An in-depth exploration of Bergman’s complete works
The Ingmar Bergman Archives has been nominated as Best Non-Fiction Book 2008 for the August Prize, the Swedish equivalent to the Pulitzer. The dedication reads: 'Paul Duncan and Bengt Wanselius have compiled the ultimate document on Ingmar Bergman's life. Thanks to many people's involvement... it is a reading experience and a picture adventure.' 159 books from 58 publishers were submitted for this category. The winner will be announced at a gala dinner on 24 November 2008 in Stockholm.
The complete works of Ingmar Bergman: an homage to one of the most esteemed film and theater artists of all time, began in cooperation with Bergman himself and made with full access to his archives
Since 1957, when he released The Seventh Seal and Wild Strawberries, Ingmar Bergman has been one of the leading figures in international cinema. In a career that spanned 60 years, he wrote, produced, and directed 50 films that defined how we see ourselves and how we interact with the people we love, in films like Persona, Scenes from a Marriage, and Fanny and Alexander.
Before his death in 2007, Bergman gave TASCHEN and the Swedish publishing house Max Ström complete access to his archives at The Bergman Foundation, and permission to reprint his writings and interviews, many of which have never been seen outside of Sweden. Picture researcher Bengt Wanselius, who was Bergman’s photographer for 20 years, scoured photo archives all over Sweden, discovered previously unseen images from Bergman’s films, and selected unpublished images from the personal archives of many photographers. Text editor Paul Duncan gathered a team of Bergman experts as contributing editors—Peter Cowie and Bengt Forslund (for film/TV), and Ulla Åberg & Birgitta Steene (for theater)—who have researched and written a narrative that, for the first time, will combine all of Bergman’s working life in film and theater. Such is the depth of Bergman’s writings that most of the story is told in his own words. This book also features a new introduction by Bergman’s close friend, actor and collaborator Erland Josephson, as well as a DVD full of rare and previously unseen material, and an original film strip from Fanny and Alexander.
The publishers have been given complete access to the files and archives of the Swedish Film Institute, Svensk Filmindustri, Sveriges Television, and the Royal Dramatic Theater, as well as many other institutions, publishers, and newspapers, making this not only the most complete book ever published on Ingmar Bergman, but also about an individual director.
Special bonuses
an original film strip from a copy of Fanny and Alexander (1982) that has been played on Bergman’s own film projector.
a DVD containing over 110 minutes of new and rare documentary footage: Bergman’s On Set Home Movies (18 mins, with commentary by Marie Nyreröd); Behind the scenes of Autumn Sonata (20 mins); An Image Maker (32 mins), behind the scenes of The Image Makers by Bengt Wanselius; and A Video Diary of Saraband (44 mins), assistant director Torbjörn Ehrnvall’s video diary from Bergman’s last film, in which Bergman talks about his life and work.
Other contributing authors:
Ulla Åberg, Peter Cowie, Bengt Forslund, Birgitta Steene
About the editors:
Paul Duncan has edited more than 40 film books for TASCHEN, and wrote Alfred Hitchcock and Stanley Kubrick in the Film Series.
Bengt Wanselius was a freelance photojournalist for every major magazine and publishing house in Scandinavia from 1967 to 1985. He spent 15 years as the house photographer at the Royal Dramatic Theater in Stockholm, recording the work of internationally well-known theater directors such as Arthur Miller, Andrzej Wajda, Robert Lepage, and Ingmar Bergman. His long collaboration on 20 productions with Bergman ranged from theater and opera to television, creating a unique photographic documentary of Bergman’s works.
About the contributing author:
Erland Josephson is a writer, playwright, actor, and director. He worked with Ingmar Bergman for seventy years. He has also collaborated with a number of other internationally renowned film directors, including Andrei Tarkovsky, Theo Angelopoulos, Liliana Cavani, and István Szabó.
