"human face is the most cinematographic thing", a legend remarked
In this video essay I’m offering you the glimpse of Ingmar Bergman’s world, providing an introduction for those interested in an exploration of his films. As you immerse yourself in Bergman's films, you'll encounter recurring themes and techniques that define his unique cinematic style. These include the exploration of dreams and memory, contemplation of existential dilemmas surrounding God, death, faith, and the nuanced examination of complex human relationships, often within a familial context. The profound use of close-ups further exemplifies Bergman's distinctive directorial approach. Additionally, his background as a theatre director adds another layer of uniqueness to his film direction
This essay will shed light on all these mentioned aspects, unraveling the rich tapestry of Ingmar Bergman's cinematic artistry.
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Under Section 107 of the Copyright Act 1976, there is an allowance for 'fair use' of copyrighted material for such purposes as education and research, scholarship, criticism, news reporting, comment, and teaching.
Timestamps:
0:00 Ingmar Bergman
4:06 Dreams and Memories
8:59 Existential Dilemmas
12:50 Complex Human Relationships
14:36 Unique Direction
18:08 Conclusion
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Bergman is the greatest director from Scandinavia ever. I'm writing this as a Danish cinephile who loves C. Th. Dreyer's movies deeply, but there is no way around it.
Can you suggest me any film of Carl Dreyer to start exploring him, and also any other filmmakers that you think I must checkout.
@@DirectorsSpotlight "The Passion of Joan of Arc" from 1928 could be a good place to start if you are also interested in the silent era films. Otherwise, "Ordet" (The Word) from 1955 is my personal favourite and an absolute masterpiece. When I say Bergman was a greater director than Dreyer after all, it is, to some extent, a matter of quantity. There is simply more great movies from Bergman's hand. In terms of actual directing and cinematography I absolutely think they are equals. But Dreyer was surprisingly bad at raising funds for his projects, at least in the later half of his life, which resulted in a smaller output. Bergman, on the other hand, was quite good at it and also got more financial government support.
Fascinating. I didn't know anything about Bergman before (not much of a cinephile), but you really woke my interest. Thanks for making this vid :) just subscribed too!
Thanks for your support, and I'm glad to hear that this video has sparked your interest in exploring Bergman's work :)