2025/12/16 by Castro, Romy
Arts and Humanities · #Arts and Performance Studies #Kierkegaardian Philosophy and Influence #Schopenhauer and Stefan Zweig #arte #cinema #fotografia #imagem #técnica
paper · doi:10.34640/ct10uma2025castro
openalex publication_date 2025/12/16 · openalex created_date 2025/12/19 · openalex updated_date 2026/07/05
In this essay on cinema, we aim to conceptually explore Bergman's approach to image-making through contemporary interactions that allow an incorporation into the director's cinematic experience, using the reality captured in the filmmaker's moving images as a basis for creating new understandings and perspectives. The image that is always present in his works coincides with the objectivity of his existential experiences, which relate to the context in which they occur, characterizing them with a new symbolic approach, where intense close-ups and fusions predominate, creating specific expressions that aim to incorporate other experiments to show the fundamental questions of human experience, which makes cinema more authentic, realistic, enabling, and contemporary, because only cinema, as an object of perception and representation, enables the new making of the image, making it a universal language in the artistic becoming of this making. We will examine this concept of image-making, a formula coined by Samuel Beckett and further developed by Deleuze, based on the cinema of Ingmar Bergman, revealing how the director's aesthetic imprints a new realism on the screen, appealing to the senses through innovative experimental strategies that elicit the emotional involvement of viewers, in a provocation that affectively stimulates critical thinking.