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
Results 1-3 of 76
... face turned away , in BG C , and KARIN in FG R. When the line is spoken , JONAS turns his face toward TOMAS ( and the spectator ) . 3 CU of JONAS , his face turned away , in BG L and of KARIN in FG R. JONAS turns his face as in 2 . 4 CU ...
... face cleft in two halves , one lit , the other in shadow . In the final frame , a medium . shot more in agreement with the congregation's , i.e. Märta's , optical point of view , 23 Tomas ' whole face is evenly illuminated . There are ...
... face . In the following frames the coachman is seen fetching the suicide . This bit is anticipated when Bergman in a ... face , as though caressing it . She then turns around , facing the light from the projector , so that her face , now ...