... Anatoly' 2000 film-north Sorry, film folks; I have to use my film pages for some theatre classes. This one -- for the Script Analysis, Existentialism (pix below)... I hadn't touch this page in two years -- and, of course, many links are dead. I do not teach quot;Film & Moviesquot; in two years. No time for quot;Film-Northquot; idea...
Bergman Bergman has too many talents. He write and writes well. He directs for stage. This is not good for a filmmaker. Film directors should be like an artist or a musician, they don't write or dance. Film directing asks for self-limitations. 2006 -- directing 101 If a director can express himself in words, he should have enormous self-discipline. I always wanted to stage quot;Wild He was one of a very few who changed my life. There was me Strawberriesquot; -- it has a lot of before I saw quot;Wild Strawberriesquot; and Anatoly-after the film. Click theatre structure. I won't do it on the graphics above and go to the DEEP THEORY pages with 8 1/2 (unless it's an experiment like with the staged quot;Potemkinquot; in France). I consider the big film directors to be new philosophers, the postmodern type of discourse... feeling=thinking. Art always had philosophy in it, but the subject of quot;War & Peacequot; is not philosophy. Films, even movies, because of the technology build-in, do have IDEOLOGY in everything. Film is musically organized, but unlike music, the last structural principle of Aristotle -- the Idea -- is the form! Film is a THOUGHT. Experiencing thinking, a living reasoning... It's ONE idea demonstrated in two hours. Ingmar Bergman in 1959. Like Eisenstein he came to film from They say film is dream-like, but theatre. what are my dreams if not THINKING while my brain sleeps? So, it is thinking without thinking! Pre- Part One. SHOTS thinking? Or maybe PRIME THINKING, the only thought process where I do not control it -- and do not lie! Bergman likes the extreme -- black and white, shadow and ...when I am free from light, and extreme closeups myself... (XCU). Lighting is very gothic (since I don't have time to as if God speaks through me! collect images and take care of Ideology is one-dimensional. copyright) as if it's always Idea-Drive, excluding the rest, quot;INT.quot; even when it's quot;EXT.quot;! I because it's full of desire, or use Bergman's CUs for my WILL as Nietzsche would say. Of course, it's POWERFUL. class on Shots. Lighting brings him and Tarkovsky together. Each good film is a state of mind. It has to be static in order to have evolution within. Film is the STOPPED TIME (Faust), only then we can experience time (Deleuze + Bergson, time and memory). What we see is always in context of what we don't. The art of a shot is in arranging the acting in front of the camera in such a way Eisenstein with his dialictics called it quot;spiralquot; structure, that we are in dynamic suspense between in-frame action and when we return over and over action framed-out. again. To the same face for example (CU), as if the eternal return (Nietzsche again). How else can we keep time frozen?
[For practical applications of film theory, go to Film Directing 101, I made this page for quot;Film Analysisquot; course. Long ago. In a different century and millenium. That's how old I am. AA] Especially, when it's out of focus. Remember: CU is always the climatic indicator. (Dynamic) Composition Shots (see Montage to study the different between static and dymanic arrangements within a single frame). NOTES (from/for Film & Drama Class) Film & Movies 2007 Bergman and Tarkovsky were chosen because they represent this Northern sensitivity, which I believe is the core of film-nature. Both are non-Catholic, with the strong division between Earth and Heaven. Maybe even with the resentment to living... and admiration for the beauty of everything mortal. [ ... ] PART TWO. PLANET NORTH [On Protestant Mentality. New God was born in the North of Europe. Scandinavia is North of Germany... In North I let Kierkegaard speak, on Bergman's page it's Luther.] When our Lord and Master Jesus Christ said, quot;Repentquot; (Mt 4:17), he willed the entire life of believers to be one of repentance. The entire life? Only protestant mind could replace the dictatorship of the church with the self-tyranny. Dante's Devil is in ice. Italian and Catholic.... I'm glad I didn't see ALL Bergaman's films and didn't read many of his plays. I saw a few good ones. I one I didn't like, I never finish. I can't judge Bergman, I can only love his
