The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers

Detalhes bibliográficos
Autor(a) principal: Gonçalves, Hellen Silvia Marques
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: por
Título da fonte: Pós (Universidade Federal de Minas Gerais. Online)
Texto Completo: https://periodicos.ufmg.br/index.php/revistapos/article/view/36115
Resumo: This article aims to analyze the set design of the film Cries and whispers (1972) by Swedish filmmaker Ingmar Bergman, focusing on the use of the various nuances of the color red and the constitution of pictorial images that can be compared to the paintings The deathbed (1895), Not Paris (1896) e Naked (1896) by the Norwegian artist Edvard Munch. To this end, we performed the decoupage of the sequences in which Agnes’ death occurs, and the flashback of Karin, to ascertain the functionality of stylistic elements. The construction of the mise-en-scène triggered a narrative of the funeral atmosphere, and also opened the possibility of dialogue within the existentialist philosophy of Søren Aabye Kierkegaard.
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spelling The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and WhispersLa Escenografía Bergmaniana: Los Diversos Matices del Color Rojo y la Construcción de Imágenes Pictóricas en Gritos y SusurrosA Cenografia Bergmaniana: As Diversas Nuanças da Cor Vermelha e a Construção das Imagens Pictóricas em Gritos e Sussurros (1972)ArtesCinemaIngmar BergmanCenografiaEdvard MunchArtCinemaIngmar BergmanScenographyEdvard MunchArteCineIngmar BergmanEscenografíaEdvard Munch This article aims to analyze the set design of the film Cries and whispers (1972) by Swedish filmmaker Ingmar Bergman, focusing on the use of the various nuances of the color red and the constitution of pictorial images that can be compared to the paintings The deathbed (1895), Not Paris (1896) e Naked (1896) by the Norwegian artist Edvard Munch. To this end, we performed the decoupage of the sequences in which Agnes’ death occurs, and the flashback of Karin, to ascertain the functionality of stylistic elements. The construction of the mise-en-scène triggered a narrative of the funeral atmosphere, and also opened the possibility of dialogue within the existentialist philosophy of Søren Aabye Kierkegaard. Este artículo tiene como objetivo analizar la escenografía de la película Gritos y susurros (1972) del cineasta sueco Ingmar Bergman, centrándose en el uso de diferentes tonalidades del color rojo y la constitución de imágenes pictóricas comparables a las pinturas O leito de morte (1895), Nu de Paris (1896) y Nu (1896) del artista noruego Edvard Munch. Para eso, se realizó el decoupage de las secuencias en las que ocurre la muerte de Agnes y el flashback de Karin, con el fin de verificar la funcionalidad de los elementos estilísticos. La construcción de la mise-en-scène desató una narrativa con atmósfera fúnebre y también abrió la posibilidad de un diálogo con la filosofía existencialista de Søren Aabye Kierkegaard. Este artigo tem como objetivo analisar a cenografia do filme Gritos e Sussurros (1972) do cineasta sueco Ingmar Bergman, focalizando o uso das diversas nuanças da cor vermelha e a constituição de imagens pictóricas que podem ser comparadas às pinturas O Leito de morte (1895), Nu de Paris (1896) e Nu (1896) do artista norueguês Edvard Munch. Para tanto, foi realizada a decupagem das sequências em que ocorre a morte de Agnes e o flashback de Karin, com o intuito de averiguar a funcionalidade dos elementos estilísticos. A construção da mise-en-scène desencadeou uma narrativa de atmosfera fúnebre e abriu a possibilidade de diálogo com a filosofia existencialista de Søren Aabye Kierkegaard. Universidade Federal de Minas Gerais2022-08-22info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufmg.br/index.php/revistapos/article/view/3611510.35699/2237-5864.2022.36115PÓS: Journal of the Arts Postgraduation Program at EBA/UFMG; Vol. 12 No. 25 (2022): Maio-Ago; 120-146PÓS: Periódico del Programa de Posgrado en Artes de EBA/UFMG; Vol. 12 Núm. 25 (2022): Maio-Ago; 120-146PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG; v. 12 n. 25 (2022): Maio-Ago; 120-1462238-20461982-9507reponame:Pós (Universidade Federal de Minas Gerais. Online)instname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGporhttps://periodicos.ufmg.br/index.php/revistapos/article/view/36115/31178Copyright (c) 2022 Hellen Silvia Marques Gonçalveshttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessGonçalves, Hellen Silvia Marques2022-08-22T22:34:35Zoai:periodicos.ufmg.br:article/36115Revistahttps://periodicos.ufmg.br/index.php/revistaposPUBhttps://periodicos.ufmg.br/index.php/revistapos/oairevistapos.ppga@gmail.com2238-20461982-9507opendoar:2022-08-22T22:34:35Pós (Universidade Federal de Minas Gerais. Online) - Universidade Federal de Minas Gerais (UFMG)false
