| Abstrakt: |
The present article represents a psychoanalytic reading not only of Ingmar Bergman's film The Hour of the Wolf/ Vargtimmen (1968), but also of Bergman's personal hour of the wolf, related to an inner pain, to an atmospheric silence and to the irreducible scar of anxiety. On the other hand, the article presents the expressionistic influences of the German school on the creation of the Swedish director, regarding the terror of the artist, the adventure of light and whiteness, the somnambulism, the soul and its double - the shadow, and so on. The nightmare of the main character Johan Borg starts with his visit to the von Merkens family: the members of this strange family can represent projections of his own psychotic reactions - cannibals, ghosts, vampires, living dead, parasites, spiders. In this context, the bed where Johan meets his "perfect" lover, Veronica Vogler, integrates a binary topos of agony and raw sexuality, a pietà and also a lying-in state of the corpse which allows the ovation and the consumption of the breath of the deceased by the participants. Ultimately, the bed hides the dramatization and the voyeurism of the self. [ABSTRACT FROM AUTHOR] |
