Everything Is a Spectacle
Abstract
Szczepański shows an innovative character of the publication against the background of Swedish research on Bergman’s work. Koskinen assumes that Bergman’s two areas of artistic creation are bound by a multi-character and subtly forked blood stream. Its description and analysis of its diverse functions is made from the point of view of the chronological evolution of Bergman’s (theatre and film) work, and the paradigmatic standpoint, when Koskinen points to the existence of similar stylistic patterns or visual mise-en-scene solutions executed simultaneously in the language of theatre and film. The key category integrating Bergman’s theatre and film spectacle is his spectator-oriented attitude as both film and spectacle materialise in the perceptive act of reception. The rich comparative material is put into a series of artistic auteur strategies common for the two wings of Bergman’s artistic practise (the problem of mask, thematisation of speech, the motif of a look-alike or a self-reflexive function of the actor).
Keywords:
Maaret Koskinen, Ingmar Bergman, reviewReferences
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Authors
Tadeusz Szczepańskikwartalnik.filmowy@ispan.pl
University of Lodz Poland
Krytyk, filmoznawca, wykłada na Uniwersytecie Łódzkim i Gdańskim. Opublikował książki: Eisenstein. U źródeł twórczości (1986), Zwierciadło Bergmana (1999), wydał z Bogusławem Żyłko antologię tekstów z dziedziny rosyjskiej myśli filmowej Cudowny kinemo (2001).
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Copyright (c) 2002 Tadeusz Szczepański
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