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bloglivre-blog · 5 years

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Documentário celebra centenário de Ingmar Bergman

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Documentário celebra centenário de Ingmar Bergman

Há cem anos nascia o dramaturgo e cineasta sueco Ingmar Bergman (1918-2007). O documentário Bergman: 100 anos (Bergman: a year in a life), da diretora Jane Magnusson, usa filmagens de arquivo do próprio diretor, excertos de suas obras e depoimentos de atrizes como Liv Ullmann, Barbra Streisand, do cineasta dinamarquês Lars Von Trier, entre outros, para prestar uma homenagem ao autor de alguns dos mais influentes e aclamados filmes de todos os tempos (Persona, O Sétimo Selo, Gritos e Sussuros, Fanny e Alexander e Cenas de um Casamento) no ano de seu centésimo aniversário. O doc de Magnusson cria um retrato leve, humano, destacando os lados positivos e negativos de um dos diretores de cinema mais icônicos do mundo.

Essa não é a primeira vez que a diretora se dedica a investigar a obra de Ingmar Bergman. Em 2013, Jane Magnusson dirigiu junto com Hynek Pallas o documentário A Cinemateca de Bergman (Trespassing Bergman). Apresentado como série de televisão na Suécia, um grupo de cineastas visita a casa de Bergman na remota ilha sueca de Fårö e seu acervo de mais de 1.700 filmes para discutir seu legado. Magnusson e Pallas vão atrás dos diretores que constam no acervo de Bergman e de suas reflexões acerca do cinema e da influência do grande diretor sueco na história.

Em Bergman: 100 anos, Jane Magnusson faz um recorte a partir do ano de 1957, quando o cineasta está estreando seis produções gigantescas. Além disso, aos 38 anos ele já tinha seis filhos com três mulheres diferentes. Foi neste ano que o diretor fez a maior descoberta artística de sua vida: para que seus filmes sejam ótimos, eles precisam ser sobre ele. Dono de uma filmografia extensa, densa em temas e estilo, o diretor sueco se vestiu com muitos de seus personagens. Alguns dos temas centrais das suas obras estão centrados no estudo psicológico dos personagens e das famílias disfuncionais, assim como na angústia causada pela ausência de um Deus, deixando o ser humano abandonado entre Deus e o Diabo.

Ingmar Bergman é reconhecido como um dos precursores do cinema moderno e é considerado por muitos como o maior diretor de cinema do século 20. Porém, o cineasta sueco tinha uma personalidade forte e suas próprias regras. Bergman – 100 Anos não apenas elogia o trabalho de um grande artista, como também toca em temas polêmicos, como o apoio de Bergman a Hitler, as acusações de fraude financeira e o comportamento agressivo durante as filmagens. Uma questão importante no documentário suscita é a licença que a sociedade costuma dar a artistas geniais para se comportarem de modo repreensível, porque as belas obras de certo modo compensariam os atos questionáveis. Seria possível tomar conhecimento do comportamento negativo de alguém e ainda achar a sua obra genial?

Dono de um ritmo de trabalho indescritível (sendo impossível imaginar como Ingmar Bergman lidava com tantos trabalhos), seus filmes são obras-primas. No último dia 14 de julho, o diretor sueco estaria completando 100 anos. O cineasta faleceu em 30 de julho de 2007, aos 89 anos, de forma tranquila em sua casa na ilha de Fårö, na Suécia, onde encontra-se sepultado. Sua extensa lista de premiações inclui três Oscar de Melhor Filme Estrangeiro por A Fonte da Donzela (1960), Através de um Espelho (1961) e Fanny e Alexander (1982), seis prêmios no Festival de Cannes, além dos festivais de Berlim e Veneza.

O documentário Bergman: 100 anos, dirigido por Jane Magnusson, estreia hoje (19) nos cinemas brasileiros.

#A Fonte da Donzela #Através de um Espelho #Bergman: 100 anos #Bergman: a year in a life #centenário Ingmar Bergman #Fanny e Alexander #Ingmar Bergman #Jane Magnusson #Liv Ullmann #O Sétimo Selo #Persona

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janvba2film-blog · 7 years

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Post Q: Completed Reference List

Main Films:

The Last House on the Left, 1972. [Film] Wes Craven, USA: Hallmark Releasing.

A Nightmare on Elm Street, 1984. [Film] Wes Craven, USA: New Line Cinema.

Scream, 1996. [Film] Wes Craven, USA: Dimension Films.

