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| | Kinoeye Swedish film: Ingmar Bergman's Persona |
 | | The factors alluded to in Persona that contribute to this "damming up" in Elizabeth include her great beauty, her choice of profession and her oversensitivity to the horrors of the objective world (as revealed in her reaction to the newsreel footage of the self-immolation of a Vietnamese monk). |
 | | Even Oliver claims that, at the end of the film, "they each go back to their respective lives to take up their duties, their personae, as they did before." [2] For Alma, at any rate, that is not likely to be as easy as it sounds. |
 | | As Kelly Oliver writes, alluding to the enigmatic opening sequence with its images of sacrifice, vampirism, crucifixion and death, "in their exchange, Alma is figured as the sacrificial lamb of the opening visual poem, while Elisabeth...is figured as the vampire."[1] However, the potentially devastating results of this psychological vampirism are insufficiently appreciated by most critics. |
| www.kinoeye.org /02/15/shaw15.php (2913 words) |
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