Akademisk avhandling--Stockholm, 1993. / Résumé en anglais. Bibliogr. p. [266]-278.

Thèse de doctorat : Lettres et art : Lyon 2 : 1998. / Titre provenant de l'écran-titre. Bibliogr., 70 réf.

Thesis (Ph. D.)--State University of New York at Buffalo, 1975. / C1976. Includes bibliographical references (leaves 245-256).

Diss. Stockholm : Stockholms universitet, 2005.

The research on Ingmar Bergman is comprehensive, however, there is one aspect of his artistry that has been regrettably neglected – his use of music. Music always played a huge part in Bergman’s life, and it was also a great source of inspiration. The music was a structural component in the creating process and he often referred to his films as pieces of music and his actors as musical instruments. Moreover, music frequently played a thematic part in the plot. The purpose of this essay is to examine what function music actually has in a selection of Bergman’s films. To do this I have closely analyzed sequences in which music is performed in four different films from the sixties; Through a Glass Darkly (1961), The Silence (1963), Persona (1966) and Hour of the Wolf (1968). The basis of the discussion lies in the film sound research, mainly that of Claudia Gorbman and Royal S. Brown. The conclusion of this analysis is that Bergman’s use of music is quite extraordinary, particularly in creating a certain feeling of time and space differentiated from the rest of the story. The music has an apparent intrinsic value of its own, and consequently, it is a narrative instrument in itself.

À travers le prisme des impuretés esthétiques et poétiques L'art cinématographique d'Ingmar Bergman : une poétique d’impureté considérée dans quelques uns de ses films, Elena Tysuhova met en évidence les liens subtils, plus ou moins manifestes que les œuvres cinématographiques et télévisuelles du réalisateur suédois entretiennent avec les autres arts. En prenant en charge des considérations théoriques générales, préalables principiels, conceptuels et méthodologiques aux analyses filmiques, ainsi que les théories littéraires, linguistiques et esthétiques majeures, tout en déplaçant et situant le propos dans des pensées proprement cinématographiques, cette thèse de doctorat considère les films de Bergman en répondant à une « esthétique-poétique » ou à une « poétique-esthétique ». Les propos développés s'inscrivent résolument dans une perspective deleuzienne, privilégiant à la fois les singularités et les transversalités, s'attachant aux formes et configurations sensibles, dégageant les idées-formes, tout en s'intéressant aux liens d'impuretés noués avec d’autres arts, voire aux tentatives d'hybridations avec eux (selon l’idée d'Alain Badiou que l'art du cinéma est la tentative toujours renouvelée, bien qu'impossible, de fusionner les arts entre eux). / Through the prism of aesthetic and poetic cross-fertilizations, Ingmar Bergman's Cinematic Art: A Poetics of Impurity Considered in Some of His Films highlights the subtle, more or less obvious links that the film and television works of the Swedish director maintain with other arts. By taking into account general theoretical considerations, prior conceptual and methodological principals to the film analyze, as well as the major literary, linguistic and aesthetic theories, while displacing and situating the subject of the thesis in properly cinematographic thoughts, this doctoral thesis considers the films of Bergman in accordance with a "poetic aesthetic" or an "aesthetic poetics". The developed analyses communicate a Gilles Deleuze perspective. They privilege both the singularities and the transversalities, focus on aesthetic forms and sensitive configurations, emit “idea-forms,” and reveal the links of impurity to other arts and the attempts to hybridize with them (according to the idea of Alain Badiou for whom cinematic art is the constantly repeated but impossible attempt to merge together the different arts).

Boasting landmark classics like Ingmar Bergman’s The Seventh Seal and screen legends such as Greta Garbo, Sweden is home today to a rich and exciting contemporary national cinema that comprises the works of a diverse group of cinematographers, including Tomas Alfredson, Roy Andersson, and Nils Arden Oplev, director of The Girl with the Dragon Tattoo. In Directory of World Cinema: Sweden, Marcelline Block has assembled a team of leading international experts to situate Sweden’s film industry in a global context. Among the topics discussed in this volume are the characteristic genres of Swedish cinema—among them silent films, erotica, animation, and crime noir—and the great impact Swedish films have had on filmmakers internationally, especially in America and France for whose audiences Swedish films have often been adapted. Additional essays examine the significance of Swedish directors and actors—among them Ingrid Bergman—who have made a lasting contribution to global cinema. Completing this volume are reviews of classic and contemporary Swedish films and recommendations for further reading.

