Scenes From A Marriage was Ingmar Bergman’s first successful attempt to work in the medium of serialised television. It signposts many of the changes that the director would make during his work in the decade of the 1970s from an aesthetic and a thematic position. Though a later cut was edited down and sold as a whole, cinematic artefact for American audiences, several changes to … Continue reading The Fårö Landscape and Relationships in Scenes From A Marriage (1973) – Ingmar Bergman.
This article was originally a paper presented at Queens University Belfast at the first Folk Horror Conference on Friday the 19th of September 2014. Introduction/Thesis. Folk horror is a strange form of media. It has a craving for the need to be defined and canonised whilst also being a sub-genre which seems inherently intuitive, especially when becoming aware of its common likenesses in films, television, … Continue reading The Folk Horror Chain.
Revenge films have the unfortunate reputation of being simplistic in their outlook yet, looking at the sub-genre’s past and present condition, it shows itself to be perhaps the most intelligent form of critical questioning of the role of violence in media and in real life. This rather strange assumption of the sub-genre is even more odd when considering how intelligent, spellbinding and provocative the films … Continue reading Blue Ruin (Jeremy Saulnier, 2013) – The Violence of Family.
This article contains spoilers. Though drenched in visual complexities and sharp, hap-hazard editing, Ingmar Bergman’s Persona (1966) is film that is aurally interesting as it is exhilarating to view. Its opening segment of film footage from all corners of cinematic life, spliced together to form a montage of passing thoughts and nightmares, is actually a beautifully put together piece of sound editing as well. This … Continue reading Persona (1966) – Consequences of a Silent World (Ingmar Bergman)
One of Friedrich Nietzsche’s more famous and strangely popular idioms is his “Death of God” theory presented through the madman in his 1883 work The Gay Science. Though it has been used for all sorts of philosophical and theological purpose, often twisting it to fit whatever schematics the debater wants to shape it into, the idea itself can apply to several pieces of cinema, all … Continue reading Collapsing Belief Systems and The Nietzschean Death – (Winter Light, The White Ribbon, The Turin Horse).
The slow and gradual death of a number of emotional pillars is a key theme to a much of Ingmar Bergman’s earlier work. Though the death of religion dominates his work fromThe Seventh Seal onwards, the physical death through aging and the passing of time that causes this, is something reserved to his earlier work. However the final conclusion of this act is almost never presented. … Continue reading Summer Interlude – Ingmar Bergman (1951)
A dark vein of sorrow flows through many films by Swedish auteur Ingmar Bergman. With his constant obsession with death, whether it be in the physical sense of the metaphorical death of emotion or belief, his films often pack a punch way ahead of their times. In his so-called “Faith trilogy”, Bergman assesses the death of things dearest to the human psyche such as religion, … Continue reading Winter Light – Ingmar Bergman (1963)