dc.title.none.fl_str_mv The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers
La Escenografía Bergmaniana: Los Diversos Matices del Color Rojo y la Construcción de Imágenes Pictóricas en Gritos y Susurros
A Cenografia Bergmaniana: As Diversas Nuanças da Cor Vermelha e a Construção das Imagens Pictóricas em Gritos e Sussurros (1972)
title The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers
spellingShingle The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers
Gonçalves, Hellen Silvia Marques
Artes
Cinema
Ingmar Bergman
Cenografia
Edvard Munch
Art
Cinema
Ingmar Bergman
Scenography
Edvard Munch
Arte
Cine
Ingmar Bergman
Escenografía
Edvard Munch
title_short The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers
title_full The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers
title_fullStr The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers
title_full_unstemmed The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers
title_sort The Bergmanian Scenography: The Various Nuances of the Red Color and the Construction of Pictorial Images in Screams and Whispers
author Gonçalves, Hellen Silvia Marques
author_facet Gonçalves, Hellen Silvia Marques
author_role author
dc.contributor.author.fl_str_mv Gonçalves, Hellen Silvia Marques
dc.subject.por.fl_str_mv Artes
Cinema
Ingmar Bergman
Cenografia
Edvard Munch
Art
Cinema
Ingmar Bergman
Scenography
Edvard Munch
Arte
Cine
Ingmar Bergman
Escenografía
Edvard Munch
topic Artes
Cinema
Ingmar Bergman
Cenografia
Edvard Munch
Art
Cinema
Ingmar Bergman
Scenography
Edvard Munch
Arte
Cine
Ingmar Bergman
Escenografía
Edvard Munch
description This article aims to analyze the set design of the film Cries and whispers (1972) by Swedish filmmaker Ingmar Bergman, focusing on the use of the various nuances of the color red and the constitution of pictorial images that can be compared to the paintings The deathbed (1895), Not Paris (1896) e Naked (1896) by the Norwegian artist Edvard Munch. To this end, we performed the decoupage of the sequences in which Agnes’ death occurs, and the flashback of Karin, to ascertain the functionality of stylistic elements. The construction of the mise-en-scène triggered a narrative of the funeral atmosphere, and also opened the possibility of dialogue within the existentialist philosophy of Søren Aabye Kierkegaard.
publishDate 2022
dc.date.none.fl_str_mv 2022-08-22
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://periodicos.ufmg.br/index.php/revistapos/article/view/36115
10.35699/2237-5864.2022.36115
url https://periodicos.ufmg.br/index.php/revistapos/article/view/36115
identifier_str_mv 10.35699/2237-5864.2022.36115
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.ufmg.br/index.php/revistapos/article/view/36115/31178
dc.rights.driver.fl_str_mv Copyright (c) 2022 Hellen Silvia Marques Gonçalves
https://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Hellen Silvia Marques Gonçalves
https://creativecommons.org/licenses/by-nc/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal de Minas Gerais
publisher.none.fl_str_mv Universidade Federal de Minas Gerais
dc.source.none.fl_str_mv PÓS: Journal of the Arts Postgraduation Program at EBA/UFMG; Vol. 12 No. 25 (2022): Maio-Ago; 120-146
PÓS: Periódico del Programa de Posgrado en Artes de EBA/UFMG; Vol. 12 Núm. 25 (2022): Maio-Ago; 120-146
PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG; v. 12 n. 25 (2022): Maio-Ago; 120-146
2238-2046
1982-9507
reponame:Pós (Universidade Federal de Minas Gerais. Online)
instname:Universidade Federal de Minas Gerais (UFMG)
instacron:UFMG
instname_str Universidade Federal de Minas Gerais (UFMG)
instacron_str UFMG
institution UFMG
reponame_str Pós (Universidade Federal de Minas Gerais. Online)
collection Pós (Universidade Federal de Minas Gerais. Online)
repository.name.fl_str_mv Pós (Universidade Federal de Minas Gerais. Online) - Universidade Federal de Minas Gerais (UFMG)
repository.mail.fl_str_mv revistapos.ppga@gmail.com
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