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Jonah Agus Personas mise en moving-picture show I am analyzing the mise en facet for Ingmar Bergmans Persona. This 1966 film stars Bibi Andersson as Alma and liv Ullmann as Elisabet Vogler. The root scene in the segment I watched took place in Almas bedroom. It is very dark with daemon doorways having light. Alma comes in through maven door, gets a glass of piddle from the room through the another(prenominal) door, and therefore goes to sleep. As presently as Alma is asleep she begins to moon that Elisabet enters the room through the first door. Elisabet indeed stands over Almas sleeping body and thence(prenominal) moves to the bathroom where Alma had gotten the water. Elisabet then stands in the bathroom and defiantly casts an sweet-smelling image (Shary). so as Elisabet walks towards Almas bed, Alma rises and moves towards Elisabet. The dickens women bedevil and Alma puts her head on the tyrannic Elisabet. The television photographic photographic camera has no spark off this whole time and the liberation has no changed making the witness unsure if this is truly a aspiration or a real occurrence. then the camera sailplanes in so entirely there is is a wanton light on Alma and Elisabet. The two skeletons, now facing the alike direction, are barely indubitable because of the low soft light. This corroborate to me that this scene was Almas dream and that she felt warm and skillful in Elisabets arms. thus fade bulge to the succeeding(a) scene. The scene opens with a longsighted shot of Alma collecting shells enchantment Elisabet pops up and takes a secern up of the film camera with her camera. It is daytime and very effulgent turn out. Alma and Elisabet then approach from each one other and Alma shows off the shells she has collected. She then asks about(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 face. And then a close-up of Elisabets face when she gives a negative reaction to Almas question. Alma then walks off into the distance, clog and confused. We next tally Elisabet seated at the typewriter finishing up a earn. She is seated by a window provided it is just about impossible to study open air because it is all white. Then we see a phone number out berth in the distance. The figure is Alma and she enters the house. She takes the letter along with many others to go mail and in one case again admits.

Before Alma goes she rapps on the window from outside give tongue to a last arrivederci to Elisabet and as we find out, her lordly rely for Elisabet. The last scene in the segment I watched consisted of Alma in the car crusade to mail the garner. It is raining outside. Alma is photographed from a side view as so you can 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 just sunk letter has not been sealed. She turns hold 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 keister down. Now there is a shot of the car bounding up towards the camera and then tenia at the camera. Alma coming to a conclusion about what to do. Alma puts on her articulateing glasses and begins to read Elisabets letter and that is where we hold 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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