persona (2)_oct272011
TRANSCRIPT
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Persona (2)
NCHU Film & Literature
Oct 27, 2011
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The repeated scene
http://www.youtube.com/watch?v=mIKByxTU2nA
Sunglasses
http://www.youtube.com/watch?v=bAeQbfOFUzo&fe
ature=related http://www.youtube.com/watch?v=XCstyHzOMng&fe
ature=related
http://www.youtube.com/watch?v=_drQYz43xzo&feature=related
Twilight sequence http://www.youtube.com/watch?v=jx9iW3bOBhs&fea
ture=related
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How does the plot develop?
(the narrative process)
3 major sequences:
a) the beginning:
How does the film begin?b) Alma’s tale of her sexual experience
c) the motherliness of the two women:
resemblance, identification,duality & confrontation
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The opening sequence
1. Unrelated objects/scenes
2. Subliminal shots
3. Montage & close-ups alternating brilliant whiteness and sharply
contrasting dark images in a rapid
montage
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The beach orgy scene
one of the most intensely erotic moments
in the history of the cinema
the unanticipated urgency of the eventsboth described and witnessed as well as
their lasting consequences.
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The 3rd sequence
double monologue
The dual nature of human existence
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From the critics
one of this century's great works of art.
The most beautiful film
among the ten greatest films of all time The modernist elements:
it exhibits the qualities of fragmentation, self
reflexivity, and ambiguity associated with themovement that came into prominence at the
beginning of the century while retaining a spirit
of experimentation that makes it still seem "a
film in search of its own laws."
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themes
Bergman's "most daring and enigmatic film“
focus on the face and the existentialist
necessity for willed action
Doub l ing & ident i t ies
The hopeless dream of being
Political consciousness
the motif of masks that culminates in thecomposite close-up of Alma/Elisabet
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Ambiguities
(1) the absence of visual codes to distinguish
between what is dreamed or imagined andwhat is actually occurring;
(2) the ellipses, doublings, and disruptions thatconfound any sense of a linear narrative;
(3) the montage of apparently unrelated imagesand the presence of the strange boy at the
beginning and end;(4) the discontinuities in space and time
(5) the inconsistencies in point of view.
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film-within-the-film
a snippet of primitive horror farce in which
a man is chased around his bedroom by a
skeleton
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The Persona narrative
Persona questions narrativerepresentation and continuity inits formal construction,
its story line blurs conventionaldistinctions between being androle playing.
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silence
How is it portrayed/represented?
Elisabet's silence is "completely unneurotic
. . . a strong person's form of protest.“
Vogler, then, is not the voice of Persona;rather, the film gives voice to her silence/‘
……………………Paisley LivingstonSource:LLOYD MICHAELS (2000). Bergman and the
Necessary Illusion: AN INTRODUCTION TO PERSONA. In Michaels, Lloyd (ed.) (2000).
Ingmar Bergman's Persona. Cambridge University Press
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Camera movements
Close-ups
Faces
Monatge Lights
Frames
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Susan Sontag on Persona
Sontag defines Persona as "not just arepresentation of transactions between thetwo characters . . . but a meditation on the
film which is 'about‘ them." This self-reflexiveness is usually
represented through the theme of doubling ,expressed through both the film's formalstructure and the exchange of identities
Source: http://www.ingmarbergman.se/page.asp?guid=1513AE83-F907-4EAD-A7DF-
1717C891533C&LanCD=EN