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Whoever seeks can find post-utopian exits in the landscapes of Ingmar Bergman
Especially on the fierce island of Fårö, where Bergman settled after the shooting of Persona in 1965. Among As in a mirror already in 1961, it should come and turn countless other scenes and major modernist works It is said that Fårö gave the Bergman's films are the perfect metaphor for the existential masochism of his character – an iconic potential that no doubt also owes to Sven Nykvist's photographic work saturated with contrast.
Bergman can find his own Monument Valley. A scenography as important as the borders of Arizona and Utah for director John Ford: it became the incarnation of the mythological sales of the Western genre of the American Civilization Project, later called the most photographed and least visited site in the United States.
Like the American desert landscape, the rocky beaches of Fårös, the plains and distinctive limestone formations are an extremely cinematic landscape – sculptural and lunar, empty and mysterious, and therefore particularly sensitive to projections. Not by the heroic national symbolism, but by the modernization of the modern person.
Should we say about the landscape of Fårö, that it seems striking anthropomorphic : it is immediately difficult to imagine that these strange forms are born urves in a pre era -modern that makes fun of us through time and space. Perhaps, therefore, the void is much more dramatic than Michelangelo Antonioni's films of the same period, often representing a threatening and anemic lack of coherence.
When the two black-haired characters of Liv Ullmann and Bibi Andersson chase the beach in Persona the one stupid and the other in a cascade of words, they s'. set in a landscape that they can not They sought the ocean, nature, horizon to heal themselves, but instead, the isolation of the landscape becomes a box of resonance for existential anxiety, while the waves beat rhythmically and insistently against the stones as a constant cosmic soundtrack.
Indeed, it was as if Fårö was in favor of Bergman's modernism that was going forward with its distinctive blend of minimalism and dramatic expression. Solitary trees, bare rocks and long empty beaches reflect the characters left by creativity, love, tranquility of mind or sense.
But does the landscape also point to a social democracy dazzled by its own self-image? Well, you should believe the writer Erik Hedling. He said that in addition to challenging the national romantic landscape in Swedish film, Bergman represents a social criticism that scratches into the paintings of modern Sweden and its social success, and that his landscapes should thus be qualified as post- utopian: instead of reproducing a romantic idea that adheres to a homogeneous national narrative, they convey the story of the tragedy and the inadequacy of this story.
So much for the alleged reactionary individualism of Bergman. In a historic moment that could hardly be considered more rebellious to the celebration of the birthday of the cultural man, this idea could be a comfort
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