O corpo enfermo e a morte como dádivas: uma análise da antropologia do dom no filme Gritos e sussurros de Ingmar Bergman
Ingmar Bergman, swedish film director, son of a strict Lutheran pastor, during the second half of the twentieth century gave the world the seventh art treasures. His filmography evokes memories of childhood and reveals the existential anxieties of adults, among which are the existence of God or no,...
| Autor Principal: | Barreira Júnior, Edilson Baltazar |
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| Formato: | info:eu-repo/semantics/article |
| Idioma: | other |
| Publicado: |
Universidad de San Buenaventura - Cali
2017
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| Materias: | |
| Acceso en línea: |
1794-192X |
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| Sumario: |
Ingmar Bergman, swedish film director, son of a strict Lutheran pastor, during the second half of the twentieth century gave the world the seventh art treasures. His filmography evokes memories of childhood and reveals the existential anxieties of adults, among which are the existence of God or no, death and re-creating aesthetic. The emphasis on female characters bergmaniano marks the film. Women are central and men peripheral or mere adjuncts. Cries and Whispers (Viskingar och rop, 1972), one of his masterpieces, has this pattern of female. Four women are secluded in a house, while one of them suffers from a terminal illness by building your own speech about the disease. Three sisters and a maid. The house is full of childhood memories. Thus, this essay I seek to find a link between loving relationships or refusing them, the characters in Cries and Whispers and the notion of gift as it appears in the The gift of Marcel Mauss and reworkings criticisms made by Maurice Godelier in Enigma of the gift and Alain Caillé in Anthropology of gift. |
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