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这部作品简直是一场视觉与思想的盛宴,我感觉自己被拉进了一个由光影、阴影和深刻的哲学探讨编织而成的迷宫。初翻开它,首先吸引我的是那些博物馆级别的印刷质量,每一张剧照、每一份手稿的复制品都仿佛带着拍摄现场的温度和气息。我尤其着迷于那些关于《野草莓》的早期概念草图,它们揭示了伯格曼在构建永恒的梦境序列时那种近乎偏执的精确性。作者对伯格曼创作心路历程的梳理,远非简单的传记叙述,而是深入剖析了特定历史时期(比如战后的焦虑、战后的存在主义思潮)是如何渗透并塑造了导演对人性、信仰和死亡的永恒追问。我花了整整一个下午来研究那些关于“沉默的上帝”主题的笔记片段,那些手写的德语和瑞典语句子,虽然晦涩,却充满了原始的创作冲动。这本书的排版设计也极具巧思,它没有采用平铺直叙的编年史方式,而是通过主题的交叉对比,让你得以从不同角度审视同一部电影的多个生命周期——从最初的剧本到最终的银幕呈现,再到后世评论家的解读。这感觉就像是拿到了一张通往天才大脑内部运作的地图,充满了未解的谜团和令人振奋的洞察。
评分这本书的重量和厚度本身就象征着伯格曼创作生涯的重量感,它毫不留情地展示了艺术是如何在痛苦和冲突中诞生的。我尤其关注其中关于《第七封印》在国际上引发的巨大争议和不同文化背景下的接受差异的章节。作者并未试图为伯格曼的某些争议性观点进行美化,而是提供了大量原始的文本和评论,让读者自己去权衡和判断。这种尊重读者的处理方式,比起那些一味赞颂的“粉丝手册”要高明得多。书中收录了大量伯格曼与当时其他欧洲知识分子(如萨特或加缪)之间的通信往来摘录,这使得他的作品被置于一个更广阔的欧洲思想史的背景下进行考察。我特别留意了那些关于“上帝缺席”主题的演变——从早期的宗教困惑,到后来发展成对人际关系中“爱与沟通的失败”的深刻恐惧。这是一部需要用咖啡和静谧的夜晚来慢慢消化的作品,每一次翻页都像是揭开了一层新的历史和心理学帷幕。
评分让我惊喜的是,这本书不仅关注那些高居神坛的经典之作,还花费了不少篇幅来探讨伯格曼那些相对不那么为人所知,但同样极富实验性的舞台剧和电视作品的档案记录。这拓展了我对他的艺术版图的认知。特别是那些关于他如何指导演员,如何与舞台设计师合作的内部备忘录,揭示了一种高度集权但又充满创造力的工作环境。书中收录的那些关于他个人生活与艺术创作之间紧张关系的侧面描写,往往是通过旁观者(如制片人、服装师)的视角呈现,显得尤为真实和尖锐。例如,有一段描述了他在一次排练中,因为对一个微不足道的道具摆放不满意而引发的近乎歇斯底里的争吵,这瞬间让人感受到艺术的完美主义是何等难以驾驭。这本书的价值在于,它把一个被神化的艺术巨匠还原成了一个有血有肉、充满挣扎的创作者,让你在敬佩之余,更能理解其作品中那种渗透出的生命力的来源——即不断与自身局限抗争的勇气。
评分从装帧设计上来说,这本书的质感让人爱不释手,硬壳封面和适中的纸张厚度,保证了长期翻阅和研究的耐久性。但真正使其脱颖而出的是它对“过程”的忠实记录。它并非仅仅展示了最终的、光芒四射的“成品”,而是呈现了那些被丢弃的、犹豫不决的、甚至是失败的尝试。我花费了大量时间对比了不同版本剧本中关于角色的最终命运的修改轨迹,这比直接阅读评论要有效得多,因为它让你直接看到了伯格曼在面对创作困境时的自我修正和妥协(或不妥协)。书中对伯格曼晚年对数字媒体和新媒介的看法也有涉及,这种跨越时代的讨论,让这本书的讨论对象不再仅仅停留在二十世纪的电影史中。它以一种近乎考古学家的严谨,挖掘了这位大师思想的矿藏,其深度和细节的丰富程度,是任何标准电影史著作所无法比拟的。这是一本值得放在书架上,并且需要经常回到其间查阅的“工具书”级别的艺术档案集。
评分我必须承认,这本书的阅读体验是极其沉浸且需要耐心的,它更像是一份学术研究资料的精美合集,而非轻松的睡前读物。它的广度令人敬畏,从伯格曼早期在地方剧院的戏剧实验,一直追溯到他晚年在法罗岛上与自然和自我进行的艰苦对话。最让我震撼的是那些关于《假面》拍摄期间的访谈记录的节选,那些对话充满了尖锐、近乎残忍的自我剖析,让你不禁思考,一个艺术家要付出多少精神上的代价才能抵达那样纯粹的表达境界。书中对电影制作幕后技术的探讨也极为详尽,例如对摄影师斯文·尼奎斯特合作细节的分析,特别是他们如何利用极简的光源来营造那种标志性的、充满精神张力的室内场景。这些技术细节的披露,对于任何想深入了解电影语言而非仅仅停留在情节分析的爱好者来说,简直是无价之宝。它迫使你重新审视那些看似简单的场景,理解其背后蕴含的复杂视觉语法。读完某一章节后,我立刻重温了相关的电影片段,那种“原来如此”的顿悟感是无与伦比的,仿佛通过这本书的钥匙,我终于解锁了影片深层的密码。
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