Art Cinema Characteristics in Persona

1692 Words Mar 4th, 2013 7 Pages
Kyle Keitz
Professor Mullens
Film 221
March 5, 2013

Art Cinema Characteristics in Persona

According to David Bordwell’s research, Hollywood had a basic outline on how they made their films. The classical narrative cinema follows narrative structure, cinematic style, and spectatorial activity. In Classical Hollywood Cinema there is usually a psychologically defined, goal oriented character that’s easy to like. Foreign countries had a different way of making film, post WWII, Europe reestablished their facilitated film export and coproduction. Since the U.S. was exhibiting film in other countries it gave those foreign countries a chance to make film for international audiences. The neorealist films may be considered the first postwar
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There is a scene when she is watching a television set and it has footage of the war in Vietnam and Bergman seems to emphasize a scene with a Buddhist Monk burning himself to death. She looks horrified and backs up into a corner and since I couldn’t think of any other motive for Bergman to show the television set with Elisabeth, I assumed this is partly why she is mute. The only time she actually speaks is out of fear, she yells “No, don’t!” because Alma was about to toss boiling hot water at her. This proves to Alma that Elisabeth is human and she doesn’t want to be scared, doesn’t want to feel pain, and doesn’t want to die. It generally proves to her that Elisabeth exists. Elizabeth isn’t the only one that is going through torment she knows since Alma openly admits her doubts in life. Alma has some secrets of her own that she shares with Elisabeth. She seems to doubt a lot of the things that she has going on in her life. She is unsure of where her relationship is headed with the man she plans to marry, she doubts her capability to be a nurse, and she also doubts her strength to stand up against Elisabeth. Elisabeth seems to admire what Alma is saying and after she goes to bed another dream sequence is initiated. Bergman seems to leave this up to you on whether or not you want to believe that it really happened. In this scene, Elisabeth enters Alma’s room and they face each other after she is woken up while one strokes the
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