Min studie syftar till att, utifrån Werner G. Jeanronds teologiska förståelse av kärlek undersöka den kärlek som kommer till uttryck i Ingmar Bergmans serien Scener ur ett äktenskap. Uppsatsens huvudsakliga frågeställning lyder; Hur framträder kärleksbegreppet i Ingmar Bergmans serie Scener ur ett äktenskap belyst genom Werner G. Jeanronds teologi om kärlek i boken Kärlekens teologi? Utifrån denna analys undersöker uppsatsen slutligen även följande frågeställning; Hur framträder Jeanronds teologi om kärlek i boken Kärlekens teologi belyst genom Bergmans serie Scener ur ett äktenskap?

Made available in DSpace on 2016-04-27T17:27:32Z (GMT). No. of bitstreams: 1 Luiz Gustavo Onisto de Freitas.pdf: 421965 bytes, checksum: 0a620bf0f13a606499a62e0b8e0c6be1 (MD5) Previous issue date: 2010-05-21 / This work is a study of cinema of the Swedish director Ingmar Bergman second point of view of the concepts of Danish philosopher Soeren Aabye Kierkegaard. According to an ethical axis common to both authors, it is observed how the cinematographic language used by Bergman presents important concepts of Kierkegaardian philosophy, like despair, anguish, faith and paradox / Este trabalho consiste em um estudo do cinema do diretor sueco Ingmar Bergman segundo o ponto de vista dos conceitos do filósofo dinamarquês Soeren Aabye Kierkegaard. De acordo com um eixo ético comum aos dois autores, observa-se como a linguagem cinematográfica utilizada por Bergman apresenta conceitos importantes da filosofia kierkegaardiana, como o desespero, a angústia, o paradoxo e a fé

Made available in DSpace on 2016-04-27T18:47:08Z (GMT). No. of bitstreams: 1 Luciana Helena Mussi.pdf: 1010975 bytes, checksum: 546ca334d6a1dc4253e75eadc8b1c49f (MD5) Previous issue date: 2012-03-19 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This paper aims to reflect on Ingmar Bergman existential anguish towards aging before the imminent threat of death and the desire to live. The main question was: how to live under such a devastating anguish being, at the same time, aware of our finitude and of our desire to live? To probe these existence questions, The Bergman Island documentary, focusing on the films The Seventh Seal and Wild Strawbwerries, the Greek Goddess Demeter s path and her transformation forms and the philosopher Cicero s reflections on aging were used. Bergman and his films, dealt with in an enigmatic atmosphere, led this research to the existential anguish scenery built, woven and understood by means of feelings resulting from the documentary images, words and dialogs. Crossing the researcher s experience and feelings with the filmmaker s report on the Island of Farö, the composition of such anguish was created: the Imminent Threat of Death and the Desire to Live as events to make us search understanding of the enigma of life and death. However, on the way we came across a God whose word silences, as God s true Silence. The One who repudiates Finitude as Awareness of Death. The Seventh Seal faithfully portraits the silence of such God in the face of the evil as an unquestionable and frightening event. If, at old age, the probability of imminent death is higher and the awareness of finitude is even higher, in Wild Strawberries we come to face the perspective of the end itself. Recollecting the character and Bergman, we come across the Travel into Solitary Old Age, in a time that seems to be over, through the trails of Old Bergman Existential Memories. The Existential Trialogue within the Gap of Time described a fictional meeting among Bergman, the filmmaker, Cicero, the thinker and the researcher. Aiming at getting past time effects, defeating sovereignty of the years that separate the three ones involved through gathering of the arts cinema, philosophy and science considering all as understanding and reflection on what death/life means at aging. Cinema, art that brings closer to one s life, that portraits reality and life movement, referring to our own experiences, life vivid recalls, deep memory excavations, through a permanent trip between youth and old age. Biographies crossing one another in the line of time, oscillating between death pains and life setbacks / Este trabalho tem como objetivo refletir sobre a angústia existencial do cinema de Ingmar Bergman no envelhecer diante da ameaça iminente da morte e do desejo de vida. A pergunta central foi: como viver com esta arrasadora angústia quando nos sabemos finitos e, ao mesmo tempo, sedentos de vida? Para pensar estas questões da existência, foram utilizados o documentário A Ilha de Bergman, focando os filmes O Sétimo Selo e Morangos Silvestres, a trajetória da Deusa Grega Deméter e seu caminho de transformação e as reflexões do filósofo Cícero sobre o envelhecer. Bergman e seus filmes envoltos numa atmosfera enigmática, conduziram esta pesquisa ao cenário da angústia existencial construída, tecida e entendida por sensações provocadas por imagens, palavras e diálogos do documentário. Cruzando impressões e experiências da pesquisadora com o relato do cineasta na Ilha de Farö, nasceu a composição desta angústia: a Ameaça Imimente de Morte e do Desejo de Vida como acontecimentos que nos levam à busca por conhecimento do enigma de vida e morte. Mas nesta caminhada, encontramos um Deus que se cala, num verdadeiro Silêncio de Deus. Aquele que denuncia a Finitude como Consciência da Morte. O Sétimo Selo retrata fielmente esse Deus que se omite e cede espaço à maldita como fato indiscutível e apavorante. Se na velhice a probabilidade de morte iminente é maior e a consciência de finitude ainda mais, chegamos no enfrentamento da perspectiva do próprio fim em Morangos Silvestres. No rememorar do personagem e de Bergman, nos deparamos com a Viagem pela Velhice Solitária, num tempo que parece se esgotar, na trilha das Lembranças Existencias do Velho Bergman. O Triálogo Existencial na Brecha do Tempo descreveu um encontro ficcional entre Bergman, o cineasta, Cícero, o pensador e a pesquisadora. Teve por propósito driblar o efeito do tempo, anular a soberania dos anos que separam os três envolvidos através do encontro das artes cinema, filosofia e ciência tudo pela compreensão e reflexão do que significam morte/vida no envelhecer. Cinema, arte que aproxima ao viver de cada um, que retrata a realidade e o movimento da vida, nos remetendo às nossas próprias experiências, lembranças das fases vividas, escavações profundas na memória, numa viagem constante entre juventude e velhice. Biografias que se cruzam na linha do tempo oscilando entre as dores da morte e os reveses da vida

