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ISSN 1409-6900 | UDK 82+7     Blesok no. 80-81 | volume XIV | September-December, 2011



                     Peer-reviewed journal
Blesok no. 80-81September-December, 2011

Transcendental convection of the Face in the movie Persona by Bergman

p. 1
Nataša Sardžoska

Transcendental convection of the Face in the movie Persona by Bergman

Hermeneutics of the violent irruption of the Face in close-up

    If the dialectics of the Becoming that traces tranversely its epistemoligical
    Heideggerian process and that turns into cognition (a purely ontological process ) of the becoming as an infinite and cyclic transmission of contents between two persons – two bodies, two faces – should assume a visual performance, then, it would be surely Bergman the “contributor” to this discourse. Firstly because he used the cinematographic language as a tool of philosophical discharge and immanent reading of the multiple image (in his visual texts we have an image in layers, made of interstices) of this process of becoming. In Persona the entire game is being played throughout the face, the body: we face a person that is self-punishing to a muteness, that will then turn into marginal phenomenology when compared to the subliminal messages emerging from the sensual structure of the face. In Persona the denotation code of the muteness come from the microstructure of the image, so to say frontal of Elisabeth Vogler, “that while acting (…) closed herself in a very strange muteness (…). She wants to be not seem to be. This is the reason why she closed herself in this absolute muteness, and so so she feels no need to act, to perform herself different then what she basically is”.[1] Thus after this act, Elisabeth is recovered in hosital and at the very beginning of the story we come to know the diagnosis of the doctor: “You follow a desperate dream and this is your agony. You want to be and you do not want to seem to be. Being in any moment self-conscious and vigilant. While in the same time you realise the abyss that separates what you are for the others and what you are for yourself and so this creates a sense of vertigo, a fear of being discovered, of finding yourself nude, without mask, brought at your final limits. (…) It is better to find shelter in the immobility, in the muteness, and so you avoid to lie, or shelter from life, so you don’t have to act, to show false face or make things you don’t want to”. Bergman does not give us the task to understand this muteness because he invites us to a higher level, or maybe different, ellipttical, to an irruptive


1. TRASATTI, Sergio, Ingmar Bergman, La nuova Italia, Firenze 1992. p. 84 che mentre recitava (…) si è chiusa in uno strano mutismo (…) Ella vuole essere, non sembrare di essere. Per questo si è chiusa in un mutismo assoluto, così non ha bisogno di recitare, di mostrarsi diversa da quello che è.

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