• Bergman’s Dreams

    By Michael Koresky and Casey Moore

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    It is difficult to think about the cinema of Ingmar Bergman without thinking about the way he explored his own dreams and nightmares on-screen. But until we set out to construct a visual essay focused on the great filmmaker’s dream world, we didn’t realize just how frequently, and how profoundly, he delved into the unconscious. In scouring through his amazing, often disturbing work, we saw the extent of this preoccupation, and also discovered, often by accident, visual correlations and atmospheric crosscurrents between films that give all of his work the sense of having emanated from one long night’s slumber. (We particularly love the nightmarish dimension a meditative moment from Autumn Sonata takes on when paired with a soundscape from Hour of the Wolf.) The greatest gratification of burrowing into Bergman was letting his films, via these new connections, come alive to haunt us again.

6 comments

  • By Michael Brakemeyer
    October 03, 2013
    04:55 PM

    Excellent, but too short! Nice job of juxtaposing his images/sounds through the years.
    Reply
  • By David Hollingsworth
    October 03, 2013
    06:43 PM

    Absolutely astonishing! But too much greatness to be just for a short essay.
    Reply
  • By Gord
    October 04, 2013
    11:04 AM

    I liked this and it made me want to go off and watch a Bergman film which I image was the authors' tertiary desire, but where is this from? I have most of Criterion's Bergman and of the newer editions I don't have I can't find this as an extra. Is it on online exclusive? Anyway - thanks for this. I miss knowing Bergman's sipping tea on Faro.
    Reply
  • By stephen
    October 07, 2013
    06:05 PM

    the music over the credits...what is it?
    Reply
  • By STEVEN
    October 07, 2013
    10:22 PM

    Thank you for this excellent essay on Ingmar Bergman's use of and application of dreams into his works. I've always marveled at and admired Bergman's psychological complexity. This extends to his dreams, both cerebral and cinematic. In a talk with AFI students (available on You Tube), Bergman says cinematography is close to dreams, and a director is a dreamer. When we dream, we are usually deeply asleep. In his pictures Bergman plumbs the depths of human hallucinations, taking our noctural selves to the movie screen.
    Reply
  • By Edwin Swan
    October 08, 2013
    01:13 PM

    Excellent! Thanks! Maybe Tarkovsky next?
    Reply