<p>Den här uppsatsen är en kvalitativ studie med hjälp av jungiansk psykologi som fokuserar på Ingmar Bergmans film Fanny & Alexander. Syftet är att studera biskopens skugga. Filmen handlar om familjen Ekdahl som domineras av en rik och begåvad änka, Helena, samt hennes tre söner. Sonen Oscar dör och hans fru Emelie gifter sig med biskopen. Hennes barn Fanny och Alexander följer med henne in i äktenskapet med biskopen. Tillsammans flyttar de till biskopens spartanska och stränga hem. Alexander väcker biskopens vrede och skugga genom att vägra följa hans regler och ritualer. Biskopen dör eller kanske man kan säga transformeras när han genomgår den smärtsamma processen med att möta sin skugga.</p>

Den här uppsatsen är en kvalitativ studie med hjälp av jungiansk psykologi som fokuserar på Ingmar Bergmans film Fanny &amp; Alexander. Syftet är att studera biskopens skugga. Filmen handlar om familjen Ekdahl som domineras av en rik och begåvad änka, Helena, samt hennes tre söner. Sonen Oscar dör och hans fru Emelie gifter sig med biskopen. Hennes barn Fanny och Alexander följer med henne in i äktenskapet med biskopen. Tillsammans flyttar de till biskopens spartanska och stränga hem. Alexander väcker biskopens vrede och skugga genom att vägra följa hans regler och ritualer. Biskopen dör eller kanske man kan säga transformeras när han genomgår den smärtsamma processen med att möta sin skugga.

The subject of my thesis is the work of the cinematographer Sven Nykvist. The center of the work is the subject of light, its analysis, its meaning and use in a film`s story. In the conclusion of my work I mention his worldwide success. Based on his biographical data I attempt to look into his personal life, and on a more general level, I consider the theme of creative work versus personal and family life.

Submitted by Livia Mello (liviacmello@yahoo.com.br) on 2016-10-05T13:08:07Z No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:24:55Z (GMT) No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:25:03Z (GMT) No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) / Made available in DSpace on 2016-10-20T19:25:07Z (GMT). No. of bitstreams: 1 DissPMS.pdf: 6449595 bytes, checksum: 9fecb18e5f5670271cd4acb3c482e44a (MD5) Previous issue date: 2016-05-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The purpose of this research is to make an analysis of the themes and aesthetics of the film Persona, from Ingmar Bergman, 1966. The first chapter is my analysis of the work, following the model of the writers Anne Goliot-Lété and Francis Vanoye, and the second chapter discusses the critical texts, analysis and interviews connected to the film. I also discussed the difficulties related to the interpretation of movies, and I tried in my own analysis to be very close to the movie itself, despite the tentations to invent more. / A pesquisa tem como objetivo fazer uma análise estilístico-temática do filme Persona, de Ingmar Bergman, 1966. O primeiro capítulo é a minha análise da obra, seguindo o modelo dos escritores Anne Goliot-Lété e Francis Vanoye, e o segundo trata da discussão de textos críticos, de análises e entrevistas ligados à obra. Busquei nesse trabalho discutir as dificuldades ligadas à interpretação de uma obra cinematográfica, atendo-me à questão de não deixar de lado a leitura do filme em si, a despeito das tentações que certos temas e rastros estilísticos podem despertar.

