Bergman: Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the
dark rooms of our souls.
Bergman Pages 2007 :
* video clips
... I do not know when I will have a chance to update this page, although I have reference to Bergman
in all my film classes. He is good for dramatic structure analysis, even as a script-writing example! I use
Bergman to illustrate quot;subjective cameraquot; and POV -- quot;subjective timequot;... It's impossible to do without
de-objectivization of space.
Sometimes I compare Bergman with Felinni, they are similar in being opposite.
Tarkovsky was inspired by Bergman more, than Bergman's had ever expressed in his admiration for
Bergman as any real artist is uneven. There is quot;early Bergmanquot; and quot;late Bergmanquot;... but this is for the
film historians to talk about.
He is a master.
There are many crafted filmmakers, movie-makers, I should say. Bergman makes films, even when he
quot;Film-Artistquot; is something of the past. Bergman was both. He advanced film language without being
quot;experimentalquot; -- you can see him narrating in his most formalistic films. HOW was never separated
from WHAT. Bergman is simple.
This simplicity is missing in postmodernity.
He was born before it.
I should speak about Bergman in past tense.
Film is merceless, it looks antique after 50 years...
Films and especially movies do age quickly...
Anatoly' 2000 film-north
Sorry, film folks; I have to use my film pages for some theatre classes. This one -- for the Script
Analysis, Existentialism (pix below)...
I hadn't touch this page in two years -- and, of course, many links are dead. I do not teach quot;Film &
Moviesquot; in two years. No time for quot;Film-Northquot; idea...
Bergman has too many talents.
He write and writes well. He
directs for stage. This is not
good for a filmmaker. Film
directors should be like an
artist or a musician, they don't
write or dance. Film directing
asks for self-limitations.
2006 -- directing 101
If a director can express
himself in words, he should
have enormous self-discipline.
I always wanted to stage quot;Wild He was one of a very few who changed my life. There was me
Strawberriesquot; -- it has a lot of
before I saw quot;Wild Strawberriesquot; and Anatoly-after the film. Click
theatre structure. I won't do it
on the graphics above and go to the DEEP THEORY pages
with 8 1/2 (unless it's an
experiment like with the staged
quot;Potemkinquot; in France).
I consider the big film directors
to be new philosophers, the
postmodern type of discourse...
Art always had philosophy in it,
but the subject of quot;War &
Peacequot; is not philosophy. Films,
even movies, because of the
technology build-in, do have
IDEOLOGY in everything.
Film is musically organized, but
unlike music, the last structural
principle of Aristotle -- the Idea
-- is the form! Film is a
Experiencing thinking, a living
It's ONE idea demonstrated in
Ingmar Bergman in 1959. Like Eisenstein he came to film from
They say film is dream-like, but
what are my dreams if not
THINKING while my brain
sleeps? So, it is thinking
without thinking! Pre-
Part One. SHOTS
thinking? Or maybe PRIME
THINKING, the only thought
process where I do not control
it -- and do not lie!
Bergman likes the extreme --
black and white, shadow and
...when I am free from
light, and extreme closeups
(XCU). Lighting is very gothic
(since I don't have time to
as if God speaks through me!
collect images and take care of
Ideology is one-dimensional.
copyright) as if it's always
Idea-Drive, excluding the rest,
quot;INT.quot; even when it's quot;EXT.quot;! I
because it's full of desire, or
use Bergman's CUs for my
WILL as Nietzsche would say.
Of course, it's POWERFUL.
class on Shots. Lighting brings
him and Tarkovsky together.
Each good film is a state of
mind. It has to be static in
order to have evolution within.
Film is the STOPPED TIME
(Faust), only then we can
experience time (Deleuze +
Bergson, time and memory).
What we see is always in context of what we don't. The art of a
shot is in arranging the acting in front of the camera in such a way
Eisenstein with his dialictics
called it quot;spiralquot; structure,
that we are in dynamic suspense between in-frame action and
when we return over and over
again. To the same face for
example (CU), as if the eternal
return (Nietzsche again). How
else can we keep time frozen?
[For practical applications of film theory, go to Film
Directing 101, I made this page for quot;Film Analysisquot;
course. Long ago. In a different century and
millenium. That's how old I am. AA]
Especially, when it's out of focus.
Remember: CU is always the climatic indicator.
(Dynamic) Composition Shots (see Montage to study the different between static and
dymanic arrangements within a single frame).
NOTES (from/for Film & Drama Class)
Film & Movies 2007
Bergman and Tarkovsky were chosen because they represent this
Northern sensitivity, which I believe is the core of film-nature. Both
are non-Catholic, with the strong division between Earth and Heaven.
Maybe even with the resentment to living... and admiration for the
beauty of everything mortal.
[ ... ]
PART TWO. PLANET NORTH
[On Protestant Mentality. New God was born in the North of Europe. Scandinavia is North
of Germany... In North I let Kierkegaard speak, on Bergman's page it's Luther.]
