Abstract
The significant representation of Western classical music in Ingmar Bergman’s filmography is a very broad phenomenon. This article combines some findings of different researchers with Bohdan Pociej’s intermedial theory to compare two films which are distant from each other in time, but not in style – Saraband (2003) and Autumn Sonata (1978). The comparison between them is focused on their musical aspects and some non-phonic elements which refer to classical music. The aim of this analysis is not only to identify some similarities and differences between these two productions, but also to show that Bergman’s films can be compared in a strictly musical context.
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