Persona Analysis: The Motif of Hands - YouTube.
Persona - Renegade Cut (Revised Version) In this video essay, Leon Thomas presents a reading of Ingmar Bergman’s 1966 psychological drama, Persona, as an example of modernist art, a film that breaks with convention and challenges traditional ideas about gender, sexuality and identity.
Like Sylvia Plath’s mirror, which promises then imperils her ideal self, the gaze of the other in Persona is a double-edged sword: a threat to pure subjectivity but also the existential “mirror” through which it is realized. Set to a voiceover of Sylvia Plath’s Mirror, Criterion’s video essay Mirrors of Bergman offers a vivid parallel for illuminating Persona.1 In Plath’s poem, a.
Persona, plural personae, in literature, the person who is understood to be speaking (or thinking or writing) a particular work.The persona is almost invariably distinct from the author; it is the voice chosen by the author for a particular artistic purpose. The persona may be a character in the work or merely an unnamed narrator; but, insofar as the manner and style of expression in the work.
Bergman's Persona: An Essay on Tragedy 5 than a conjunction between Corelli and Shakespeare. Probably the best place to begin is in a consideration of Sophocles' Electra, a play that is crucial for an understanding of Persona. In the film, Bergman explores the relationship between two young women, one an actress, the other a psychiatric nurse.
Essays and criticism on Ingmar Bergman - Susan Sontag. (The difficulty in understanding Persona is) that Bergman withholds the kind of clear signals for sorting out fantasies from reality offered.
The call centre staff persona is a primary persona, whereas the head office technical team is a secondary persona. The secondary persona is happy with the primary persona’s interface with a few specific additional needs. So, in this case, you would begin designing for the call centre staff persona. This is a lot easier than facing a 10 or 20.
Where Are We with Bergman? A filmmaker reflects on the Swedish master’s legacy in a changed world (and a world he changed) By Olivier Assayas in the July-August 2018 Issue. Ingmar Bergman would have turned 100 on July 14, 2018. His final feature, Saraband, was released more than a decade ago, though he had decided to stop making films in 1982. Putting these dates side by side allows us to.