Ingmar Bergman and Auteur Theory - Coursework Example

Ingmar Bergman and Auteur Theory Introduction In s on Auteur Theory, the term auteur is derived from directors whose personal vision on a movie are strongly felt. In Hollywood, American film critics picked up on this idea and developed into a theoretical approach. The auteur theory is developed by writer-directors whose job is to write and direct a film at the same time. It means one director takes complete responsibility for the whole production of the film, giving the film the personal imprint of the director. Conversely, Roland Barthes presents a concept of the author that deconstructs the authors importance. Ingmar Bergman is one of the most important auteur filmmakers of European art-cinema; his predominant concern was always existential essentials. His films were peopled by characters that were forced to face themselves, with personal crises of doubt, loathing, sickness and death. This essay examines the concept of the author in terms of its articulation in the theories of Andrew Sarris and Roland Barthes. Specifically, the essay implements the films of Ingmar Bergman, specifically The Seventh Seal and The Persona, in arguing their nature as elements within the broader understanding of Bergmans auteurist vision. Analysis Auteur theory was perhaps most seminally articulated by Andrew Sarris in his Notes on Auteur Theory. In this essay he considers earlier formulations of the auteur theory, dating back to its consideration by Andre Bazin in Cahiers du Cinema who indicated that while cinema, as compared to painting or the novel form, is more a collaborative element, there is nonetheless a distinct feature of artistry that can be tied to the individual director. In comparing him to director George Cukor, Sarris even speaks of the auteur tendencies of Ingmar Bergman, stating that Cukor “has a more developed style than a Bergman, who is free to develop his own scripts. Not that Bergman lacks personality, but his work has declined with the depletion of his ideas largely because his techniques never equaled his sensibility” (Sarris, pg. 663). Sarris extends this articulation, adding his own theoretical elements. He states, “Over a group of films a director of films, a director must exhibit certain recurring characteristics of style, which serve as his signature. The way a film looks and moves should have some relationship to the way a director thinks and feels” (Sarris, pg. 662). Sarris goes on to further elaborate on this theoretical formulation by indicating that the films of an auteur explore a certain personal concern that he equates to some degree with the singular aspect of the soul. It follows that auteur theory consists of both the external elements of technique, and the internal elements of personal vision. In his essay Death of the Author from Image, Music, Text, Roland Barthes articulates another perspective on the auteur concept. While Sarris works towards rooting the theory of the filmic author in a singular concept of the auteur, Barthes works towards deconstructing the author construct indicating that any traditional understanding of the author must be understood under a new structural understanding. Barthes states, To give a text an Author and assign a single, corresponding interpretation to it "is to impose a limit on that text” (Barthes, pg. 3). In these regards, rather than being viewed as a singular master of creation, the author is viewed instead as a sort of medium through which the text surfaces. Barthes further indicates, “a text is a line of words releasing a single theological meaning (the message of the Author-God) but a multi-dimensional space in which a variety of writings, none of them original, blend and clash” (Barthes, pg. 3). In these regards, the greatest distinguishing elements between Barthes characterization of the author and Sarris theoretical articulation of the auteur concept are the interpretive means by which the critique subsequently interprets the film, with Sarris emphasizing the directors personal vision, and Barthes emphasizing a sort of inter-textual appearance of ideas and understandings. In consider Ingmar Bergmans work, it is clear that its possible to interpret the work in terms of both Sarris and Barthes articulations of the author. Ingmar Bergmans Persona is a highly personal film that many critics identify as his greatest work. The film exhibits minimalist tendencies and a clear examination of the deep personal concerns of its main protagonists that make it a particularly apt auteurist work. This characterization is also supported by the considerable freedom Bergman was obviously given in the creation of the film, as its highly experimental nature eschews traditional narrative and dramatic structure. From the films opening scene these minimalist and conceptual tendencies are evident. The film opens with the complete blackness and then focuses in on a steadily flashing image, along with the sound of an increasing buzzing. This image eventually is shown to be a light source, and the buzzing continues becoming even more sharp, before giving way to the clicking of film going through a projector and a number of disparate flashing images including a cartoon, a spider, hands, clips of two individuals dancing, a sheep being skinned, a steak being driven through a hand, before finally focusing on a series of bodies laying down in a clinical type room. While it would be next to impossible to precisely unravel the meaning of the juxtaposition of these images, its clear that they function along a somewhat surreal level to demonstrate the internal elements of personal concern that are not able to be broached through traditional narrative devices. One will also note that the explication of such a personal vision are some of the seminal elements of auteur cinema. Even as these surreal montage techniques are arguably derivative, as similar a utilization of them can be witnessed within the work of surrealist director Luis Bunuel. In these regards, one might consider Barthes death of the author concept as he indicates that there is no originality in the sense of a truly personal auteur, but rather an intextuality of style and form. Here one could identify the inter-textual relationship between Bergmans implementation of such surrealistic imagery with Bunuels work, rather than the work of a singular author. Still, an auteurist approach would argue that while Bergmans technique in this context is somewhat derivative, it is the personal touch that Bergman adds that