umu.sePublications
Change search
Refine search result
1 - 7 of 7
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    I teatralitetens brännvidd: Om Ingmar Bergmans filmkonst2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to discuss and exemplify the use of theatre and theatricality in the film aesthetics of Ingmar Bergman (1918-2007). The main primary material of the study consists of a selection of Bergman’s films: the nine commercials made for Bris soap (1951-1953) and the feature films Sawdust and Tinsel (1953), Smiles of a Summer Night (1955), The Seventh Seal (1957), The Magician (1958), Through a Glass Darkly (1961), Winter Light (1963), The Silence (1963), Persona (1966), The Ritual (1969), Scenes from a Marriage (1973), Fanny and Alexander (1983) and Saraband (2003). The dissertation also includes several other examples from Bergman’s rich intermedial oeuvre, and features theatre, film, radio and television productions. The interart approach is also applied on material from the Ingmar Bergman archives and to the author’s unique interviews that were carried out with Bergman in the fall of 2004 (some of his last interviews).

    After an introduction in the first chapter, the second chapter discusses the history, aesthetics and terminology of theatricality. The term has accumulated an extraordinary variety of meanings, making it denote everything from an act to excess in the broadest possible sense, from a style to a semiotic system and from a medium to a message. In this dissertation theatricality is seen as a reference to a performance that is directed outwards; an act of showing, which reveals the relationship between the medium and the observer. A prerequisite for this is that the object is manifested with a parallel consciousness of the observer’s gaze, which is used as a part of the staging, thereby involving the observer in the work while making her realize that the author is aware of her gaze. This self-consciousness is illustrated in the three following analytical chapters.

    The third chapter looks at the depiction and use of space, framing and long shot-composition, reveries, character entrances, movement and tracking shots in Bergman’s films.

    The main foci of the fourth chapter are masks and Bergman’s famous close-ups, where the emphasis lies on the importance of the actor. In scenes where Bergman lets the actor face and speak directly into the camera, theatricality is characterized by oscillation; that is, it forms an act of showing that breaks the cinematic illusion, while simultaneously involving the observer in the film. The chapter also examines the use of photographs in Bergman’s films.

    The fifth chapter focuses on some of the meta-aspects created by Bergman’s theatrical film aesthetics, for instance when the characters in the films visit theatres. The chapter also analyzes the play-within-the play structure of Bergman’s works and the "indirect" address from Bergman in his films, which is accomplished through the intervention of his voice and cameo appearances.

    The sixth and last chapter of this dissertation consists of a brief summary and conclusions on the subject of cinematic style that show how ideas concerning theatricality have been a part of Ingmar Bergman’s film art.

  • 2.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Martyrologion: Dagböcker 1970-19862012Collection (editor) (Other (popular science, discussion, etc.))
    Abstract [en]

    The collected diaries of Andrei Tarkovsky (1932-1986), for the first time published in Swedish. They cover the director's life, work and the increasing difficulties he encountered in the Soviet Union and the time of his exile in Western Europe. Internationally Tarkovsky's diaries were widely reviewed and considered to be a valuable addition to the Tarkovsky canon. They are professional and personal: thoughts on film sit alongside household chores, notes about friends and family. The diaries have been translated from its Russian original by Håkan Lövgren. This Swedish edition of the diaries is the most complete edition to date.

  • 3.
    Burman, Christo
    Umeå University, Faculty of Arts, Comparative Literature and Scandinavian Languages. Drama-Teater-Film.
    Osynligheten tar vid där ruinerna slutar2005In: À Derrida x 13, Institutionen för konstvetenskap, Umeå universitet: Umeå , 2005, p. S. 59-63Chapter in book (Other academic)
  • 4.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    På spaning efter den populärkulturelle Bergman: Om att vända på bilden av en filmskapare2010In: Kulturella perspektiv - Svensk etnologisk tidskrift, ISSN 1102-7908, Vol. 19, no 4, p. 2-14Article in journal (Refereed)
    Abstract [en]

    Ingmar Bergman’s name is virtually synonymous with intellectual European films and high culture but lately scholars have been trying to show that Bergman worked in a variety of fields, including popular culture, and that his work often was commercial, popular and more easily accessible than his auteur image would suggest. This article explores some of the soap commercials that Bergman made in the early 1950s, which still remain a little known part of his oeuvre. The focus also lies on the publication of Bergman’s scripts as serial “filmnovels” in the weekly women’s magazine Allers Familjejournal (1959–1967) and on the transformation of the image of Bergman by his popular later works Scenes from a Marriage (1973) and Fanny and Alexander (1982) and through famous images that reappear throughout the spectrum of popular culture, most notably the image of Death from The Seventh Seal (1957).

  • 5.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Teaterhistoria III: Ny Svensk Teaterhistoria. Band 3: 1900-talets teater2009In: Tidskrift för litteraturvetenskap, ISSN 1104-0556, E-ISSN 2001-094X, no 2, p. 92-93Article, book review (Other academic)
  • 6. Lotman, Jurij Michajlovič
    Spolander, Roland (Editor)
    Umeå University, Faculty of Arts, History and Theory of Art.
    Burman, Christo (Translator)
    S:t Petersburgs symbolik och stadssemiotikens problem2005Book (Other academic)
  • 7. Tarkovskij, Andrej
    et al.
    Burman, Christo
    Umeå University, Faculty of Arts, Department of culture and media studies.
    Apokalypsen som vision2010 (ed. 1)Book (Other (popular science, discussion, etc.))
    Abstract [en]

    The aim of this book is to discuss and exemplify the phenomenon of the Apocalypse in the works and thoughts of Andrei Tarkovsky (1932-1986).

    After an introduction in the first chapter, the first of the analytical chapters presents the life and works of Andrei Tarkovsky and looks at the apocalyptic motif in his oeuvre, as well as his thoughts and film aesthetics. The chapter also examines the term Apocalypse, which has accumulated a variety of meanings through the centuries, and the history of apocalyptic and post-apocalyptic fiction, mainly literature and film.

    The second analytical chapter focuses on Tarkovsky's film "Andrei Rublev" (1966), its historical context and narrative, and presents a substantially new reading of key scenes - especially the epilogue which shows details of several icons by S:t Andrei Rublev. The chapter also includes an introduction to icons and a short biography of S:t Andrei Rublev, in order to be able to relate the film to traditions in Russian art, aesthetics and intellectual history.

    Apart from the analytical chapters by Christo Burman mentioned above, the book contains Tarkovsky's essay on the Apocalypse from the 1984 lecture in St James's Church, London, an interview with the director on the subject of religion and belief (previously published in "Nytt Liv" 1985), a detailed filmography and the largest Swedish bibliography to date of material on Andrei Tarkovsky.

1 - 7 of 7
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf