The most explicit vehicle for this meditation is the opening and closing sequence, in which Bergman tries to create that film as an object: a finite object, a made object, a fragile. The women retreat to a seaside cottage to aid the actress's rehabilitation, but the intimacy embroils them in a stranger, stronger bond. Persona is not just a representation of transactions between the two characters, Alma and Elizabeth, but a meditation on the film which is ‘about’ them. Taking a personality test can provide useful insights into our sense of self, but many may not realize how deeply embedded personality assessments are in eve. To read other filmmakers’ thoughts on cinema, check out Robert Bresson’s “Notes on Cinematography,” Drew Christie’s interview about his animated short Allergy to Originality, Louis Morton’s about his film Passer Passer, and Jake Harris’ about Three Poems. This genre-blurring, minimalist masterpiece from Ingmar Bergman follows a young nurse and her patient, an actress who has mysteriously gone mute. And I thought I will never return to filmmaking, but then I started slowly, very very slowly to write Persona. I got pneumonia, I was allergic to penicillin, and I was ill about half a year. When asked if his personal life had influence on the making of the movie, Bergman responded: Reagan and this film, I think the artist can’t be responsible because all over the world, there are people who use art in the wrong way. And if there will be a link between this situation with Mr. Scorsese’s film Taxi Driver is a film of violence of the highest artistic level. I will not talk about pornographic violence because I think it has nothing with artistic work. The women retreat to a seaside cottage to aid the actress's rehabilitation, but the intimacy embroils them in a stranger, stronger bond. Sometimes the violence and aggression are clean, and sometimes they are dirty, a sort of pornographic violence. Persona (English Subtitled) This genre-blurring, minimalist masterpiece from Ingmar Bergman follows a young nurse and her patient, an actress who has mysteriously gone mute. But, heaping imperturbability upon relative neglect, critical reaction has shied away from associating anything very baffling with the film. In all art today, you have aggression and violence. Persona, a psychological drama, written and directed by Ingmar Bergman, follows two women, Elisabet and Alma, in their stay on a remote island. Persona is bound to trouble, perplex and frustrate most filmgoersat least as much as Marienbad did in its day. Aside from this, however, the director also talks about film violence (one of Michael Haneke’s favorite topics, which he explores in detail in Funny Games), and particularly about Martin Scorsese’s Taxi Driver. The interview, however, is worth watching, if only for Bergman’s discussion of Persona. Towards the end of the video, Bergman is interrupted midway through his sentence, only to be replaced by a random and seemingly unrelated musical event. It is of very questionable quality in terms of cinematography, editing, and content, and somehow everything about it is vintage. This is an old and odd interview Swedish filmmaker Ingmar Bergman did at Southern Methodist University in Dallas.
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