<abstract xmlns="http://www.w3.org/1999/xhtml"><p> Bergman’s cinema does more than just focus on a personal reflection of the body as an emotive and emotional vector; his cinema, through the transitory fragility of the human body as represented by his actors, defines the possibilities of a perceptive horizon in which the experience of passing time becomes tangible. Even though the Swedish director’s entire opus is traversed by this reflection, it is particularly evident in the films he made during the 1960s, in which the “room-sized” dimension of the sets permits a higher concentration of space and time. In this “concentration,” in this claustrophobic dimension in which Bergman forces his characters to exist, there is an often inflammable accumulation of affections and emotions searching for release through human contact which is often frustrated, denied, and/or impossible. This situation creates characters who act according to solipsistic directives, in whom physiological and mental traits are fused together, and the notion of phenomenological reality is cancelled out and supplanted by aspects of dreamlike hallucinations, phantasmagorical creations, and psychic drifting. Starting from Hour of the Wolf, this essay highlights the process through which, by fixing in images the physicality of his characters’ sensations, Bergman defines a complex temporal horizon, in which the phenomenological dimension of the linear passage of time merges with, and often turns into, a subjective perception of passing time, creating a synchretic relationship between the quantitative time of the action and the qualitative time of the sensation. </p></abstract>

Bergman’s cinema does more than just focus on a personal reflection of the body as an emotive and emotional vector; his cinema, through the transitory fragility of the human body as represented by his actors, defines the possibilities of a perceptive horizon in which the experience of passing time becomes tangible. Even though the Swedish director’s entire opus is traversed by this reflection, it is particularly evident in the films he made during the 1960s, in which the “room-sized” dimension of the sets permits a higher concentration of space and time. In this “concentration,” in this claustrophobic dimension in which Bergman forces his characters to exist, there is an often inflammable accumulation of affections and emotions searching for release through human contact which is often frustrated, denied, and/or impossible. This situation creates characters who act according to solipsistic directives, in whom physiological and mental traits are fused together, and the notion of phenomenological reality is cancelled out and supplanted by aspects of dreamlike hallucinations, phantasmagorical creations, and psychic drifting. Starting from Hour of the Wolf, this essay highlights the process through which, by fixing in images the physicality of his characters’ sensations, Bergman defines a complex temporal horizon, in which the phenomenological dimension of the linear passage of time merges with, and often turns into, a subjective perception of passing time, creating a synchretic relationship between the quantitative time of the action and the qualitative time of the sensation.

The Sensation of Time in Ingmar Bergman’s Poetics of Bodies and Minds

Tonion Museo Nazionale del Cinema (Torino)

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

{"article-title":"The Sensation of Time in Ingmar Bergman\u2019s Poetics of Bodies and Minds"}

Bergman’s cinema does more than just focus on a personal reflection of the body as an emotive and emotional vector; his cinema, through the transitory...

The Sensation of Time in Ingmar Bergman’s Poetics of Bodies and Minds

Online veröffentlicht: 25. Sept. 2014

Seitenbereich: 41 - 58

DOI: https://doi.org/10.2478/ausfm-2014-0025

© 2014

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.