Bergman's Muses: Æsthetic Versatility in Film, Theatre, Television and RadioBergman is a most versatile director who has devoted himself to several muses in a variety of media. Apart from being a writer of plays and screenplays, he has over the past fifty years directed about a hundred stage performances, fifty films, and many works for radio and television. During this time, all the production equipment used have undergone significant changes (allowing, just for instance, a more varied and subtle use of light and sound). But by his own admission, Bergman's texts have often lacked a clear orientation toward a specific medium. This book focuses on Bergman's way of tackling the problems inherent in each art form he has dealt with, giving a penetrating picture of his craftsmanship and the intimate relationship between his work on stage and in film, as well as the possibilities and limitations of the various forms. With the varied media at his disposal, Bergman is internationally the most versatile author-cum-director presently at work, well aware of what each medium can and cannot do and, most importantly, eager to test its borders. The book addresses itself not only to Bergman fans but also to all those interested in the aesthetic problems related to different presentational forms. |
From inside the book
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... The Hidden Observers 181 14. The Silent Characters 15. " This Is My Hand " 197 204 EPILOGUE 215 Appendix : Subtitling Bergman 221 Notes 235 Bibliography Index 259 251 Preface The present book is a logical continuation of my vi CONTENTS.
... hand . ' Hand Gestures in the Films of Ingmar Bergman " in Stage and Screen : Studies in Scandinavian Drama and Film . Essays in honor of Birgitta Steene , 2000 , edited by Ann - Char- lotte Gavel Adams and Terje I. Leiren . The ...
... hand , hot media do not leave so much to be filled in or completed by the audience . Hot media are , therefore , low in participation , and cool media are high in participation or completion by the audience [ McLuhan 1964 , 31 ] ...
... hand , may well open with a shot of merely a part of the visualized space or even of a small object in it . Unlike the situation in the theater , we are then for a while at a loss as to where we find ourselves . On the stage distances ...
... hand , the acting technique called for by an inti- mate space , such as the Malarsalen [ the Paint Room ] or Lejonkulan [ Lion's Den ] stages at Dramaten , is not noticeably different from that of a small television studio — a ...