Abstract
Fanny and Alexander (1982)1 celebrates masquerade. It has a showy confidence, reminiscent of Bergman’s films of the late 1950s (Wild Strawberries, 1956; The Seventh Seal, 1956; The Face, 1958), but its rich glossiness of colour and extreme duration make it stand out as an epic. Framed within a prologue and an epilogue, and with its division into five acts, it is structured like a conventional theatre drama, as a tribute to Bergman’s career in the theatre. Its production for television (the television version lasting over five hours) gives it a less conclusive feel than a conventional film.
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Notes
Jesse Kalin, The Films of Ingmar Bergman (Cambridge University Press, 2003) p. 171.
Marilyn Johns Blackwell, Gender and Representation in the Films of Ingmar Bergman ( Columbia: Camden House, 1997 ) p. 209.
Peter Cowie, Ingmar Bergman: A Critical Biography ( London: Martin Secker and Warburg, 1992 ) p. 338.
Robert E. Lauder, God, Death, Art and Love: The Philosophical Vision of Ingmar Bergman ( New Jersey: Paulist Press, 1989 ) p. 77.
Peter Harcourt, ‘Journey into Silence: An aspect of the late films of Ingmar Bergman’, Scandinavian-Canadian Studies, Vol. 5 (1992) p. 22.
Joan Mellen, Women and Their Sexuality in the New Film ( New York: Horizon Press, 1973 ) p. 107.
Erik Hedling, ‘Bergman and the Welfare State’, in Film International, Issue 19, Vol. 4, No. 1 (2006) p. 57.
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© 2007 Laura Hubner
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Hubner, L. (2007). Conclusion: Celebrating the llusion. In: The Films of Ingmar Bergman. Palgrave Macmillan, London. https://doi.org/10.1057/9780230801387_7
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DOI: https://doi.org/10.1057/9780230801387_7
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