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Publication
Um fazer-da-imagem em Bergman
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Authors
Advisor(s)
Abstract(s)
Neste ensaio sobre cinema, pretendemos explorar concetualmente, o modo de
fazer-da-imagem em Bergman, através de interações contemporâneas que permitem uma
incorporação na experiência cinematográfica do realizador, tendo como base para criar
novos entendimentos e perspetivas, a realidade apreendida das imagens-movimento do
cineasta. A imagem que está sempre presente nas obras, coincide com a objetualidade das
suas vivências existenciais, que se relacionam com o contexto em que ocorrem,
caraterizando as mesmas com um novo modo de abordagem simbólica, onde predominam
“close-ups” intensos e fusões que criam expressões específicas, que visam incorporar
outras experimentações, para mostrar as questões fundamentais da experiência humana,
o que torna o cinema mais autêntico, realista, possibilitador e contemporâneo, porque só
o cinema, enquanto objeto de perceção e representação, possibilita o novo fazer da
imagem, tornando-a linguagem universal no devir artístico deste fazer. Interrogaremos
este conceito de fazer-da-imagem, uma fórmula de Samuel Beckett, seguida de
considerações por Deleuze, a partir do cinema de Ingmar Bergman, revelando como a
estética do realizador imprime no ecrã um novo realismo nas imagens, que apela aos
sentidos, por meio de estratégias experimentais inovadoras, que suscitam o envolvimento
emocional dos espetadores, num provocar que estimula afetivamente, o pensamento
crítico
In this essay on cinema, we aim to conceptually explore Bergman's approach to image-making through contemporary interactions that allow an incorporation into the director's cinematic experience, using the reality captured in the filmmaker's moving images as a basis for creating new understandings and perspectives. The image that is always present in his works coincides with the objectivity of his existential experiences, which relate to the context in which they occur, characterizing them with a new symbolic approach, where intense close-ups and fusions predominate, creating specific expressions that aim to incorporate other experiments to show the fundamental questions of human experience, which makes cinema more authentic, realistic, enabling, and contemporary, because only cinema, as an object of perception and representation, enables the new making of the image, making it a universal language in the artistic becoming of this making. We will examine this concept of image-making, a formula coined by Samuel Beckett and further developed by Deleuze, based on the cinema of Ingmar Bergman, revealing how the director's aesthetic imprints a new realism on the screen, appealing to the senses through innovative experimental strategies that elicit the emotional involvement of viewers, in a provocation that affectively stimulates critical thinking.
In this essay on cinema, we aim to conceptually explore Bergman's approach to image-making through contemporary interactions that allow an incorporation into the director's cinematic experience, using the reality captured in the filmmaker's moving images as a basis for creating new understandings and perspectives. The image that is always present in his works coincides with the objectivity of his existential experiences, which relate to the context in which they occur, characterizing them with a new symbolic approach, where intense close-ups and fusions predominate, creating specific expressions that aim to incorporate other experiments to show the fundamental questions of human experience, which makes cinema more authentic, realistic, enabling, and contemporary, because only cinema, as an object of perception and representation, enables the new making of the image, making it a universal language in the artistic becoming of this making. We will examine this concept of image-making, a formula coined by Samuel Beckett and further developed by Deleuze, based on the cinema of Ingmar Bergman, revealing how the director's aesthetic imprints a new realism on the screen, appealing to the senses through innovative experimental strategies that elicit the emotional involvement of viewers, in a provocation that affectively stimulates critical thinking.
Description
Keywords
Arte Imagem Cinema Fotografia Técnica Bergman Art Image Photography Technique .
Pedagogical Context
Citation
Castro, R. (2025). Um fazer-da-imagem em Bergman. Cinema & Território, (10), 194-214. http://doi.org/10.34640/ct10uma2025castro
Publisher
Universidade da Madeira