Abstract
The present study is a scheme to build a cartography of the face in the cinematographic work of the Swedish film director Ingmar Bergman. Movies such as: Crisis (Kris, 1946), Summer with Monica (Sommaren med Monika, 1953), The silence (Tystnaden, 1963), and Wild strawberries (Smultronstället, 1957) allow to apply the philosophic notions studied by Gilles Deleuze: rhizome, Immanent shot, affection shot, ‘faceness’ in the frame, not only an historic but an aesthetic study of the face. Cinema and philosophy are the means of these thinkers.
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