Secondary References:

Never Sleep Again: The Elm Street Legacy. (2010). [DVD] Directed by D. Farrands. 1428 Films. - This was very useful to me as it provided me with a lot of insight into the behind-the-scenes of the film, which was particularly useful in regards to auteur theory, because I learned which aspects were contributed by who.

At the Movies. (1994). Siskel & Ebert - Wes Craven's "New Nightmare" (1994). [Online Video]. 14 October 1994. Available from: https://www.youtube.com/watch?v=CMbvJYSTnm4&index=8&list=PLvR8ZsaFQNScK1XB4UMVrVEJJwRuE9PpJ. - I thought this might have been more useful at the time, but having narrowed my field of study more has led me to believe it is not very useful; there are other sources which deal with the points he brings up in more depth.

Sanders, J., 2009. The Film Genre Book. 1st ed. Columbia University Press: Auteur Publishing. - This source aided me in recognising tropes of horror, such as the Final Girl, but also directed my attention to the fact that his debut film was a soft remake of Bergman’s The Virgin Spring. Furthermore, it first brought my attention to how Wes may be an auteur in reference to narrative writing.

Scream: The Inside Story. (2011). [video] Directed by D. Farrands. - Much like my first source, this provided me with great information regarding the background of Scream, and provided me with great points to make in my argument as the production company and the writer of the film had seemingly more input in the film than Wes.

Towlson, J., 2014. Subversive Horror Cinema. McFarland. - This source gave me so much insight into the social commentary of my director’s debut film and so became incredibly useful when studying Wes as an auteur.

Hutchings, P., 2017. The Horror Film. Pearson Education. This source didn’t have a lot of information for me to gather from but made a very strong argument against post-modern horror, which works very well into a counter-argument against Mr. Craven as an auteur as, according to Hutchings, it means movies become trivial instead of doing their job: analysing social fears.

Wes Craven’s Influence in Making the Horror Genre Subversive | The Mary Sue. 2017. Wes Craven’s Influence in Making the Horror Genre Subversive | The Mary Sue. [ONLINE] Available at: https://www.themarysue.com/wes-craven-influence/. - This was useful because it commented on Wes’ famously subversive style, which is one of the areas I need to focus on for my argument for him being an auteur.

Myerla’s Movie Reviews.: Origins of an auteur - Wes Craven. 2017.[ONLINE] Available at:http://myerlamoviereviews.blogspot.co.uk/2015/08/origins-of-auteur-wes-craven.html. + Cook, P., The Cinema Book 2nd Ed. British Film Institute. - Despite the title, this article brings into question his auteurship and also his filmmaking techniques - it’s all well and good using social commentary but to be defined as an auteur you must also be able to hone your craft of your medium. I could only find one relevant quote from the book, which made me wonder if NoES was simply following the trend of the time by bringing parent culture into question. I paired it with the above source because it also makes mention of the film possibly being a product of the time.

So The Theory Goes. 2017. Auteur: Wes Craven - So The Theory Goes. [ONLINE] Available at: http://www.sothetheorygoes.com/auteur-wes-craven/. - This piece states him as more of a genre director when it comes to filmmaking but, much like other sources, uses his use of narrative as an argument for atueur status.

Cristobal Olguin. (2017). Scream - Manipulating Expectations | Film Analysis. [Online Video]. 20 January 2017. Available from:https://www.youtube.com/watch?v=DFbxip5WIIw&feature=youtu.be. + Renegade Cut. 2017. YouTube. [ONLINE] Available at:https://www.youtube.com/watch?v=wm2lRt5uz6c. - This video analyses the use of red herrings and foreshadowing used within Scream. This video is particularly useful to me because it outlines a technique that Wes implemented himself. And even if the screenwriter helped out with this technique it is still something Wes has used countless times in his movies (E.g. the replacement of protagonists in NoES). This could be a strong case for Wes as an auteur, as this is a reoccurring technique used in his films. I included the second source with the above one because it goes nicely with the other by touching upon the subversions of common horror tropes, and I believe this to be important as I will most definitely be touching upon this in my essay in regards to Scream. This essay references Carol J Clover’s: Men, Women, and Chainsaws - a book which helped to define the slasher genre in the popular consciousness. The author of the video argues that NoES meets and subverts the criteria of the book and goes through them to prove his point.

Keith, B., 2003. Film Genre Reader III. University of Texas Press. - This was extremely useful for creating a counterargument against Wes being simply a genre director as Robin Wood is one of the leading theorists behind auteurship. However, the fact that it focused simply on two films instead of a broader aspect of cinema was quite unfortunate, though I still managed to gather relevant information from the text when he discussed his two focal films.

