假面
维基百科，自由的百科全书
| 假面 | |
| 導演 | 英格玛·伯格曼 |
|---|---|
| 監製 | 英格玛·伯格曼 |
| 編劇 | 英格玛·伯格曼 |
| 主演 | Bibi Andersson Liv Ullmann |
| 音樂 | Lars Johan Werle |
| 發行商 | United Artists (美国) |
| 上映日期 | 1966年10月18日 (瑞典) 1967年3月6日 (美国) |
| 片長 | 85分鐘 |
| 語言 | 瑞典语 |
| IMDb zh-hans:信息;zh-hant:資訊（英語） | |
《假面》（Persona)是瑞典导演英格玛·伯格曼的电影作品, 发行于1966年,由Bibi Andersson 和 Liv Ullmann主演. 伯格曼本人对其极为看重; 在回忆录 《影像：我的电影生涯》中,他写道:“今天我在《假面》中--以及后来在《呼喊与细语》中--感到我达到了我的极致. 在那两个我可以随心所欲地创作的场所, 我触及了只有电影能够发现的无言的秘密.”[1] 他还说道
| “ | 过去某个时候, 我说过假面拯救了我的生命 — 那并不是夸大其辞. 如果我没有找到让我去完成那部电影的力量，我也许已经毁了。尤其重要的是，那是我第一次不考虑任何商业因素…….[1] | ” |
影片探究了两个女人的一次相遇：Elisabet是一个成功的演员，在演出Electra时突然失语并从此不愿说话， 而Alma(在西班牙和葡萄牙语中意为灵魂)是负责照看她的护士。题材部分来源于奧古斯特·斯特林堡的剧本, 陌生人（The Stronger）.zh-hans:;zh-hant:[來源請求]
《假面》被评论家和业内人员一致认为是一件重要的艺术作品。在众多对其进行大量论述的评论家中，蘇珊·桑塔格称其为 "伯格曼的杰作".[2] 在英国电影学会的Sight and Sound杂志'于1972年举行的“有史以来十部最佳影片”评选中, 《假面》位列第五.[3]
目录 |
[编辑] Plot
Persona takes place mostly at a seaside summer residence in Sweden, where the mute actress Elisabet Vogler (played by Liv Ullmann) has been sent by her psychiatrist to recuperate after her breakdown. A nurse, Alma (Bibi Andersson), accompanies and cares for her. The two women spend long summer days enjoying the outdoors. Elisabet says nothing while Alma passes the time telling stories.
[编辑] Possible interpretations
The film has been interpreted in many different ways and has been the subject of long-standing debates among film fans as well as critics. Because Bergman's film is so surrealistic, perverse, and ambiguous, Persona criticism is often colorful and filled with gymnastic rationalizations and explanations of the narrative.
Sontag suggests that Persona is constructed as a series of variations on a theme of "doubling".[4] The subject of the film, Sontag proposes, is "violence of the spirit".[5] Film scholar P. Adams Sitney offers a completely different reading, arguing that "Persona covertly dramatizes a psychoanalysis from the point of view of a patient".[6] While the film has been widely and variously interpreted, many criticsTemplate:Who agree that it explores the intricacies of the doctor-patient relationship, in particular the phenomenon of transference. While Elisabet is ostensibly the patient, her silence suggests a reversal: in psychoanalysis the doctor is silent and the patient speaks. Thus Alma might be seen as the patient and Elisabet, the silent analyst.
Following are some of the most popular interpretations of the film.zh-hans:;zh-hant:[來源請求]
[编辑] First reading
Elisabet and the nurse are one and the same person.zh-hans:;zh-hant:[來源請求] They are "split" when the actress does not want to act any more, and retires to her own self. The term "does not want to act" depicts two things: firstly, she does not want to act as a job, and secondly, in a more distant, but more appropriate interpretation, she does not want to act to the outside world (e.g. in the movie the nurse part of the personality says this: "But you played the part. The part of a pregnant, happy mother.") The nurse is nothing more than the outside appearance of the same person—this is why Mr. Vogler recognises her (and not Elisabet) as Mrs. Vogler. Elisabet is the inner self of the same person: she is a quiet, strong personality. This interpretation is suggested when the two half-faces of the nurse and Elisabet are put together into one picture, one face (note also that the nurse says during the beginning that she thought that Elisabet is very similar to her).
