Screen Self-Reflection: Classification of Species

Cover Page

Abstract


This article is devoted to the phenomenon of filmic self-reflection and its variations basing on I. Bergman’s Wild Strawberries / Smultronstället, Hour Of The Wolf / Vargtimmen, The Seventh Seal / Det sjunde inseglet. The differentiation between the notions of the author’s filmic self-reflection and the character’s self-reflection is marked. The author of the article draws out the notion of the helmer’s self-reflection and the character’s one through the examples from other disciplines (philosophy, psychology, literary criticism). The analysis of the author’s filmic self-reflection and the character’s reflection is carried out basing on the films by I. Bergman and in the context of his subsequent statements. Since Bergman is both director and scriptwriter of majority of his films, he grounds them on his personal experience and emotional baggage. Notwithstanding this fact the scenes of these films are not precise reproduction of the reality. Based on sensual experience they are meticulously developed in its dramatic aspect. The characters’ self-reflection in the plots of Wild Strawberries, Hour Of The Wolf and The Seventh Seal is considered as a screenwriting tool that could help to expose the versatility of their interior worlds. Three kinds of character’s selfreflection are pointed out: retrospective, introspective and prospective. Retrospective self-reflection is described on the example of Wild Strawberries. Permanent reference of the protagonist Isak Borg to the different milestones of his life becomes the principal tool of the plotting. Such kind of film narration gives an opportunity to highlight the emotional state of the hero and to unfold his way of thinking. As an example of introspective self-reflection Hour of The Wolf is analyzed. Here self-reflection of the protagonist also serves as the basis of the story. However Uhan Borg (unlike his namesake Isak Borg) does not do a journey through all his life lived but wanders in the labyrinths of his creative consciousness. Prospective filmic self-reflection is clarified on the example of The Seventh Seal. Fear of upcoming death of Knight Block is personified in the image of Angel of Death. Such the tool allows to reveal the thoughts of the characters about their future, to express their fears and dreams.


Full Text

 Abstract: This article is devoted to the phenomenon of filmic self-reflection and its variations basing on I. Bergman’s Wild Strawberries / Smultronst.llet, Hour Of The Wolf / Vargtimmen, The Seventh Seal / Det sjunde inseglet. The differentiation between the notions of the author’s filmic self-reflection and the character’s self-reflection is marked. The author of the article draws out the notion of the helmer’s self-reflection and the character’s one through the examples from other disciplines (philosophy, psychology, literary criticism).

The analysis of the author’s filmic self-reflection and the character’s reflection is carried out basing on the films by I. Bergman and in the context of his subsequent statements. Since Bergman is both director and scriptwriter of the majority of his films, he grounds them on his personal experience and emotional baggage. Notwithstanding this fact the scenes of these films are not precise reproduction of the reality. Based on sensual experience they are meticulously developed in its dramatic aspect.

The characters’ self-reflection in the plots of Wild Strawberries, Hour Of The Wolf and The Seventh Seal is considered as a screenwriting tool that could help to expose the versatility of their interior worlds. Three kinds of character’s self-reflection are pointed out: a retrospective, introspective and prospective. Retrospective self-reflection is described on the example of Wild Strawberries. Permanent reference of the protagonist Isak Borg to the different milestones of his life becomes the principal tool of the plotting. Such kind of film narration gives an opportunity to highlight the emotional state of the hero and to unfold his way of thinking. As an example of introspective self-reflection Hour of The Wolf is analyzed. Here self-reflection of the protagonist also serves as the basis of the story. However, Uhan Borg (unlike his namesake Isak Borg) does not do a journey through all his life lived but wanders in the labyrinths of his creative consciousness. Prospective filmic self-reflection is clarified on the example of The Seventh Seal. Fear of the upcoming death of Knight Block is personified in the image of Angel of Death. Such the tool allows revealing the thoughts of the characters about  their future, to express their fears and dreams.

 

About the authors

Maria V Solovyova

VGIK

Author for correspondence.
Email: editor@vestnik-vgik.com

Russian Federation, Moscow

Post-Graduate student, VGIK

References

  1. Бергман о Бергмане. Ингмар Бергман в театре и кино. - М.: Радуга, 1985. - 525 с.
  2. Вощинчук А.Н. Трактовка концепции сублимации у Б.П. Вышеславцева // Известия ТулГУ Гуманитарные науки, 2011, № 3-1. - С. 3-8.
  3. Выготский А.С. Психология искусства. - М.: Изд-во «Искусство», 1986. - 573 с.
  4. Макарова Н.Г. Изучение методик самоотношения, саморефлексии и самопознания личности // Психология и педагогия: методика и проблемы практического применения. № 32, 2013. - С. 25-30.
  5. Митюшин А.А. Рефлексия. Философский энциклопедический словарь. - М.: СЭ, 1989. - 555 с.
  6. Назиров А.Э. Саморефлексия в становлении научной теории // Рефлексивные процессы и творчество. Тезисы докладов Всесоюзной конференции. Часть 1. - Новосибирск: НГПИ. 1990. - С. 99-100.
  7. Семенов И.Н. Методологические проблемы этимологии и типологии рефлексии в психологии и смежных науках // Психология. Журнал Высшей школы экономики, № 2. Т. 10, 2013. - С. 24-45.
  8. Семенов И.Н. От гуманитарной рефлексологии к технологической рефлексике: типология рефлексии и структура рефлексивности в организации творчества // Рефлексивные процессы и творчество. Тезисы докладов Всесоюзной конференции. Часть 1. - Новосибирск: НГПИ, 1990. - С. 20-22.
  9. Соловьева М.В. Кинематографическая саморефлексия персонажа (на примерах фильмов режиссера И. Бергмана) // Театр. Живопись. Кино. Музыка. Альманах. 2017, № 4. - С. 183-194.
  10. Фрейд З. Введение в психоанализ. Лекции. - М.: Наука, 1991. - 453 с.
  11. Щенников В.П., Белоглазова О.Н. Проблема самосознания в истории философии // Вестник Кемеровского государственного университета, № 1/2011. - С. 195-199.

Statistics

Views

Abstract - 67

PDF (Russian) - 32

Cited-By


PlumX

Dimensions

Refbacks

  • There are currently no refbacks.

Copyright (c) 2018 Solovyova M.V.

This website uses cookies

You consent to our cookies if you continue to use our website.

About Cookies