Running head: FILM ANALYSIS FOR PERSONA 1

Film Analysis for Persona

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Film Analysis for Persona

Introduction

Persona was directed in 1966 by Ingmar Bergman. This movie focuses on a nurse who

portrays psychological drama towards her patient whose ability to speak discontinues. Ideally,

Alma, whose real name is Bibi Andersson and Ullmann, who is a reputable stage actress

Elisabeth Vogler are the two major actors in the film. In the drama, Ullmann encounters

psychological breakdown and is forced into a psychiatric facility where she meets Alma (Tuñón,

2020). This happens in the production of Electra, where she played the lead actor. Contextually,

Ullmann portrays the victim of circumstance in Persona. The film has been a significant theme

for debates due to the psychological horror elements. The essay focuses on how stylistic,

ideological, philosophical, political and formal aspects are utilized in displaying existential

negation and psychological individuation.

Studies argue that political themes facilitate sound in the Persona. In the film, Ullmann

avoids a troublesome lifestyle by becoming dumb. The actress mutes and only stares in the air to

evade negative interactions. In the scene, Ullmann spends most of her time in a room where she

receives psychological therapy. In one occasion, she selects a book from a table (Rice, 1975).

More so, she contemplates on reading the book by looking at the cover using a kerosene lamp.

She discovers a picture of a Jewish boy who had surrendered and walked by a camera. This

portrayed the Holocaust, which was a political motive that aimed at killing the Jews. In the

picture, a German soldier held a gun that targeted the mobilized individuals who were mostly

women and children. The sight of this ruthless behaviour imparts a mixture of sadness and anger

in the audience, which is essential in the narration of psychological individuation.

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Cinematography is also depicted in this case since the camera enhances visual

storytelling where the photograph is detailed, which provides a unique face about the little boy.

Ideally, the child looks frail and sad due to the stringent measures that they are subjected to by

the harsh regime of Adolf Hitler. The close-ups and examination of the boy's face are

accompanied by a sound that is tense (Rice, 1975). The chord fades afterwards after instilling an

intense tone in the audience due to existential negation. Bergman's work highlights the

psychological torture that undermined social structures among the Jews due to political

imbalance.

According to Western philosophies, men play a significant role in society, whereas

women are viewed as inferior. However, Bergman created a different notion through the two

actresses. According to history, women have been neglected and only became active in political,

social and economic development in 1966 after the women’s liberation movement. In the film,

lesbianism is pictured in the scenes where Elisabeth regularly visits Ullmann. This invokes

seduction since at some point they were almost kissing, which end in an illusion. In the film,

Elisabeth stated to Vogler that “I am 25 years old and I am engaged. I got my nursing certificate

two years ago." Afterwards, cut, which is an editing choice, is applied in the scenario. When

Alma leaves the room, she goes out to get food for the patient and meets the senior doctor who

questions her about her first impression (Tuñón, 2020). In this scene, a cut is evident since the

film smoothly transitions from one shot to another. Bergman highlights on the philosophy of

women empowerment where females are portrayed to be independent other than the typical norm

of sexual attraction.

The title of the film is metaphoric since it informs the audience on the repercussion of the

relationship between Elisabeth and Vogler. From the movie, Alma occasionally expresses her
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desires to Ullmann. The patient can only comprehend the metaphor that the nurse communicates.

In several scenes, Alma confesses her secrets to the patient, which entails sympathy where

psychological individuation is enhanced. Sister Alma stated, "He was married. We had an affair

for five years. Then he got tired of it, of course. I was terribly in love, and he was the first. I

remember it all like one long torment. Long periods of agony…” In a particular scenario, Sister

Alma turns on the radio, and narration on heartbreaking is heard (Tuñón, 2020). The sound of the

narrator in the radio enforces sympathy which engulfs both parties. At first, Ullmann laughs at

the reporter but ends up laughing, which is ironical since the information that was analyzed is

due to heartbreak which Alma has experienced. Eventually, the sombre mood makes the two

actresses hug since Alma acknowledges her personality, which conforms to Ullmann’s.

Research suggests that sound through music creates a particular atmosphere according to

the desired outcome. In this case, music is utilized in the creation of a sad mood which interferes

with existential negation and psychological individuation. After having a deep conversation

between the two actresses, Sister Alma bids her patient goodnight as the music plays in the

background. The sound impacts emotional disturbance since it is soft and begins the two close

friends immediately pat each other goodnight. However, Ullmann could not respond to the sad

reality and only provides facial expression to the nurse. The scenario reflects on Jungian

psychology where an individual emanates from undifferentiated unconsciousness, which is a

psychological defect. In this cycle, natural personal elements like emotional attachment are

inevitable. According to psychoanalytic theorists, group attachments is created when someone

enquires on the individuation of another person. I this case, self-absorption is fostered by the

lighting in the cinematography of the video.

