“Ingmar Bergman’s Differentiation in Filmography & Technique Through the Eras He Witnessed
Faculty of Humanities and Theology
A paper submitted in fulfillment of the Course
Swedish national film culture in global context
“Ingmar Bergman’s differentiation in filmography & technique through the eras he witnessed”
“Filmmaking is a part of me. It is a driving force like hunger and thirst. Some people express themselves by writing books, painting pictures, climbing mountains, beating their children, or dancing the samba. I express myself by making film.”
Ingmar Bergman was a Swedish director and screenwriter whose unique cinematographic style made him one of the most notable directors of the twentieth century. Bergman is undeniably one of the great directors, but he has always stood for more than the sum of his films. From the first, he was regarded … as a visionary who grappled with the Big Questions of God and Man. His symbol-thick films were drenched in the night sweats of mortal torment. He was the kind of artist we had been brought up to believe was the real deal: He suffered for our souls.
As you try to read through Bergman, you are fascinated by the amount of questions his work raises in your mind about every aspect in your life. He had a phenomenal criterion in building up a story and transforming it into pictures, sounds, and actions, taking into consideration the slightest details of humans, nature and atmosphere. This has made his films very distinguished from other productions of their times. Many described his works as long, depressing, boring, harsh, and of little artistic values at their moment in time. However, many critics and viewers around the world see his work as the most astonishing film citation on human nature.
In this essay, we study the facts that made Ingmar Bergman divisively the prominent director he is today.
1. Ingmar Bergman and the Swedish welfare state
“In 1946 Sweden was in a good position since it was kept out of the Second World War since it willingly provided Germany with military supplies, thus they
A paper submitted in fulfillment of the Course
Swedish national film culture in global context
“Ingmar Bergman’s differentiation in filmography & technique through the eras he witnessed”
“Filmmaking is a part of me. It is a driving force like hunger and thirst. Some people express themselves by writing books, painting pictures, climbing mountains, beating their children, or dancing the samba. I express myself by making film.”
Ingmar Bergman was a Swedish director and screenwriter whose unique cinematographic style made him one of the most notable directors of the twentieth century. Bergman is undeniably one of the great directors, but he has always stood for more than the sum of his films. From the first, he was regarded … as a visionary who grappled with the Big Questions of God and Man. His symbol-thick films were drenched in the night sweats of mortal torment. He was the kind of artist we had been brought up to believe was the real deal: He suffered for our souls.
As you try to read through Bergman, you are fascinated by the amount of questions his work raises in your mind about every aspect in your life. He had a phenomenal criterion in building up a story and transforming it into pictures, sounds, and actions, taking into consideration the slightest details of humans, nature and atmosphere. This has made his films very distinguished from other productions of their times. Many described his works as long, depressing, boring, harsh, and of little artistic values at their moment in time. However, many critics and viewers around the world see his work as the most astonishing film citation on human nature.
In this essay, we study the facts that made Ingmar Bergman divisively the prominent director he is today.
1. Ingmar Bergman and the Swedish welfare state
“In 1946 Sweden was in a good position since it was kept out of the Second World War since it willingly provided Germany with military supplies, thus they
References: o The magic lantern, autobiography By Ingmar Bergman, 1987 o In Art’s Old Sanctuary, a High Priest of Film By STEPHEN HOLDEN, Published: July 14, 2010 o The radical intimacy of Ingmar Bergman By Hamish Ford, London 2002 o Ingmar Bergman, A Reference Guide By Birgitta Steene © Amsterdam University Press, Amsterdam 2005 o “Ingmar Bergman: society, history, and ideology” Lecture by Eric Helding; course: Swedish cinema, Lund University