Diss. Stockholm : Stockholms universitet, 2007.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2013. / Submitted by Elna Araújo (elna@bce.unb.br) on 2013-11-20T22:59:09Z No. of bitstreams: 1 2013_MaysaPuccinelliVictorRodrigues.pdf: 5606079 bytes, checksum: 76fecd920c5fc564f2a386084a913e6f (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-11-21T11:21:57Z (GMT) No. of bitstreams: 1 2013_MaysaPuccinelliVictorRodrigues.pdf: 5606079 bytes, checksum: 76fecd920c5fc564f2a386084a913e6f (MD5) / Made available in DSpace on 2013-11-21T11:21:57Z (GMT). No. of bitstreams: 1 2013_MaysaPuccinelliVictorRodrigues.pdf: 5606079 bytes, checksum: 76fecd920c5fc564f2a386084a913e6f (MD5) / A partir das contribuições de S. Freud e J. Lacan, propomos uma investigação acerca da teoria da angústia, em que pese suas ressonâncias com a arte. A expressão artística eleita será o cinema, especificamente representado pela obra Trilogia do Silêncio, do cineasta Ingmar Bergman, composta pelos filmes Através de um espelho (1961-62), Luz de Inverno (1961-62) e O Silêncio (1962). Para tal empreitada, propomos uma discussão conceitual que parte de uma revisão do pensamento destes autores, considerando pontos cruciais da teoria como o fenômeno do unheimlich, a questão do objeto na psicanálise e sua amarração nos registros Real/Simbólico/Imaginário. Em seguida, alçamos uma dialetização teórica entre angústia e fantasia, que nos conduzirá ao cerce da discussão direta com a obra. Nossa leitura será tangida pela consistência estética que alinhava as fontes da angústia infantil – solidão, escuridão e silêncio – ao bojo formal e conceitual da trilogia unificada no significante Silêncio. Assim, as obras ressoam paradigmáticas de um sistema discursivo que não se furta de abordar o real lacaniano, assinalado pelo que não engana: a angústia. Na metodologia deste trabalho, nos pautamos pela orientação ética de Freud e Lacan acerca da estética, a qual estabelece que a relação entre arte e psicanálise é sempre serviço gratuito da arte ofertado apenas à psicanálise. ______________________________________________________________________________ ABSTRACT / From the contributions of S. Freud and J. Lacan, we propose an investigation into the theory of angst, despite its resonances with art. The artistic expression elected is the cinema, specifically represented by the Trilogy of Silence, by the filmmaker Ingmar Bergman, mades by Throught a mirror (1961-62), Winter Light (1961-62) and The Silence (1962). For this enterprise, we propose a conceptual discussion that part of a revision of the thinking of these authors, considering the crucial points of the theory as the phenomenon of the unheimlich, the question of the object in psychoanalysis and its tying registers of Real / Symbolic / Imaginary. Then one, we propose a theoretical dialectic between fantasy and anxiety, which lead us to the discussion directly with the films. Our reading will be plucked by aesthetic consistency that lined the sources of infantile anxiety- loneliness, darkness and silence - the bulge formal and conceptual trilogy unified in significant Silence. Thus, the works resonate paradigmatic of a discursive system that does not hesitate from addressing the lacanian Real, marked by that does not disappoint: the angst. The methodology of this paper, we base on the ethical orientation of Freud and Lacan about aesthetics, which establishes the relationship between art and psychoanalysis is always art free service offered only to psychoanalysis.

Denna rapport är en metaanalys av forskning inom fältet film och religion som handlar Ingmar Bergman och religion. Syftet är att redogöra för framträdande religiös tematik i forskning om Ingmar Bergmans filmer. Metoden som har använts kan kallas för ”en tematisk analys av en litteraturöversikt”. Källmaterialet som ligger till grund för analysen utgörs av två vetenskapliga artiklar, ett kapitel ur en monografi samt ett antologibidrag. De teman som lokaliserats i litteraturen utgörs av tre huvudteman: ”religiöst berättarmönster”, ”Gud” och ”människans helighet”. ”Religiöst berättarmönster” har två sub-teman: ”bikt” och ”konst och religion” och ”Gud” utgörs av två sub-teman: ”en frånvarande och tyst Gud” och ”en tvetydig inställning”.