When The Silence was released in 1963, Bergman's stature allowed the film's depiction of sexuality to challenge the boundaries of the censorship boards in Sweden and the U.S. Yet, Swedish film critic Maaret Koskinen--one of the first scholars given access to Bergman's private papers--found his notebooks revealed his tendency to self-censorship, as well as the difficulties he experienced in writing for the medium of moving images. She draws a picture of Berman that reveals his attempts to make his work relevant to a new generation of filmgoers.
When The Silence was released in 1963, Bergman's stature allowed the film's depiction of sexuality to challenge the boundaries of the censorship boards in Sweden and the U.S. Yet, Swedish film critic Maaret Koskinen--one of the first scholars given access to Bergman's private papers--found his notebooks revealed his tendency to self-censorship, as well as the difficulties he experienced in writing for the medium of moving images. She draws a picture of Berman that reveals his attempts to make his work relevant to a new generation of filmgoers.
PART ONE Backdrops and Contexts 1. National Cinema, Art Film, and the Auteur The Auteur Contextualized Antonioni: "That Perpetual Foil to Bergman" Art Versus Business The Auteur as Star The Art of Reinventing Authorship 2. Censorship Issues: Sex, Women, and Hollywood The Silence at Home: Debate and Controversy The Silence Abroad: "The Bergman Ballyhoo Era" Gender Issues: Now What About All These Women? Director and Actress: Nudity and Power Relations PART TWO Works in Progress: Intermedial Variations 3. In the Beginning Was (the Fear of) the Word: Notebooks From Word to Sound . . . to Music and Painting 4. In Between Words and Images: Manuscripts and Screenplays Edits: Too Many Words Sex and the City: The Eroticism of Language The Published Screenplay: Senses and Synesthetics Excursion: Flash Forward to a Writer Let Loose PART THREE The Finished Film 5. Framing the Senses Sounds and Linguistic Voids Beginnings: Windows and Sights Paintings and Tableaux Vivants The Phenomenology of Vision: Hotel Excursions The Eroticism of Vision: Mirrors and Doorways The Close-Up: The Bergman Icon Conclusion Production Notes Filmography Transcript of the U.S. Trailer for The Silence Bibliography
PART ONE Backdrops and Contexts 1. National Cinema, Art Film, and the Auteur The Auteur Contextualized Antonioni: "That Perpetual Foil to Bergman" Art Versus Business The Auteur as Star The Art of Reinventing Authorship 2. Censorship Issues: Sex, Women, and Hollywood The Silence at Home: Debate and Controversy The Silence Abroad: "The Bergman Ballyhoo Era" Gender Issues: Now What About All These Women? Director and Actress: Nudity and Power Relations PART TWO Works in Progress: Intermedial Variations 3. In the Beginning Was (the Fear of) the Word: Notebooks From Word to Sound . . . to Music and Painting 4. In Between Words and Images: Manuscripts and Screenplays Edits: Too Many Words Sex and the City: The Eroticism of Language The Published Screenplay: Senses and Synesthetics Excursion: Flash Forward to a Writer Let Loose PART THREE The Finished Film 5. Framing the Senses Sounds and Linguistic Voids Beginnings: Windows and Sights Paintings and Tableaux Vivants The Phenomenology of Vision: Hotel Excursions The Eroticism of Vision: Mirrors and Doorways The Close-Up: The Bergman Icon Conclusion Production Notes Filmography Transcript of the U.S. Trailer for The Silence Bibliography
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