[编辑] Second reading
Alma is the nurse who is supposed to be treating Elisabet, but this is gradually reversed.zh-hans:;zh-hant:[來源請求] Simply by talking to Elisabet, Alma develops a feeling of closeness to her and comes to divulge intimate secrets, even though Elisabet has not reciprocated. This transference effect is shattered when Alma reads Elisabet's letter to her doctor, mentioning that Alma has childishly fallen in love with Elisabet and that it is interesting to study Alma. Suddenly, Alma realizes that she has been only an object for Elisabet, and lashes out against her. Yet the film progresses to a complex confusion of Elisabet's and Alma's characters, felt perhaps most strikingly when Elisabet's blind husband visits and mistakes Alma for Elisabet; Alma hesitates at first, but then embraces the role, beginning by saying the things to him that Elisabet cannot or will not say, and then "breaking down" (deconstruction) much as we can imagine Elisabet did.
[编辑] Third reading
Other readings of Persona use a psychoanalytic frame of reference. One reading of this sort can be found in Daniel Shaw's interpretation.
[编辑] Brechtian alienation technique
Many criticsTemplate:Who believe that Persona is one of the first films to make use of the Brechtian alienation technique (Verfremdungseffekt), used to call attention to and/or interrupt the fictional world of the movie, and to remind the viewer of the necessarily artificial nature of the medium. Some notable uses of the technique in Persona are at the beginning and end, where you see a reel of film being loaded; in the middle, when Elisabet steps on glass and the film appears to burn; and later on, when the camera turns around to display the crew filming a scene with Elisabet.
The fact is that Persona is not the first film to be self-referential. In fact, self-referential gestures such as these are found throughout film history—the very first film ever made includes self-referential moments— and many such films even pre-date Brecht. A few notable examples of films that are deeply self-referential include Kinugasa's A Page of Madness (1926), Dziga Vertov's Man with a Movie Camera (1929), Federico Fellini's 8½ (1963), Maya Deren's Meshes of the Afternoon (1943) and Bergman's own Dreams (1955) and The Magician (1958). There are hundreds of others.
[编辑] Opening sequence
Persona's startling opening sequence has invited many creative interpretations.zh-hans:;zh-hant:[來源請求] In Persona, there are several sequences which consist of a series of seemingly random shots in quick succession. A film projector starting up, a vampiric spider, a boy being woken up, a child's hand on a blurry mother's face, a bloodied lamb, a nail being driven into a hand (in some versions of this sequence there is an image of an erect penis, as well) —and although Bergman himself invites viewers to interpret the sequences like a poem, the most plausible reading would be to understand these images as examples of "screen memories" (cf. Sigmund Freud)—those childhood images that are either true or not, but often, when understood in the structure of psychoanalysis represent some sort of "trauma" (dream). It is noteworthy that many of the images chosen by Bergman have "classical" interpretations in psycholanalytic text. The crucifixtion scene for example is commonly understood in psychoanalysis as representing the "trauma" of the primal scene: ie. the child's experience of seeing his parents having sex.
[编辑] 審查
Two scenes are frequently cut from versions of the film; a brief shot at the beginning depicting an erect penis, and a piece of Alma's monologue where she says her lover "made her come with his hand" and implies they were children or teenagers. These changes were removed for American distribution, but retained on most American video releases.
When MGM archivist John Kirk restored Persona as part of a larger restoration project, he worked with the original, uncensored version with the brief shot of an erect penis. He also created new subtitles by commissioning several language experts to provide new, accurate translations for the dialogue; this is particularly noticeable during Alma's graphic recollection of an orgy, which some were reluctant to translate without toning down some of the details.
The original, uncensored version wasn't widely available in the U.S. until 2004, when MGM's home video department reissued Persona on DVD, utilizing Kirk's work.
[编辑] 其他電影
David Lynch's films Mulholland Drive (2001) and Inland Empire (2006) share similarities with Bergman's Persona.
Bergman features prominently in Woody Allen's work. Another Woman is a variation on Persona, and Love and Death references Persona in its final minutes; two characters are lined up, one facing the camera, the other at a 90-degree angle, with their mouths in the same space, just as in Persona.