Trespassing Bergman, 2013. [DVD] Hynek Pallas, Jane Magnusson, Sweden: Syndicado. + The Guardian. 2017. Wes Craven: the mainstream horror maestro inspired by Ingmar Bergman | Film | The Guardian. [ONLINE] Available at:https://www.theguardian.com/film/filmblog/2015/aug/31/wes-craven-the-mainstream-horror-maestro-inspired-by-ingmar-bergman. - There wasn’t much to write about here as Wes barely appears in the documentary, which was unfortunate considering his debut films was a soft remake of one of Bergman’s. Nevertheless I was able to gather some relevant quotes for when I discuss his influences. Since I was unable to gather much information from the above source, I paired it with one which touched upon the same topic. Together the sources bring into question how much Wes’ inspiration’s bled into his film, which is important to discuss when analysing auteurship.

Jane, B., 2014. New American Teenagers. Bloomsbury +

Academic.CRACKED.com. 2017. The ‘Nightmare On Elm Street’ Series Is Deeper Than You Know. [ONLINE] Available at: http://www.cracked.com/blog/the-secret-message-hiding-in-elm-street-series/. - I thought that these two sources worked well together as they’re the only sources I could find which discuss the themes of NoES, and they both point towards the central theme of the film being puberty, even if the ‘quirky comedic’ tone of the Cracked article isn’t quite what I wanted. This is hardly surprising since the director and cast have all admitted that there are sexual undertones between Nancy and Freddy especially.

#section 1

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tudorscharlot · 6 years

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Trespassing Bergman (Jane Magnusson & Hynek Pallas, 2013)

This isn’t very good. It is essentially a collection of interviews with directors reflecting on the impact Bergman had on them. Which is terrific, and that thread provides the best parts of this documentary. But there is also footage of a number of directors traveling to Fårö to visit Bergman’s home and walk on the beaches, and it feels weird and exploitative of both Bergman’s privacy and of the personally moving moment that these visitors are experiencing. Additionally, all of the interviews are shot and edited in a way that emphasizes that they are staged (meaning that they show the close-up/talking head shot, but then show a wider shot that includes the camera and boom and interviewer), but I have no idea why. And the score is straight out of The Discovery Channel and ill-fitting. Bergman fans will find nourishment here, but you’ll have to sift through some nonsense (including some obnoxious interviews with Lars von Trier - yuck).

#trespassing bergman #jane magnusson #hynek pallas #ingmar bergman #fårö

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bitpartinyourlife · 13 years

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Nader Och Simin: En Separation.

I vanliga fall brukar jag inte ägna särskilt mycket uppmärksamhet åt Oscarsgalan. Ögnar snabbt igenom vinnarna, hummar för mig själv och går vidare med livet. Vinnarfilmerna brukar ändå inte riktigt vara mina filmer. Men det här året fanns det ett undantag, och Oscarn till bästa icke engelskspråkiga film blev för mig en påminnelse om att jag redan när filmen hade premiär ville se "Nader Och Simin: En Separation", och det var ju inte dumt. Nu blev det äntligen av att jag såg den, och filmen är riktigt, riktigt bra. Iransk diskbänksrealism, nervig och intensiv. Själva separationen, som filmen fått sin titel från, utgör egentligen bara ramen för berättelsen. Den tar ganska snart en omväg och blir någon slags mörk rättegångsfars om ett påstått brott som vi sett begås, men ändå inte riktigt vet hur vi ska förhålla oss till. Mitt i alltsammans finns Nader och Simins elvaåriga dotter som slits mellan kärleken till sina båda föräldrar, sanning och lögn, sin tro och sina principer - ett litet hjärtknipande coming of age-drama mitt i alltsammans. "En Separation" är det bästa jag sett på mycket länge. Läs också gärna Hynek Pallas text om filmen på Weird Science.

#Hynek Pallas #Film #Asghar Farhadi

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osdevaneios · 11 years

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Trespassing Bergman -2013- Jane Magnusson, Hynek Pallas

#Trespassing Bergman #cinema #ingmar bergman #Jane Magnusson #Hynek Pallas

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rasismen-blog · 13 years

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Melanin och rollfigurer. Gråt.

Jag hänger ganska lite på Twitter. Därför missar jag när såna här intressanta diskussioner bryter ut.

Jonas Hassen Khemiri skriver i Dagens Nyheter en uppgiven text om Ruben Östlunds superhyllade film Play. Det är inte helt enkelt att utläsa ett enda budskap hans text, den består av 47 punkter som pekar i lite olika riktningar.

