Re: [xmca] Film Great Ingmar Bergman Dies at 89 | World Latest | Guardian Unlimited

Oh!
Thanks to you all. What a fascinating outpouring of thoughts and emotions.

David-- More interesting, to me, than the forwarding of the report from
whatever source of the news of Bergman's death was the list of items that
came before it and accompanied it. Utterly unbelievale montage creating a
meaning for the 29th of July that represents a fantastic (of course
incomplete) picture of this sad orb on that day.

Eric-- In the 1950's (?) my wife and I walked into ^Seventh Seal"
because it was in a tiny theatre near my home with NO expectations. We we
walked out again so overcome we did not
speak for an hour.

I know nothing of the man's presumed sins. I hope they exceed mine but who
knows? Two weeks ago we tried to obtain that unbelievably painful film,
"Scenes from a marriage." We were sent only part 2 and would not watch it
without part 1 which waits for
its predecessor at our home.

I wonder how Liv Ulman has reacted to this news. Once we saw her at the LA
airport. She was not, in person, the incredible figure she was on the
screen. (This is often true; I knew Veronika Lake who was a femme fatale of
the 1940's 1950's who was very kind to my family, but she was not in the
least a femme fatale off screen).

And of course, as a professor of communcation who gets to teach
film and call it work, and who thinks about Luria, Vygotsky, and
Zaporozhets working with Eisenshtein, just the mention of film in this forum
is a great indulgence.
mike

On 7/30/07, Eirik Knutsson <eikn6681@student.su.se> wrote:
>
>
> Losing all was winning's cost!
> Eternally owned is but what's lost!
> (Henrik Ibsen, "Brand", Act IV)
>
> Eirik
>
> On 2007-07-30, at 22:49, Leif Strandberg wrote:
> > Yes,
> >
> > Ingmar Bergman is dead and I am a bit astonished over my sadness.
> > During my formative years (the sixties) - we, the young left in Sweden,
> > hated Ingmar in every aspect we could find; "He was bourgeoise", "He
> > was obsessed with God and Death", "He was very far from the
> > Vietnam-movement", "His admiration for Germany and Hitler during WW2
> > was bad" etcetera etcetera
> >
> > AND
> >
> > we saw every film he made!!
> >
> > AND
> >
> > we were touched by what we saw!!
> >
> > How come?
> >
> > I think - it was THE METHOD of Bergman's work that was fascinating.
> > When he worked it was really "emotion at work" (which also is one of
> > our conversations on XMCA this summer).
> >
> > Bergman could really set the stage and create interactions that made it
> > possible for the actors (and the rest of the staff) to perform a head
> > taller than they were - (we who have seen the same actors in other
> > movies not directed by Bergman can confirm that). I think Bergman was
> > brilliant in creating Zones of Emtional Development (he was not an
> > Intellectual director - he was a sensitive performer (though he was
> > well prepared), he set the stage, the room, the colors, the music and
> > then he invited the actors to feel and perform. His dialogic style with
> > his actors (yes, they were HIS actors) was something special.
> >
> > Perhaps our conversation about emotions can learn something from Ingmar
> > (he was BTW very exact when spelling his name 'Ingmar': in Sweden
> > almost every Ingemar spells his name Ingemar, but Ingmar was Ingmar!)
> >
> > It is late here in Sweden, but I think I'll go and see some
> > Bergman-DVD - I have them :-)
> >
> >
> > Leif
> > Sweden
> >
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Received on Mon Jul 30 17:28 PDT 2007