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Various researches have put forward ideological perspectives on how social structures is

essential in character development. Social elements facilitate relationships in society. Ullmann

regularly smokes a cigarette to soothe her desires. Alma emulates her friend, which reminds her

of how his former love used to smoke. In this set, a flashback is displayed as the two smoke

together. Editing is applied in the scenario where the images are enlarged. More so, the smoke

from the cigarette is viewed thoroughly through image magnification. As Alma narrates to her

newly found companion how she was not real to her husband, but the break up hurt her so much,

editing loupes are used to further display the facial expression in Ullmann who seems to fall in

love with the nurse. With a close up shot on cinematography, the video enables the audience to

view details on the facial expression of the actresses. This prompts existential negation and

psychological individuation in the screenplay.

Narrations play a significant role in enhancing the flow of the story in videos. Debates

indicate that the first person point of view where the narrator is an individual who encounters

certain happenings impacts lessons to an audience since they provide firsthand information.

More so, imaginative and historical events are described by the narrator who uses I to give

details on certain occasions. The creator of the contents can be a hero who is affected by the

happenings and sometimes a witness who does not have any relationship with the occurrence of

events (Sisakht, 2014). When I in narration is a protagonist, the character enforces observer-

narrator. In the Movie, Alma describes her encounter with some boys while at the beach with

Katarina. While at the seashore, the narrator told Katarina that the little boys were approaching

them and it was inappropriate for them to be seen in that state since they barely had clothes. As

she described how she thought of taking a robe to cover herself, the video is edited in a shot-

reverse-shot as the two characters converse. The over-the-shoulder-shots enables the audience to
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observe the astonished face of Ullmann who could not believe what the nurse described since she

had sexual intercourse with two boys by the seashore, yet she was married to Karl-Henrik. As

she highlighted the encounter, Alma moved towards the window and peeped through the curtains

to ease the tension that had engulfed the room. Ideally, existential negation and psychological

individuation were infiltrated in this scene.

Reports suggest that the stream of consciousness method is vital in the narration where a

mental fluid is influenced through sensuous understanding. Notably, memories and feelings are

incorporated in this concept where accidental events are described as they occurred without any

manipulations. In this mode of narration, meaningful associations are created through a

comparison of images. According to studies, a stream of consciousness connects with an internal

monologue (Sisakht, 2014). What occurs in the narrator's mind is what the audience hear on real

case scenarios. With internal monologue, the narrator puts together memories and thoughts

without heeding to a person’s advice. In this context, the dialogue on how Katrina and Alma

ended up in sexual intercourse enforces stream of consciousness.

Debates on how visuals play a significant role in films through the integration of motion

pictures enables the audience to understand moral ideologies in the film. Visuals would allow

directors to display specific themes through cinematography. Bergman uses cinematography to

demonstrate the act of lesbianism in Persona. The two casts are seen together in most of the

scenes and take a walk by the seashore due to affectionate. The Swedish culture is portrayed in

this film like the way of life and dressing among the actors. The formal elements, like the way

nurses are supposed to dress, are pictured in the movie. Alma embodies formality through her

professionalism. Alma finds a letter in her car that describes the psychological situation of her

client. Eventually, she ends up near a small river where through video editing, Bergman displays
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the separation between her and the real image. Through continuity editing, the film smoothly

transitions from the scene to the place where Alma is in a swimming costume. The visual editing

in this scene entails sound insertion where a glass falls and exposes a particular noise that

intensifies tension in the audience. An extreme long shot is used in the set, which avoids

emotional disturbance in the audience compared to when a closer shot could be taken (Heiderich,

2012). According to studies, long shot enables the audience not to be attached to specific

activities in the film since some things are not openly displayed.

Directors indicate that their actual job in giving direction is ignored in most film analysis.

Studies suggest that a director acts as an orchestra conductor since they are responsible for

assembling all parts of a film for it to be complete to be viewed by the public. A director needs to

be creative since their decisions affect the ultimate outlook of a movie. Director’s work is

evident on how the actors perform and how the filming of scenes occurs (Knudsen, 2016). Bad

direction associates with a poor speech that results in lengthened silence. More so, emotional

beats should not overcome the theme of the movie. In the wrong direction, actors make up words

that require editing. It is easier to feel bad editing than to view. In Persona, the director employs

good direction skills due to the accuracy in the figure of speech form the casts. This is evident

from the dumb actor who still comprehends the instructions and comments of her nurse. At some

point, the director converges two scenes where Alma and her patient meet but a zooming picture

with a ghost appears. Afterwards, a person screams from the pain of a nail and an image of an

eye with veins displays the pain from the crucifixion. Religious practices, in particular,

Christianity is reflected in this concept. The director uses fantasy to shift from one scene to

another, which is a skill that ought to be utilized in movies. As Ullmann looks for her

companion, she discovers that she is in the seashore enjoying the breeze. The scene transitions
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smoothly from a house to the sea, which enables the audience to comprehend the flow of the

screenplay. Ideally, the director of this film employed good skills that facilitated existential

negation and psychological individuation.

