Autobiographies Face to Face : Liv Ullmann and Ingmar Bergman at the Threshold between Reality and Cinematic Fiction

P. 185-198

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  • Bergman's Landscapes : From Shooting Locations to Metaphors
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  • The Role of Music in Ingmar Bergman's Films
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  • Notes on Young Bergman's Narrative Form : Kri.
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  • We Are Like a Circus : the Magic Ring in Theatre and Cinema
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  • Words Lie, Writing Penetrates
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  • Unmasking the Face : Notes on the Look at the Camera in Ingmar Bergman
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  • Sommarnattens leende : Motives, Themes, Figures
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  • Sommarnattens leende or Unresigned Humour in Bergman's Cinema
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  • Tystnaden
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  • Like a Ghost Sonata : the Temporal Dimension of the Fantastic in Vargtimmen
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  • A Strong Wind Indeed : Notes on Ingmar Bergman's Vargtimmen
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  • References to Dionysianism in Bergman's Riten
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  • The Work on Actors in the Polyptych of Fårö
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  • Autobiographies Face to Face : Liv Ullmann and Ingmar Bergman at the Threshold between Reality and Cinematic Fiction
  • The Turk Unbound : the Captivity/Release Motif in Danish Theatrical Turqueries
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  • A Doll's House on the Modern Chinese Stage
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  • A Disenchanted View of Freedom : Elfriede Jelinek's Continuation of Two Ibsen' Plays
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• Informations

  Code DOI : 10.1400/180034

  ISSN: 2036-5632

  Permalink: http://digital.casalini.it/10.1400/180034