Publicação

The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers

Detalhes bibliográficos
Resumo:	This article aims to analyze the set design of the film Cries and whispers (1972) by Swedish filmmaker Ingmar Bergman, focusing on the use of the various nuances of the color red and the constitution of pictorial images that can be compared to the paintings The deathbed (1895), Not Paris (1896) e Naked (1896) by the Norwegian artist Edvard Munch. To this end, we performed the decoupage of the sequences in which Agnes’ death occurs, and the flashback of Karin, to ascertain the functionality of stylistic elements. The construction of the mise-en-scène triggered a narrative of the funeral atmosphere, and also opened the possibility of dialogue within the existentialist philosophy of Søren Aabye Kierkegaard.
Autores principais:	Gonçalves, Hellen Silvia Marques
Assunto:	Artes Cinema Ingmar Bergman Cenografia Edvard Munch Art Cinema Ingmar Bergman Scenography Edvard Munch Arte Cine Ingmar Bergman Escenografía Edvard Munch
Ano:	2022
País:	Brasil
Tipo de documento:	artigo
Tipo de acesso:	unknown
Instituição associada:	IBICT
Idioma:	português
Origem:	Oasisbr

Descrição
Resumo:	This article aims to analyze the set design of the film Cries and whispers (1972) by Swedish filmmaker Ingmar Bergman, focusing on the use of the various nuances of the color red and the constitution of pictorial images that can be compared to the paintings The deathbed (1895), Not Paris (1896) e Naked (1896) by the Norwegian artist Edvard Munch. To this end, we performed the decoupage of the sequences in which Agnes’ death occurs, and the flashback of Karin, to ascertain the functionality of stylistic elements. The construction of the mise-en-scène triggered a narrative of the funeral atmosphere, and also opened the possibility of dialogue within the existentialist philosophy of Søren Aabye Kierkegaard.

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