gives the segment its auteurist quality. As the films main narrative thrust begins, the viewer is introduced to Alma and her patient Ms. Vogler. The hospital and care setting is particularly appropriate in terms of autuerist cinema as it allows Bergman to explore the internal psychological dimensions of the characters. Throughout the film Bergman couples these internal psychological concerns a minimalist style that furthers his auteur vision. For instance, many scenes are accompanied with long pauses in dialogue. Consider the first time Alma encounters Ms. Vogler. Vogler has been noted to have gone silent while working on the play Electra. As Alma encounters her in bed she continues to refuse to speak, and Almas questions are punctured with contemplative moments of silence. While on a literal level Alma is simply looking after Vogler, on a metaphorical level its clear that Bergman is using the relationship as the metaphorical exploration of the existential questions of meaning and purpose, and as well as psychological concerns. These are profoundly personal elements that can be linked to the personal concerns of Bergman himself, who is then utilizing the film medium to express this personal vision. Later in the film one sees another means by which Bergman works to capture the internal psychological dimensions of Vogler as Bergman utilizes classical music with a close-up of Voglers solemn and contemplative face. In these regards the classical music functions to attempt to give voice to the internal existential crisis Vogler is confronting. Its these techniques in the exploration of the internal existential crises and psychological dimensions of the characters that underlines Personas auteurist elements, and indeed, auteurist elements within Bergmans oeuvre. One of the primary elements of the auteur is that their personal style and vision is not expressed simply through one film, but comes to be a characteristic element throughout their work. Ingmar Bergmans work clearly meets this criteria. As one examines another of Bergmans seminal films – the Seventh Seal – in regards to his later work in Persona its clear that there are both stylistic and thematic tendencies that demonstrate Bergman is an auteur in the classic sense. In considering the Seventh Seal one immediately notes that the films overarching concerns with the existential questions of human existence have much in common with the same concerns that are broached in Persona. While Persona is arguably a more singular work of personal vision in that it explores more of the psychological dimensions of humanism, it shares many of the same existential concerns with meaning and purpose in an silent world. These are issues that clearly represent Bergmans personal and auteurist vision. In considering these stylistic elements Bergman utilized in the Seventh Seal, its clear that are characteristic of Bergmans auteurist technique. Consider the opening scenes of the film. After a Biblical quote from Revelations, the film features one of the main protagonists seated by a chess board. The mise-en-scene in these regards one will note is a characteristic element of Bergmans overarching oeuvre. In this instance, one sees that Bergman has created a situation that engenders contemplation and quiet moments of meditation. The chess game has great metaphorical significance for the nature of existence, but also refers to the nature of the film as a complex commentary on life. This is an element of Bergmans auteurist style if one considers it in relation to the hospital setting in parts of Persona. Both of these settings are purposely chosen as they allow Bergman to explore existential questions of existence more readily. In these regards, they are one of the predominant elements of Bergmans auteurist style. Another characteristic element of Bergmans auteuristic style is his minimal approach. While a handful of instances in the Seventh Seal are punctuated by more upbeat social encounters – for instance, slightly comedic scenes midway through the film where individuals sit in the pub discussing the ways that the plague has effected life – the films general stylistic approach is one of contemplative pauses between a limited number of characters. Consider the scenes with the two men traveling throughout the countryside, even in moments of levity, the dearth of conversation and expansive countryside always underlie the more brooding and existential theme underlying the film. Towards the films mid-way point one of the main protagonists encounters the woman with her child. While the scene is somewhat lighthearted in tone, with both of the characters laughing and frequent shots of the babys bottom offering a somewhat comic slant on the action, its clear that the question of death and the nausea of existence is always penetrating. For instance, this scene features the chess board that is a constant reminder of Antonius Blocks existential crisis, and the overarching question of life and existence. There is also a skull featured; in the context of the scene featuring performers, one could argue that this is reminiscent of the graveyard scene in Hamlet, where Hamlet meditates on life looking at the skull of Yorik. Here the skull represents the films central thematic concern with the human condition. One will note that such consist internal vision is characteristic of Bergmans work in Persona as well, as this film continually returns to meditative aspects of psychology and existence. In these regards, these stylistic and narrative elements are characteristic of Bergmans auteurist vision. Conclusion In conclusion, its clear that Ingmar Bergman is an auteur in the traditional sense as indicated by film critics Andre Bazin and Andrew Sarris. His work from the Seventh Seal through Persona demonstrate a consistent and readily identifiable style and personal vision. In these regards, Bergmans auteurist vision is characterized by a personal exploration of the existential questions of humanity and personal meaning. This vision is articulated through the characteristic stylistic elements of aptly chosen environments and mediums for the exploration of these psychological questions, as well as minimalist tendencies that lead the viewer to more fully engage in contemplation and meditation. Ultimately, Bergman is a highly skillful artist who presents an auteurist vision of existential crisis through his canon of work. References Barthes, Roland. Death of the Author. Image, Music, Text. Sarris, Andrew. Notes on the Auteur Theory in 1962. Read More