...Next, Ingmar Bergman, who made his debut as a screenwriter for Sjöberg's The Agony (1944), and astonished the world in the mid-50s with such works as Monica, Clown's Night (both 1953) and Smiles of a Summer Night (1955), has continued to carry the mysticism of Swedish cinema to this day. Since the great success of Arne Mattsson's The Agony of Spring (1951), a Nordic version (Sadoule's review) of the Greek myth of Daphnes and Chloe, imbued with "pure sensual beauty," Swedish cinema has entered a period of profusion of sex (the apex of this was Birgot Sjöman's I Am a Curious Woman (1967)). Bergman has been completely unaffected by this trend, and has portrayed the conflict between sex and God, that is, between carnal desire and faith, as seen in Silence (1963). He continued to make films on this theme, and in the late 1960s, in reaction to "Bergman's mysticism," he consciously adopted the sensibilities of the French New Wave, aiming to make films that "mixed lyricism and sociality," and other new directors such as Bo Widerberg ("Burning in the Dark," 1967, "Joe Hill," 1971) attracted attention, but Bergman's position as a "master of Swedish cinema" remains unshakable due to his prolific creative output and long career. Swedish actresses such as Greta Garbo, Ingrid Bergman, who was called the "second Garbo," Anita Björk, Vibeca Lindfors, and Bibi Andersson were "imported" to Hollywood, but Garbo and Bergman in particular became important central figures in the history of Hollywood actresses. *Some of the terminology that mentions "Widderberg, B." is listed below. Source | Heibonsha World Encyclopedia 2nd Edition | Information |
…続いて,シェーベルイ監督の《もだえ》(1944)のシナリオライターとしてデビューし,50年代半ばに《不良少女モニカ》《道化師の夜》(ともに1953),《夏の夜は三たび微笑む》(1955)などで世界を驚かせたイングマル・ベルイマンが,スウェーデン映画の〈神秘主義〉を一身に背負って今日に至っている。ギリシア神話のダフネスとクロエの物語を〈純潔な官能美〉で満たした北欧版(サドゥールの評)アルネ・マットソン監督《春の悶え》(1951)の大ヒット以来,スウェーデン映画はセックスのはんらん時代を迎えるが(その頂点がビルゴット・シェーマン監督《私は好奇心の強い女》(1967)であった),ベルイマンはそうした流行とはまったくかかわりなく,《沈黙》(1963)に見られるようなセックスと神,すなわち肉欲と信仰の葛藤をテーマに映画をつくり続け,60年代末には〈ベルイマンの神秘主義〉に反発してフランスのヌーベル・バーグの感覚を意識的に採り入れ,〈抒情性と社会性をミックスした〉映画をめざした新鋭監督ボ・ウィデルベルグ(《みじかくも美しく燃え》1967,《ジョー・ヒル》1971)などの登場が注目されたものの,やはり,その豊饒(ほうじよう)な創作活動と息の長いキャリアで〈スウェーデン映画の巨匠〉ベルイマンの位置は不動のままである。 なお,グレタ・ガルボを筆頭に,〈第二のガルボ〉といわれたイングリッド・バーグマン,アニタ・ビョルク,ビベカ・リンドフォース,ビビ・アンデルソンといったスウェーデン女優がハリウッドに〈輸入〉されたが,なかでもガルボとバーグマンはハリウッドの女優史の中核をなす重要な存在になった。… ※「ウィデルベルグ,B.」について言及している用語解説の一部を掲載しています。 出典|株式会社平凡社世界大百科事典 第2版について | 情報 |
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