Ingar Bergman's 'Persona' By Ingmar Bergman

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In this essay I aim to analyse Ingmar Bergman’s ‘Persona’ (1966) which tells the story of a star who stopped speaking, her nurse and identity to examine how form, how the film is put together and meaning, are integral to the film.

Reflexivity in film is distinguished as a film that is self-aware. A film that is aware of the process that has been taken to produce a film, the illusion that is usually created in main stream cinema is not present instead the audience are made aware that the film is simply an illusion i.e. “The fictional nature of a story can be suspended only by a direct communicative act, which is not mediated by the conventions of the fiction itself. Reflexivity creates a hole, so to speak, in the texture of the fiction through which the viewer is directly connected to the aesthetic apparatus of the fiction […] The ultimate goal of reflexive procedures is to create a direct discursive relationship between the auteur and the audience, whereby the auteur may say something not only according to the aesthetic rules of a genre but also about the rules themselves according to which the work of art in question was made”. (A. B. Kovas, 2007. P.225)

‘Persona’ as a film has no clear or linear period, however there is a typical beginning, middle and end present in the film, Roger Ebert states in his review of ‘Persona’ that “Persona is starting at the beginning, with the birth of cinema. The break in the middle shows it is turning back and beginning again. At the

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