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Jonah Agus Personas mise en scene I am analyzing the mise en scene for Ingmar Bergmans Persona. This 1966 film stars Bibi Andersson as Alma and fifty-four Ullmann as Elisabet Vogler. The root scene in the portion I watched took place in Almas bedroom. It is genuinely Acheronian with devil doorways having light. Alma comes in finished one door, bushels a starter of water from the room through the other door, and thitherfore goes to sleep. As concisely as Alma is asleep she begins to dream that Elisabet enters the room through the first door. Elisabet indeed stands over Almas sleeping consistence and indeed moves to the bathroom where Alma had gotten the water. Elisabet then stands in the bathroom and defiantly casts an mellisonant image (Shary). so as Elisabet walks towards Almas bed, Alma rises and moves towards Elisabet. The deuce women project and Alma puts her head on the dominating Elisabet. The camera has no travel this whole time and the lighting has no chan ged making the witnesser unsure if this is truly a dream or a real occurrence. then the camera zooms in so all there is is a soft light on Alma and Elisabet. The two skeletons, now facing the same direction, are notwithstanding palpable because of the low soft light. This confirmed to me that this scene was Almas dream and that she felt warm and safe in Elisabets arms. and so fade out to the next scene. The scene opens with a farsighted shot of Alma collecting shells while Elisabet pops up and takes a fork up of the film camera with her camera. It is daytime and very bright out. Alma and Elisabet then approach each other and Alma shows wrap up the shells she has collected. She then asks round(predicate) her perceived encounter the night before not realizing that it was a dream for sure. While Alma asks this the camera going in for a close-up of Almas impertinence. And then a close-up of Elisabets face when she gives a negative reaction to Almas question. Alma then walk s false into the distance, frustrate and c! onfused. We next make Elisabet sitting at the typewriter conclusion up a earn. She is seated by a windowpane provided it is almost impossible to see outdoors because it is all white. Then we see a figure out berth in the distance. The figure is Alma and she enters the house. She takes the earn along with some others to go get out and once again admits.

Before Alma goes she rapps on the window from distant saying a last goodbye to Elisabet and as we make out, her absolute rely for Elisabet. The last scene in the member I watched consisted of Alma in the car driving to mail the letters. It is rain down o utside. Alma is photographed from a side view as so you prat see her write and look out her window and see the trees zoom early(prenominal) as she goes. Alma glances at the letters and sees that Elisabets on the button ruined letter has not been sealed. She turns back to the road. Then Alma picks up the letter and sees whom it is addressed to. It is to the doctor. Alma places the letter back down. Now there is a shot of the car bounding up towards the camera and then taenia at the camera. Alma coming to a conclusion about what to do. Alma puts on her reading glasses and begins to read Elisabets letter and that is where we leave off. Shary, Timothy M. An Analysis of Ingmar Bergmans Persona. Hampshire College 1988 If you want to get a full essay, order it on our website: OrderCustomPaper.com

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