فصل الأدب ، المتكررات والرموز والاستعارات والتلميحات ٣-a .. كتاب فهم السينما

Body suggestive because my body is spinning at an uncontrollable speed on the screen. It then cuts to an inverted cartoon of a woman washing her face in a port with a rocky coast (15b). The holes are clearly visible in this cartoon. All these images that (Persona) will deal in part with the problems of the film industry, perhaps Alma and Elizabeth are in themselves “people” or the masks of Berkman’s artistic and psychological experiences. The mechanical failure of the projector certainly provides a metaphor foretelling the breakdown of the two women's emotional apparatus. The shot of the woman washing her face with the large shot of real hands washing (15) c) Perhaps this juxtaposition traces a commentary on the pathetic futility of art in its ability to embody real experiences in all their complexities. That is, art, no matter how complex, should always remain the ridiculously insufficient caricature of the real thing for the artist trying to project outward his feelings and thoughts.

Then the director cuts to a fast-moving scene that looks like an old funny silent movie showing a man being chased by the devil and a skeleton (15d). Suggests a religious allusion First, there is a shot of a black spider that seems to be an allusion to an earlier film by Berkman entitled Through the Glass (in Darkness). In that film, an artist - in this case a novelist - marvels at his daughter's descent into madness and uses her experiences as material for his art. At the end of the film, the woman imagines that she is seeing God - A terrifying spider that is black).

The second shot is an overexposed picture of a dead lamb with its guts open. A hand enters his stomach and the intestines come out. The camera turns a little, so we see the glass eye of the lamb looking rigidly (15) e). The third shot shows us a nail inserted into a hand, which is a clear allusion to the crucifixion of Christ (15) and . It is difficult to know whether we have a torment similar to the torment of Christ, but it is for the artist while he creates, Berkman suggests Or it is the torment of the victims and its subject matter is from real life. Perhaps you meant the two ideas together, since in the main story both Elizabeth (the artist's person) and Elma (the art's raw material) are in terrible pain.

Then Berkman presents us with a shot of the bare physical wall as the first example of a hesitant, incapable of movement. The wall overlaps with a shot of some trees stripped of their leaves in a cold winter landscape, then we see an image of a wrought-iron fence with a hill of snow in front of it. This, in turn, leads us to a series of close-ups of an old woman lying silently in what appears to be a hospital, perhaps a mortuary, as one of the shots closes her hand as she hangs lifeless beside her bed (15) g) In the vocal tract we hear the sounds of vague, eerie droplets, perhaps a metaphor for the passage of time Or drops of blood which is the basic substance of life.
From the shots in Baby, Berkman then proceeds with one of the more enigmatic sequences. The earlier scenes of the titles see an adult boy lying naked under a white sheet. And when he cannot sleep, he sits in his bed, wears his glasses, and tries to read, but he does not feel stable (15) h). Then he looks at the camera - at us - and his hand slowly approaches the lens (15) (i) The movement suggests an attempt to reach as well as a kind of evocative effect. Then Berkman gives us an inverted shot, and we see that the boy is trying to reach a blurred image of a woman's face - Anderson's face represented by Alma (15) This shot has been interpreted in different ways, but Berkman intentionally maintains a vague symbolism. The boy may represent the son of Elizabeth, whom she has rejected guilty. It may also be the embodiment of Alma's aborted child. His hand trying to reach her face may represent Ma's self-projection of her guilt, but the boy is also an emitter of images, and in this way Berkman himself could represent a child before his creatures that seem to overcome him.

From here, Berkman begins the titles and intersperses between them different shots. In fact, it is an extension of the previous scene of the titles. Within these shots, there is a picture of the actress Liv Ullman as Elizabeth, who represents Electra. k) There is also a very large shot of the lips depicted vertically so they look like vulvas. 15) l) Perhaps the idea was to suggest childbirth. Bernard Shaw and Freud also believed that the artist is neurotic, trying in his subconscious and through the process of artistic creation to imitate a natural woman. The fact that this shot appeared at the beginning of the birth of the film itself confirms this interpretation for us. Berkman then cuts into three takes as he concludes his titles. The big shot of the boy is repeated several times, then we are presented with a shot of Elma (15m) and another of Elizabeth (15m) both facing the camera like the boy. The two women are portrayed in a way that emphasizes the striking physical resemblance. The fact that these shots are strikingly parallel suggests that they all represent aspects of the same consciousness. She gives birth as she is All of these shots only take a few minutes of screen time. The original story begins with the psychiatrist retelling Elizabeth's breakdown to his mother. Also, the fact that the actress smiled while playing the role of Electra is that it has a significance that the theme of Elizabeth hated being a mother, that with Electra it is the killing of the mother, the revenge of a child for the betrayal of a mother, (15 S). We later learn that this affected her artwork. The complex form of guilt created by this hatred in Elizabeth's soul seems to be the cause of her smile, and later her silent withdrawal. Like funny comics relative to real life. Berkman does not give us a clear explanation for Elizabeth's withdrawal, but he lets us watch Alma's fallout step by step, and thus we discover the reasons behind the actress's condition, as they are almost the same: betrayals, deceit, bargains, and daily self-deception are all that destroy the two women together.