films I saw. This fear or horror is sufficient in itself, to say nothing of other things, to constitute the penalty of purgatory, since it is very near to the horror of despair. LUTHER was a serious man: [ North Idea ]  Hell, purgatory, and heaven seem to differ the same as despair, fear, and assurance of salvation. I have my notes on Kierkegaard, who is not a film-maker, but he and Berdyaev understood the essence of existentialism -- the tragic basis of it. In classes we call it quot;dramaquot; -- we stay away from the word quot;tragedy.quot;  Away, then, with all those prophets who say to the people of Christ, quot;Peace, peace,quot; and there is no peace! (Jer 6:14) Doestoevsky and Freud talked about the pleasure of pain. Film gravitates to violence -- we need to experience terror in order to feel at peace.  Blessed be all those prophets who say to the people of Christ, quot;Cross, cross,quot; and there is no cross! Very much about the films -- our fears are induced, they are only to remember the dread....  Christians should be exhorted to be diligent in following Christ, their Head, through penalties, death and hell. Penalties, death and hell -- the themes. 7th Seal (script) for playwrighting.net  And thus be confident of entering into heaven through many tribulations rather than through the false security of peace (Acts 14:22). and Bergman (shows.vtheatre.net)
Wild Strawberries Read the script: Four Plays (one the best styles of writing for the screen!) First episode: Dr. Berg's dream (in class) NOTES: BERGMAN is 80 in 1998. Eisenstein -- 100. Tarkovsky was born in 1932. ... There is another reason for his extreme closeups. quot;By focusing on the exploration of the self, his ideas meshed easily with Freudian psychoanalytical thinking, and college students studying his films found ways to express their own inner emotions. Bergman's use of huddled spaces, visual metaphors, flashbacks, and rythymic dance created the language of dreams.quot; ... PS [ Also, read North page and POV (nonfiction). I recommend to read pages on nordern playwrights in Script Analysis (Ibsen, Srindberg, Chekhov). ] Bergman greatly admired the work of the Russian director Andrei Tarkovsky and said that Tarkovsky was able to enter and move freely in rooms, which remained inaccesible to him (Bergman). The reason for this is simple: Tarkovsky never abandoned his quest for a connection with God, and greatness for any artist (as well as any human being) is determined solely on the basis of this quest. Notes BERGMAN SPEAKS... quot;Isak Borg equals me. IB equals Ice and Borg (the Swedish word for fortress). Simple and facile. I had created a figure who, on the outside, looked like my father but was me, through and through. I was then thirty-seven, cut off from all human relations. It was I who had done the cutting off, presumably an act of self-affirmation. I was a loner, a failure, I mean a complete failure. Though successful. And clever. And orderly. And disciplined. I was looking for my father and my mother, but I could not find them. In the final scene of Wild Strawberries there is a strong element of nostalgia and desire: Sara takes Isak Borg by the hand and leads him to a sunlit clearing in the forest. On the other side he can see his parents. They wave to him. One thread goes through the story in multiple variations: shortcomings, poverty, emptiness, and the absence of grace. I didn't know then, and even today I don't know fully, how through Wild Strawberries I was pleading with my parents: see me, understand me, and—if possible—forgive me.quot; Ingmar Bergman, Images: My Life in Film (1990) * W. Strawberries (script) quot;Film as dream, film as music. No for of art goes beyond ordinary consciousness as film does, straight to pour emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see
almost imperceptible changes, wind faster - a movement.quot; (from The Magical Lantern, 1987) Wild Strawberries * Buy from Amazon.com * Two Tarkovsky pages @ film.vtheatre.net: Mirror & Rublev (quot;Sacrificequot; doc hour) for Russian Cinema + in Russian * Bergman2005 * Summary [ see other quot;showcase pagesquot; -- Tarkovsky, Kurosawa, Fellini @ film.vtheatre.net ] Questions The Seventh Seal: Death: quot;What are you waiting for?quot; Knight: quot;Knowledge.quot; Death: quot;You want a guarantee.quot; Knight: quot;Call it what you will. . . . What will become of us, who want to believe but cannot? And what of those, who neither will nor can believe? . . I want knowledge. Not belief. Not surmise. But knowledge. I want God to put out His hand, show His face, speak to me.quot; * bergman pages in film.vtheatre.net (new) [ captions-links ]
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