Filmen är rasistisk, skriver han. Eller egentligen inte. Han skriver i själva verket att han grät för att han tyckte filmen var rasistisk, vilket är en annan sak.

Om man läser lite noggrannare än många twittrare verkar ha gjort, så verkar han ha drabbats av filmen på ett oerhört starkt sätt, utan att för den sakens skull vilja döma verket i sig:

"3. Jag grät för att amatörskådespelarna var så grymma och manuset så välskrivet och fotot så autentiskt."

"10. Jag grät för att filmen vill ha debatt och en tidning svarar med att utnämna regissören till storstadsdjungelns David Attenborough."

"12. Jag grät för att människor fortfarande tycks tro på existensen av ofärgade människor – alltså transparenta, alltså genomskinliga."

Osv. Men det finns ändå hård kritik där mot filmen. Jag har själv inte sett den, så jag kan inte svära på att det stämmer eller inte, men Khemiri menar att det till exempel är dom vita ungdomarnas ansikten som får spelutrymme, och de icke-vita som får förbli ett diffust hot. Inga nyheter där.

Khemiri drabbades helt enkelt av RASISMEN i biosalongen. Rasismen har inte låsts in i Play. Den finns i verkligheten. Så det var kanske verkligheten - inte filmen - som jävlades med honom i salongsmörkret.

Åsa Linderborg tycker inte att filmen var bra. Hon undrar vad den vill. Hon kan hantera den, tror hon, men det kan inte nödvändigtvis folket:

"Det riktigt omskakande med den bekransade Play, är tassandet kring den. Att ingen vågar ta konflikt med en arty filmare som slänger ur sig en massa provokationer som han inte riktigt tar ansvar för. Det kanske funkar i kretsen av en självgod invandrarpositiv medelklass i Stockholms innerstad, men om filmen får spridning? Den som ställer den frågan anklagas osvikligt för folkförakt – ”jag kan värdera det här men inte vanligt folk” – men det är en risk jag tar."

Hynek Pallas är vithetsforskare och filmkritiker. I dagens DN skriver han om Play och reaktionerna. Han skriver att förra året hade tjugonio svenska filmer premiär. I tre av dem hade icke-vita huvudkaraktärer. Och det är en ovanligt hög siffra. Så länge vit = neutral, osynlig, transparent så kommer vita människor inte att behöva ta ansvar för sin position i makthierarkin. De svarta killarna i Play är fullkomligt medvetna om sin plats i samma hierarki och spelar på detta (svarthet - coolhet - farlighet) för att få fördelar. Filmen visar upp detta utan att stryka medhårs. Därför är den jobbig.

Jag skulle gå och se filmen idag, men jag måste träna.

#Ruben Östlund #Hynek Pallas #Vithet #Jonas Hassen Khemiri #Åsa Linderborg #Play

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janvba2film-blog · 7 years

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Post O: Source Review Sheet 11

For this source sheet I will refer to a few sources regarding Wes’ inspirations to evaluate how much he can be credited for his film techniques when discussing Auteur theory.

Trespassing Bergman, 2013. [DVD] Hynek Pallas, Jane Magnusson, Sweden: Syndicado.

“I think more than almost anybody else he was very religious and it felt like a religion that felt similar to the one I had come out of so: very strict and kind of, um, and very channeled lives and, you know, not doing anything that would displease God and having your children in line.” - Wes felt a connection in the way that he used religion in his films. However, Wes defied religion while Ingram embraced it.

“I also loved his sense of theater; the costumes; the fact that you could have death as a character and talking to people and saying “Well, your time is up! That’s why I’m sawing down the tree that you’re in.”

The Guardian. 2017. Wes Craven: the mainstream horror maestro inspired by Ingmar Bergman | Film | The Guardian. [ONLINE] Available at: https://www.theguardian.com/film/filmblog/2015/aug/31/wes-craven-the-mainstream-horror-maestro-inspired-by-ingmar-bergman.

“he was electrified by the work of directors like Ingmar Bergman: it was this that inspired him to go into film-making and he had the idea of remaking Bergman’s 1960 film Virgin Spring as The Last House on the Left in 1972″ - It brings into question whether or not Wes can claim his influential horror movie as his.

“Wes Craven could be said to have invented, or at least popularised the modern rape-revenge genre and ironically did so in the same era when the name “Bergman” became a widely understood talk-show punchline for jokes about Hollywood trash vs highbrow Europeans.” - Once again, Craven is linked to influence from Bergman.

#section 1

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