When The Silence was released in 1963, Bergman's stature allowed the film's depiction of sexuality to challenge the boundaries of the censorship boards in Sweden and the U.S. Yet, Swedish film critic Maaret Koskinen - one of the first scholars given access to Bergman's private papers - found his notebooks revealed his tendency to self-censorship, as well as the difficulties he experienced in writing for the medium of moving images. She draws a picture of Berman that reveals his attempts to make his work relevant to a new generation of filmgoers.
Sonatas, Screams, and Silence: Music and Sound in the Films of Ingmar Bergman is the first musical examination of Bergman’s style as an auteur filmmaker. It provides a comprehensive examination of all three aspects (music, sound effects, and voice) of Bergman’s signature soundtrack-style. Through examinations of Bergman’s biographical links to music, the role of music, sound effects, silence, and voice, and Bergman’s working methods with sound technicians, mixers, and editors, this book argues that Bergman’s soundtracks are as superbly developed as his psychological narratives and breathtaking cinematography. Interdisciplinary in nature, this book bridges the fields of music, sound, and film.
The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.
Following the success of his bestselling autobiography The Magic Lantern, the most influential film director of our time shares his wisdom and insig hts about himself and his cinematic work. Bergman's career spanned 40 years and produced over 50 films, many of which are considered classics. Over 200 photos.
This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.
This work discusses the discourse of silence and looks at how people relate to silence in specific conte×ts. It e×amines the application of semiotic tools to e×plore several facets of silence in everyday conversation, and reviews various studies of silence that have been published. The book interprets silence in terms of modality in order to distinguish between intentional and unintentional silence. It also presents an analysis of the silence of characters in films, biblical and cinematic te×t in which the terms of reference generally e×pand - from the silent answer, through the silencing of characters by authors, to silence as a feature of the generation gap.
Understand the shared story in which we all play a part. Connect human creativity with the impulse of our Creator. Explore the relationship between images and imaging God. Do you like movies? Are you a cinephile? Do your friends consult YOU instead of IMDB? Were you raised on television? Spend hours talking cinema? This book is definitely for you. If you're a casual consumer who thinks Hollywood exists simply for diversion, this book may change your life. ""I am a Junior film and Television student... your interpretations of the films have helped formed the kind of filmmaker I am becoming, and also the way I experience films."" Humans crave narrative and usually don't stop to question why. Are we perhaps created to consume story, to create story, because we're image bearers of a Master Storyteller? In this book, movies meet God at the multiplex as the author challenges readers to redefine entertainment, understand the story they're in, and experience a new integrated level of spirituality and entertainment. ""You actually look at the film aspects and see how the artist's worldview really comes through."" What can we learn about God from Doctor Who and Han Solo? What are people like Jon Stewart and even Michael Bay helping us understand about story, good and bad? Peppered with movie quotes and metaphors, journey through the incredible changes film and storytelling have had on 21st century culture. Instead of an overly-academic offering on film and faith, Cinemagogue weaves a narrative from the author's own pop culture saturated life to the Greatest Story Ever Told, from Superman to Citizen Kane, Bertrand Russell to John Frame, Kurt Vonnegut to the apostle Paul, from our favorite narrative to our shared meganarrative. .".".I grew up on television in the 80s and relate to the context you grew up in.... I thank God for you and your ability to glorify him in everything, no matter what."" Classic notions of story structure, "monomyth" and universally shared themes in both popular and classic tales are examined in light of ancient scripture. From there, readers can see the genesis of creativity and worldview distortions from which conversation can bring us back to the future. After a dirty dozen examples of popular film in chapter five (with questions for discussion) the book tackles common objections with genre and content: horror movies, foul language, violence, sexuality, magic and more... and how many traditional objections are overshadowed by incredible opportunities for those brave enough to overcome fear and wade into the culture stream, secure in their faith. ""Your talk was one of the final confirmations of our move to Los Angeles to re-engage the film business by getting upstream in culture and trying to influence from the top down. Worked as an assistant on a TV series for a year, and now I'm working at a digital marketing agency that does a ton of film/TV work, as well as writing/producing my own projects."" The book ends with a call and commission to those who consider themselves spiritual and religious to get their heads out of the sand, to start realizing and utilizing the power of narrative. .".".really convicted me in both the movie and gaming arena to analyze what I am watching/playing and why. I had almost zero discernment before stumbling onto your series..."" A requested resource by movie-goers, movie-makers, pastors and teachers, Cinemagogue is an extension of a website and podcast, providing a "how-to" for those who want to experience the transforming power inherent in all story. ""Listening to your podcasts... opened my eyes to examine what I watch even closer."" Take your entertainment seriously while simultaneously having more fun with it than ever before. Learn how to watch to glorify, to be edified, and possibly to evangelize. Even better, create to
The increasingly popular idea that cinematic fictions can 'do' philosophy raises some difficult questions. Who is actually doing the philosophizing? Is it the philosophical commentator who reads general arguments or theories into the stories conveyed by a film? Could it be the film-maker, or a group of collaborating film-makers, who raise and try to answer philosophical questions with a film? Is there something about the experience of films that is especially suited to the stimulation of worthwhile philosophical reflections? In the first part of this book, Paisley Livingston surveys positions and arguments surrounding the cinema's philosophical value. He raises criticisms of bold theses in this area and defends a moderate view of film's possible contributions to philosophy. In the second part of the book he defends an intentionalist approach that focuses on the film-makers' philosophical background assumptions, sources, and aims. Livingston outlines intentionalist interpretative principles as well as an account of authorship in cinema. The third part of the book exemplifies this intentionalist approach with reference to the work of Ingmar Bergman. Livingston explores the connection between Bergman's work and the Swedish director's primary philosophical source-a treatise in philosophical psychology authored by the Finnish philosopher, Eino Kaila. Bergman proclaimed that reading this book was a tremendous philosophical experience for him and that he 'built on this ground'. With reference to materials in the newly created Ingmar Bergman archive, Livingston shows how Bergman took up Kaila's topics in his cinematic explorations of motivated irrationality, inauthenticity, and the problem of self-knowledge.