When our Lord and Master Jesus Christ said, quot;Repentquot; (Mt 4:17), he willed the
entire life of believers to be one of repentance.
The entire life? Only protestant mind could replace the dictatorship of the church with the
Dante's Devil is in ice. Italian and Catholic....
I'm glad I didn't see ALL Bergaman's films and didn't read many of his plays. I saw a few
good ones. I one I didn't like, I never finish. I can't judge Bergman, I can only love his
films I saw.
This fear or horror is sufficient in itself, to say nothing of other things, to constitute the
penalty of purgatory, since it is very near to the horror of despair.
LUTHER was a serious man:
[ North Idea ]
 Hell, purgatory, and heaven seem to differ the same as despair, fear, and
assurance of salvation.
I have my notes on Kierkegaard, who is not a film-maker, but he and Berdyaev
understood the essence of existentialism -- the tragic basis of it. In classes we call it
quot;dramaquot; -- we stay away from the word quot;tragedy.quot;
 Away, then, with all those prophets who say to the people of Christ,
quot;Peace, peace,quot; and there is no peace! (Jer 6:14)
Doestoevsky and Freud talked about the pleasure of pain. Film gravitates to violence -- we
need to experience terror in order to feel at peace.
 Blessed be all those prophets who say to the people of Christ, quot;Cross,
cross,quot; and there is no cross!
Very much about the films -- our fears are induced, they are only to remember the
 Christians should be exhorted to be diligent in following Christ, their
Head, through penalties, death and hell.
Penalties, death and hell -- the themes.
7th Seal (script) for playwrighting.net
 And thus be confident of entering into heaven through many tribulations
rather than through the false security of peace (Acts 14:22).
and Bergman (shows.vtheatre.net)
Read the script: Four Plays (one the best styles of writing for the screen!)
First episode: Dr. Berg's dream (in class)
NOTES: BERGMAN is 80 in 1998. Eisenstein -- 100. Tarkovsky was born in 1932. ...
There is another reason for his extreme closeups.
quot;By focusing on the exploration of the self, his ideas meshed
easily with Freudian psychoanalytical thinking, and college
students studying his films found ways to express their own
inner emotions. Bergman's use of huddled spaces, visual
metaphors, flashbacks, and rythymic dance created the
language of dreams.quot;
[ Also, read North page and POV (nonfiction). I recommend to read pages on nordern playwrights in
Script Analysis (Ibsen, Srindberg, Chekhov). ]
Bergman greatly admired the work of the Russian director Andrei Tarkovsky and said that Tarkovsky
was able to enter and move freely in rooms, which remained inaccesible to him (Bergman). The reason
for this is simple: Tarkovsky never abandoned his quest for a connection with God, and greatness for
any artist (as well as any human being) is determined solely on the basis of this quest.
quot;Isak Borg equals me. IB equals Ice and Borg (the Swedish word for fortress). Simple and facile. I had
created a figure who, on the outside, looked like my father but was me, through and through. I was
then thirty-seven, cut off from all human relations. It was I who had done the cutting off, presumably
an act of self-affirmation. I was a loner, a failure, I mean a complete failure. Though successful. And
clever. And orderly. And disciplined.
I was looking for my father and my mother, but I could not find them. In the final scene of Wild
Strawberries there is a strong element of nostalgia and desire: Sara takes Isak Borg by the hand and
leads him to a sunlit clearing in the forest. On the other side he can see his parents. They wave to him.
One thread goes through the story in multiple variations: shortcomings, poverty, emptiness, and the
absence of grace. I didn't know then, and even today I don't know fully, how through Wild Strawberries
I was pleading with my parents: see me, understand me, and—if possible—forgive me.quot;
Ingmar Bergman, Images: My Life in Film (1990) * W. Strawberries (script) quot;Film as dream, film as
music. No for of art goes beyond ordinary consciousness as film does, straight to pour emotions, deep
into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four
illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness.
At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of
magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see
almost imperceptible changes, wind faster - a movement.quot; (from The Magical Lantern, 1987)
Wild Strawberries * Buy from Amazon.com
* Two Tarkovsky pages @ film.vtheatre.net: Mirror & Rublev (quot;Sacrificequot; doc hour) for Russian Cinema
+ in Russian *
[ see other quot;showcase pagesquot; -- Tarkovsky, Kurosawa, Fellini @ film.vtheatre.net ]
The Seventh Seal:
Death: quot;What are you waiting for?quot;
Death: quot;You want a guarantee.quot;
Knight: quot;Call it what you will. . . . What will become of us, who want to believe but cannot? And what of
those, who neither will nor can believe? . . I want knowledge. Not belief. Not surmise. But knowledge. I
want God to put out His hand, show His face, speak to me.quot;
* bergman pages in film.vtheatre.net (new)
[ captions-links ]