Cet essai tente de démontrer que les concepts freudiens de condensation et de déplacement qui caractérisent le travail du rêve peuvent également être associé au travail d'écriture des scènes de rêve du scénario Coulisses ainsi qu'à quelques scènes oniriques de films de Federico Fellini, Ingmar Bergman et David Lynch.

Within the field of cinema studies, the question of visual representation is a fundamental pillar. An immense volume of theoretical work has been written on the subject, with various academic approaches such as feministic, postcolonial and gay/lesbian. Yet there is a large social group that seems to have been overlooked within the representational discourse: the elderly. This group of people appears to be a blind spot on the multicultural retina, too often neglected within the area of cultural studies. But as the baby boomer generation, who has always redefined the different stages of life (youth, adulthood, middle age), is entering old age, things are slowly changing. Utilizing a post-structural framework, this essay investigates the visual representation of elderly within the cinematic landscape of the western world. Since the subject is somewhat uncharted territory, a broad interdisciplinary approach is necessary where modern social gerontology meets the field of cinema studies. In a cultural context, social grouping based on age implies a distinct position versus the normative, compare to other types of minorities. Changes of sex, skin colour or sexual preference are uncommon, whereas changing age is the fate of every human being. The elderly as the “the Other” is thus every man’s future destiny. This rather unique position carries an immanent paradox since the only way to avoid the periphery in question is death. As a philosophical counterpoint to this rather dystopian outlook, Gilles Deleuze’s theory of becoming is brought into the discussion. The theoretical part of the essay ends with the ontology of age, a historical review of the field of gerontology and the concept of ageism. After a descriptive section, where contemporary examples of film and other media with old age as a main theme are identified, the analytical part of the essay ensues. With the French sociologist Pierre Bourdieu as a theoretical frame of reference, a close reading of the films Avalon (Axel Petersén, 2011), About Schmidt (Alexander Payne, 2002) and RED (Robert Schwentke, 2010) are performed, emphasising aging identity and imposed age-normative behaviour. The semiotics of the aged body is discussed through Jacques Lacans mirror stage and Julia Kristevas abject theory, exemplified by the works of Donigan Cumming. The final part of the essay concerns the great eternal questions within film philosophy: life, death, time and memory, which for the elderly are not merely philosophical concerns but rather notable existential realities. Using Deleuze as a philosophical toolbox, these grand topics are illuminated with examples from The Curious Case of Benjamin Button (David Fincher, 2008), Amour (Michael Haneke, 2012) and Ingmar Bergmans classical works, such as Smultronstället (1957), Saraband (2003) and Gycklarnas afton (1953).

Eva Dahlbeck was one of Sweden’s most respected and popular actresses from the 1940s to the 1960s and is now remembered for her work with Ingmar Bergman, who allegedly nicknamed her “Pansarskeppet kvinnligheten” (“H.M.S. Femininity”). However, Dahlbeck had already established herself as a star long before her collaborations with Bergman. The popularity of Bergman’s three comedies (Waiting Women (Kvinnors väntan, 1952), A Lesson in Love (En lektion i kärlek, 1954), and Smiles of a Summer Night (Sommarnattens leende, 1955)) suggests that they catered to the Swedish audience’s desire to see the star Dahlbeck. To explore the interrelation between Swedish post-war popular film culture and the auteur Bergman, this thesis examines the stardom of Dahlbeck, who can, as inter-texts between various films, bridge the gap between popular film and auteur film. Focusing on the decade from 1946 to 1956, the process whereby her star image was created, the aspects that constructed it, and its relation to her characters in three Bergman titles will be analysed. In doing so, this thesis will illustrate how the concept “Pansarskeppet kvinnligheten” was interactively constructed by Bergman’s films, the post-war Swedish film industry, and the media discourses which cultivated the star cult as a part of popular culture.