Robert Altman's expressionist film 3 Women is also influenced by Persona as Shelley Duvall and Sissy Spacek begin to shift roles.
Liv Ullmann's costume in the film (black headband, black turtleneck and black pants) is echoed by Pepper Binkley's costume as "Michelle" in Let Them Chirp Awhile, a 2007 independent film by director Jonathan Blitstein. Blitstein intended to draw similarities between the two characters' isolation.
[编辑] Awards and recognition
- Persona won the the 1967 National Society of Film Critics awards for Best Film, Best Director (Bergman) and Best Actress (Andersson).[7]
- Persona was included in The New York Times Guide to the Best 1,000 Movies Ever Made.[8]
[编辑] 參考文獻
- ^ 1.0 1.1 Vermilye, Jerry（2002）．Ingmar Bergman: His Life and Films．Jefferson, NC and London：McFarland，123．ISBN 0786411600．
- ^ Sontag, p. 123
- ^ The Sight & Sound Top Ten Poll: 1972．於2007年7月30日查閱．
- ^ Sontag, p. 135
- ^ Sontag, p. 141
- ^ Sitney, P. Adams（1990）．Modernist Montage: The Obscurity of Vision in Cinema and Literature．Columbia University Press，126．ISBN 0231071833．
- ^ Persona (1966) Awards．於2007年7月30日查閱．
- ^ Nichols, Peter M.（2004）．The New York Times Guide to the Best 1,000 Movies Ever Made．St Martin's Press，751．ISBN 0312326114．
[编辑] 傳記
- Michaels, Lloyd (ed.)（2000）．Ingmar Bergman's Persona．Cambridge University Press．ISBN 0521656982．
- Sontag, Susan (2002), "Bergman's Persona", Styles of Radical Will, New York: Picador, ISBN 0312420218, at 123-146
[编辑] 外部連結
- Persona at Rotten Tomatoes
- Roger Ebert's review
- Review of Persona
- An essay on the film by P. Adams Sitney
1940年代: 《危機》（Kris） • 《雨中情》（Det regnar på vår kärlek） • 《開往印度之船》（Skepp till India land） • 《黑暗中的音樂》（Musik i mörker） • 《停靠港》（Hamnstad） • 《牢獄》（Fängelse） • 《饑渴》（Törst） — 1950年代: 《喜悅》（Till glädje） • 《不能在此發生》（Sånt händer inte här） • 《夏日插曲》（Sommarlek） • 《女人的秘密》（Kvinnors väntan） • 《莫妮卡在夏天》（Sommaren med Monika） • 《裸夜》（Gycklarnas afton） • 《愛的一課》（En Lektion i kärlek） • 《秋日之旅》（Kvinnodröm） • 《夏夜微笑》（Sommarnattens leende） • 《第七封印》 • 《野草莓》 • 《生命的邊緣》（Nära livet） • 《面孔》（Ansiktet） — 1960年代: 《處女之泉》（Jungfrukällan） • 《魔鬼的眼睛》（Djävulens öga） • 《猶在鏡中》（Såsom i en spegel） • 《冬之光》（Nattvardsgästerna） • 《沉默》（Tystnaden） • 《這些女人們》（För att inte tala om alla dessa kvinnor） • 《假面》 • 《狼的時刻》（Vargtimmen） • 《羞恥》（Skammen） • 《儀式》（Riten） • 《激情》（En Passion） — 1970年代: 《接觸》（Beröringen） • 《哭泣與耳語》（Viskningar och rop） • 《婚姻場景》（Scener ur ett äktenskap） • 《魔笛》（Trollflöjten） • 《面對面》（Ansikte mot ansikte） • 《蛇蛋》（The Serpent's Egg） • 《秋光奏鳴曲》（Höstsonaten） — 1980年代: 《傀儡生活》（Aus dem Leben der Marionetten） • 《芬妮和亞歷山大》 • 《卡琳的面孔》 • 《排演之後》（Efter repetitionen） — 1990年代: 《小丑面前》（Larmar och gör sig till） — 2000年代: 《夕陽舞曲》（Saraband）
