The Passion of Ingmar Bergman

Gado, Frank

doi:10.1215/9780822398554

Cited by 17 publications

(7 citation statements)

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“…Así, al contrario que en otros filmes más o menos contemporáneas en los que el flashback de sabor psicoanalítico únicamente se utiliza para atar los cabos sueltos de la trama en un peliagudo y oportunista retorno de lo reprimido -estamos pensando en obras tan mayúsculas como Recuerda (Spellbound, Alfred Hitchcock, 1945) o Secreto tras la puerta (Secret Beyond the Door…, Fritz Lang, 1947)-, lo que Bergman propone es una compleja reflexión fílmica en la que la estructura permita desvelar progresivamente el trayecto emocional del personaje. En esta dirección, florecen trabajos de calidad desigual que intentan establecer una suerte de lectura analítica centrada sobre el propio Isak Borg (Williams, 2005), el protagonista, o incluso sobre Ingmar Bergman (Gado, 1986), dejando de lado los efectos significantes que emergen de la propia materialidad de la forma fílmica (Zumalde, 2011). En el momento de redactar estas líneas, resulta ineludible referenciar el trabajo de Palao Errando (2018: 92-126) como una de las lecturas más exhaustivas y coherentes sobre lo que el psicoanálisis -en este caso, lacanianopuede aportar a la comprensión del flashback en la obra de Bergman.…”

Section: El 'Flashback' En La Obra De Ingmar Bergman: Una Breve Acotación Del Marco Teóricounclassified

El espectro corporeizado: resonancias semánticas del ‘flashback’ metaléptico en ‘Fresas salvajes’ (‘Smultronstället’, 1957)

Pedreño¹,

Serrano²

2021

Tripodos

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Este artículo plantea una nueva lectura de la película Fresas salvajes (Smultronstället; Ingmar Bergman, 1957) a través de la exploración narratológica de dos procedimientos fundamentales en su cuerpo textual: el flashback y la metalepsis. La unión de estos dos recursos origina el fenómeno del flashback metaléptico, cuya particular naturaleza pone de relieve, en tres escenas cruciales del relato, la influencia de los conflictos del presente en la reconstrucción del pasado: si bien en las dos primeras las cualidades metalépticas de las regresiones adoptan un sesgo excluyente en lo relativo a la clase de inscripción del sujeto recordatorio dentro de las mismas, será en la última remembranza cuando, una vez el personaje protagonista ha resuelto la crisis existencial que padecía, el sesgo se torna definitivamente inclusivo, indicio de la reconciliación efectuada con respecto a sus experiencias pretéritas. The Embodied Spectre: Semantic Implications of the Metaleptic Flashback in ‘Wild Strawberries’ (‘Smultronstället’, 1957) This paper aims to carry out a new reading of the film Wild Strawberries (Smultronstället; Ingmar Bergman, 1957) through a narratological exploration of two fundamental techniques used in the body of the work: the flashback and metalepsis. The joined use of these two techniques creates the phenomenon of metaleptic flashback, which, through its particular nature, sheds light on the influence of present conflicts on the reconstruction of the past in three crucial scenes within the story. While the metaleptic properties of the regressions in the first two cases take an exclusive focus with regard to the kind of involvement of the reminiscing individual within those scenes, in the last scene of remembrance, once the main character has resolved the existential crisis that he has been experiencing, the perspective becomes de finitively inclusive, a sign of his having reached a reconciliation with his past experiences.

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Section: El 'Flashback' En La Obra De Ingmar Bergman: Una Breve Acotación Del Marco Teóricounclassified

El espectro corporeizado: resonancias semánticas del ‘flashback’ metaléptico en ‘Fresas salvajes’ (‘Smultronstället’, 1957)

Pedreño¹,

Serrano²

2021

Tripodos

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“…Here confession is forced, unwelcome, and at the service of the prurient and cruel desires of David. Revelation involves humiliation and the subjection of the confessor to the vampiric desire of another, a former lover who sucks the life out of her [5,8,17]. 2 2 Bergman is acutely aware of the link between eros and thanatos, between sex and violence, but he mixes Freudian themes with theological language of damnation and the longing for confession and forgiveness.…”

Section: Faithlessmentioning

confidence: 99%

“…See Sontag, ( [8], p. 69). For a psychoanalytic reading of Bergman's films, see Frank Gado [17]. For a critique of that position, see Livingston [5].…”

Section: Faithlessmentioning

confidence: 99%

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Late Bergman: The Lived Experience of the Absence of God in Faithless and Saraband

Hibbs¹

2016

Religions

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Acclaimed as one of the great filmmakers of the 20th century, Ingmar Bergman is for many an arch-modernist, whose work is characterized by a high degree of self-conscious artistry and by dark, even nihilistic themes. Film critics increasingly identify him as a kind of philosopher of the human condition, especially of the dislocations and misery of the modern human condition. However, Bergman's films are not embodiments of philosophical theories, nor do they include explicit discussions of theory. Instead, he attends to the concrete lived experience of those who, on the one hand, suffer from doubt, dislocation, and self-hatred and, on the other, long for confession and communion. In the middle of his career, especially in his famous faith trilogy of the early 1960s, Bergman investigated the lived experience of the absence of God. It is commonly thought that after this period, the question of God disappeared. However, in his last two films, Faithless and Saraband, Bergman explores the lived experience of the absence of God. Indeed, he moves beyond a simple negation to explore the complex interplay of absence. He even illustrates the possibility of a kind of communion for which so many of his characters-early, middle and late-long.Keywords: Ingmar Bergman; Saraband; Faithless; God; nihilism; communion; philosophy; film Of the mid-century work of the Swedish filmmaker Ingmar Bergman, Francois Truffaut stated in 1973, "there is no body of work of the caliber and integrity of Bergman's since the war" ([1], p. 34). Acclaimed as one of the great filmmakers of the 20th century, Ingmar Bergman is for many an arch-modernist, whose work is characterized by a high degree of self-conscious artistry and by dark, even nihilistic themes. Bergman seems increasingly to be identified as a kind of philosopher of the human condition, especially of the dislocations and misery of the modern human condition [2][3][4][5]. 1 In this, his work reflects the philosophical dilemmas of nihilism. As with many European filmmakers of the last century, he is quite self-conscious about his own artistry; indeed, such self-consciousness seems obligatory in those who aspire to artistic greatness. However, Bergman's films are not embodiments of philosophical theories, nor do they include explicit discussions of theory. Instead, he attends to the concrete lived experience of those who, on the one hand, suffer from doubt, dislocation, and self-hatred and, on the other, long for confession and communion. In the middle of his career, especially in his famous faith trilogy of the early 1960s, Bergman investigated the lived experience of the absence of God. It is commonly thought that after this period, the question of God disappeared. However, in his last two films, Faithless [6] and Saraband [7], Bergman explores the lived experience of the absence of God. Indeed, he moves beyond a simple negation to explore the complex interplay of absence. He even illustrates the possibility of a kind of communion for which so many of his characters-early,

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“…However, let us return to this incident by way of Frank Gado's interpretation of the story in his book The Passion of Ingmar Bergman. 2 On the basis of the published excerpt Gado has done a fairly standard Freudian interpretation of the story, using the notion of the Oedipus complex (an interpretive matrix that he tends to apply to all of Bergman's works). For instance he observes that the story from Jack's childhood occurs in a place that resembles in every detail the apartment of Bergman's maternal grandmother, and what is more, during a period that little Ingmar -aged three or four like Jack -spent with his grandmother at the time his sister was born.…”

Section: The Miniature Persons In the Clockmentioning

confidence: 99%