Klein, Sartre and Imagination in the Films of Ingmar Bergman
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This book explores connections between the diverse ideas of Melanie Klein, Jean-Paul Sartre and Ingmar Bergman. These ideas are explored in relation to their shared focus on imagination and through detailed readings of a number of Bergman's key films.
List of Figures
1 The Imagination: Bergman, Klein and Sartre
2 From Freud to Klein, and Wild Strawberries
3 Sartre’s Theory of Imagination and The Seventh Seal
4 From Three Early Bergman Films to an Analysis of Summer with Monika
5 Revenge and Reparation in The Virgin Spring
6 The Destruction of the Artist: Hour of the Wolf
her contemporaries and theorists dedicated to her ideas is a necessary resource for the application of her ideas to culture. Throughout the chapter I will call on points made by Kleinians including Joan Riviere, Adrian Stokes and Hanna Segal, as well as more recent accounts of the theory. To start with, I will focus on how Klein’s ideas build on the work of Freud. In addition to the paranoid-schizoid position and the depressive position, introduced in 36 From Freud to Klein, and Wild
throws his secure identity into chaos, just as happened to Fabian through his encounter with his victims. We do not see Isak transformed into other people, but we do see how his relationship to others is buried in the past, and this continues to emerge in unpredictable, startling form. Like Klein’s diagnosis of the resolution in Ravel’s opera and like Klein’s account of the reparative process in her case studies, Isak must face up to his imaginative world. The structure of the film with its
Marianne, who has stopped the car and is smoking. She tells Isak of her problems with Evald, and this is conveyed with a flashback. The theme of death returns in this scene as Evald responds to Marianne’s news about her pregnancy by saying that he wants nothing to do with bringing up a child. He states that for him the purpose of life is death. Isak is troubled by this, and listens anxiously as Marianne explains the situation and how she will not give in to Evald’s wish that she abandon the baby.
anxiety towards Monika. When the lights come on the camerawork focuses on the couple, and this continues through their exit. It is as if they are separated and are like somnambulists in the dark, slightly awkward, still possessed, by the movie in Monika’s case, and its significance as part of the date in Harry’s case. Harry is anxious, but Monika thinks beyond to the glamour of the film. Bergman’s mise-en-scène shows here how cinematic fantasy is reproduced in the world outside the film they have
destruction are introduced into the romantic isolation of the couple. The fight with Lelle has a theatrical quality with its exaggerated physical movements and 120 Imagination in the Films of Ingmar Bergman lack of dialogue. The fact that Monika makes the vital blow by hitting Lelle with a saucepan undercuts but does not eliminate the idea that this could be a fight to the death. Shortly after the fight scene, the representation of Monika centres on her response to becoming pregnant. On the