Debates on whether Persona is an entertainment or academic film have been held on

several occasions. Social ideologies on gender are depicted in this movie. Subjectivity and

filming writing reviews display absolute objectivity when analyzing movies. Notably, assessment

assists readers to differentiate entertainment films and academic film writing. Persona provides

essential details on psychological torture which can be used by learners when composing scripts.

Notably, Ingmar Bergman uses this movie to enhance academic research rather than enforcing

entertainment in an audience. The explicit sexually images impart psychological crisis at the

beginning, which can be evaluated to elaborate on the role of cinematography in screenplay

production. More so, the film provides reality other than fiction since psychological torment and

lesbian, gay, bisexual, transgender, transsexual, and queer (LGBTQ) traits which are rampant in

the modern society and should not be ignored.

Another argument on the screenplay focuses on the lighting technique that was applied.

Ullmann, who loses her ability to hear due to her conscious choice and not neurosis, spends most

of her time with Alma in her house, which is by the sea. This house is on the Island of Faro

which is a secluded atmosphere. The two individuals confide to each other but eventually clash

and separate due to difference in personality. Bergman uses camera lighting, which illuminates

the facial expression of the casts, thus facilitating the comprehension of the scenes. The effects of

the illumination enable the audience to see background images in the room where Ullmann stays

(Tuñón, 2020). Ideally, the white and black lighting highlights the inner emotions of the

characters. In this case, white symbolizes love while black represents hatred. The lighting in this
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movie contributes to the formation of shadows that construct the inner emotions of the casts.

Muteness is symbolized by darkness while light enables readers to identify the importance of

voice in interactions. For instance, when Alma disclosed her sexual encounters to Ullmann, she

elaborates on a soul that hides secrets, and the darkroom assists the audience in relating

unconsciousness with low self-esteem. Lighting helps the audience to digest the theme of a

movie.

Dialogue is also significant in the creation of films. Characters in a film provide different

themes through interaction. Through discussion, casts offer internal and external conflict, which

assists in the establishment of the drama scenes. In a film narrative, a dialogue is the most

noticeable element. Notably, an exchange enables individuals to comprehend entertainment by

seducing their emotions towards specific perspectives. Through capturing of conscious, movies

impart their pleasure on the audience resulting in the formation of certain ideologies. When a

dialogue is successful, it implements certain cultural aspects that are deemed inseparable from

the community. For instance, the story elements of Persona embody two women. In a specific

dialogue, Alma quarrels with Ullmann and tells her not to say anything, yet she cannot talk

(Tuñón, 2020). The dialogue between them arises tension since they had confided in each other,

yet they end up fighting again.

Production is another significant aspect that films consider when advocating for specific

themes. According to discussions, the production focuses on settings and costumes. More so,

camera techniques including and movements are essential in the creation of a suitable film that

will be screened in cinemas. Studies indicate that poor production emanates from poor scripts. In

the case where a director shoots a movie in one location, monotony is facilitated, which makes

the film to be boring. In some point, the camera angle can be positioned in one tip, which makes
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it difficult for the audience to focus on other locations. When a director prevents viewing by

utilizing the back of the shot, mistakes are hidden hence making the product to be perceived as

low quality. A massive funding assists in quality production since all the equipment will be

provided, which ensures quality sound, lighting, and cameras. In the case of Persona, Ingmar

Bergman makes a good film in an era where black and white visuals are familiar. The casts

follow the scripts resulting in quality production of the movie. However, some movies have

adequate funding, and casts follow the play script but eventually attrac6t low-quality production.

Conclusion

Indeed, Ingmar Bergman created and produced a movie that depicted psychological

torture as the central theme. Through the two characters, Alma and Ullmann, the film

successfully displayed quality production using white and black-lighting. With the use of sounds

that portrayed tension and images that provoked psychological torture, existential negation and

psychological individuation are successfully displayed. Social, political and philosophical

elements are reflected by the casts who through cinematography and dialogue impart in the

audience the themes of the film. According to the analysis, Persona is one of the most excellent

movies ever made, but critics dictate that it is only useful in visual and sound. Films ought to

emulate the production of Persona.

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References

Heiderich, T. (2012). Cinematography techniques: The different types of shots in film. Ontario

Mining Assosiation. Recuperado de https://www. oma. on.

ca/en/contestpages/resources/free-report-cinematography. pdf.

Knudsen, E. (2016). The Total Filmmaker: thinking of screenwriting, directing and editing as one

role. New Writing, 13(1), 109-129.

Rice, J. C. (1975). Cries and whispers: The complete Bergman. The Massachusetts

Review, 16(1), 147-158.

Sisakht, I. N. (2014). Analysis of Narrative and Importance of Point of View in

Novels. International Journal of Science and Research, 3(7).

Tuñón, G., G. (September 10, 2020). Persona (Ingmar Bergman) 1966 VOS | [Video File]. Re-

trieved from https://www.youtube.com/watch?v=h5qDJ74SIjA