The Necessary Yet Unsatisfying Table

Eucharist Images in the Films of Ingmar Bergman

by Kara Pickens

Introduction

Ingmar
Bergman’s film Winter
Light
opens with a scene familiar to any son of a Lutheran minister: "It
is twelve o’clock, midday, a Sunday at the end of November….[i]t is
holy communion, and the introit hymn has just been sung."¹
For the next fifteen minutes, the film moves slowly through this
Christian ritual, as Bergman painstakingly details the service. While
the words are borrowed from an ancient liturgy, the images Bergman
uses throughout the scene bring new symbolic meaning to the service.

While
Winter
Light
uses the most explicit Eucharistic imagery of any of his films,
Bergman frequently manipulates the images and text from the communion
service within his works. Unable to escape from religious themes
that seem to plague him, Eucharistic images frequently betray his
personal dissatisfaction coming from participation in the service.
While Tomas, the reverend in Winter
Light,
recites a prayer at the end of the communion service, "We thank
Thee, Almighty Father, who through Thy Son, Jesus Christ, hast
instituted this holy communion, to our consolation and bliss,"²
his words earlier in the story insinuate just how empty any
consolation is from this God. He confesses, "Every time I
confronted God with the reality I saw, he became ugly, revolting, a
spider god- a monster. That’s why I hid him away from the light,
from life."³
Yet in the end Tomas finds the Eucharist necessary. Even as he
stands before an empty sanctuary, he is compelled start the service.⁴
This religious tension is demonstrated frequently in Bergman’s use
of Eucharistic images in his films, showing a meal that is necessary,
but does not ultimately provide sustenance needed to fulfil the basic
hunger of the human soul.

This
essay will examine the relationship between Lutheran theology and
Bergman’s interpretation of the Eucharist. Each film interprets a
different aspect of Lutheran Eucharist theology. Bergman’s
interpretation of Christ in Through
a Glass Darkly, the
communion elements in Seventh
Seal, the
Word of God in Winter
Light , salvation
in The
Silence,
and faith in The
Passion of Anna will
be explored in light of Bergman’s frustration with the sacrament.
By examining how Bergman uses each of these elements in his film, one
can discover the tension that exists between the film- maker’s need
to participate in communion and his acknowledgement of its emptiness.

Lutheran Background

As
the son of a Swedish, Lutheran minister, Bergman makes no qualms
about the influence his upbringing had on his films. He has
described this influence saying, "I come from a world of
conservative Christian thought. I’ve absorbed Christianity with my
mother’s milk. So it must be obvious that certain… archetypes,
aren’t they called- stick in one’s mind, and that certain lines,
certain courses of events, certain ways of behaving, become adequate
symbols for what goes on in the Christian system of ideas." ⁵
While Bergman freely admits that Christianity has influenced his
thinking, he has also aimed to cut away any religious ties.

Because
Bergman’s childhood was seeped in Lutheran theology, it is important
to go to the Lutheran liturgy to better understand how Bergman is
defining Eucharist within his films. In The
Book of Concord
Martin Luther’s sets up a theology of the Eucharist that still
formulates the main Lutheran tenets for the its communion service.

Christ in the Lutheran Sacrament
of the Altar

Luther
defines the sacrament of the altar as, "the true body and blood of
our Lord Jesus Christ, under the bread and wine, for us Christians to
eat and to drink, instituted by Christ Himself.⁶"
The central point in Luther’s teachings regarding the sacrament of
the altar is Christ. The elements of bread and wine contain the Real
Presence of Christ’s body and blood in them. Additionally, one
participates in the ceremony due to faith in Christ. Luther expounds
on this point stating, "And we have, in the first place, the clear
text in the very words of Christ: Do
this in remembrance of Me. These
are bidding and commanding words by which all who would be Christians
are enjoined to partake in this Sacrament."⁷
Christ’s plays both a foundational and central role within the
Eucharist service.

Christ
Seen Through
a Glass Darkly

Bergman’s
film trilogy (Through
a Glass Darkly, Winter Light, and The Silence)
focuses on exploring his evolving doubts regarding the Divine. The
first of the films climaxes in a scene in which the main character, a
mentally unstable young woman named Karin, once again hears voices
murmuring from behind the wallpaper of a spare room in her father’s
house. She frequently hears these voices and goes to the room to
listen to them. She claims that the voices have informed her that
they are waiting for the arrival of God. In response Karin feels a
strong desire to wait for God’s arrival along with them. Her husband
and father decided to commit her to a hospital, but while waiting for
the helicopter-ambulance, Karin is drawn to the room one last time.
Her following actions are described as such in the script, "She
stands tense, radiant with expectancy. Then her countenance changes.
She seems to see something coming out of the cupboard, something that
swiftly approaches her. Shrinks away. Runs several steps backwards.
Flatters herself against the wall. Presses her hands between her
legs. A gurgling scream of horror forces itself out of her throat."⁸
The scene closes violently, as Karin’s husband Martin calms her by
inserting medicine with a hypodermic needle on the outside of her
thigh.

Bergman
chooses this violent scene to announce the arrival of God. Karin
later explains what she saw, "the god who came out was a
spider…He came up to me and I saw his face, a loathsome, evil face.
And he clambered up onto me and tried to force himself onto me….All
the time I saw his eyes. They were cold and calm." Karin then
pauses and sits with a blank expression before simply stating, "I’ve
seen God."⁹

This
unseen intruder –a raping Spider-God– is not the only image of God
given in the film. Shortly after Karin is taking away by the
helicopter-ambulance, her father and brother speak with one another.
David, the award-winning author of meaningless novels, is depicted as
a father who has abandoned his children. Minus, an awkward
adolescent son, struggles with his father’s distance. Additionally
Minus feels intense guilt over developing sexuality, which involves
an incestuous relationship with his sister. In the last scene, Minus
confesses his feeling of guilt and hurt to his father in an attempt
to reconcile the visit from God with his other life experiences.
Surprisingly his father responds to his words. Minus tells his
father that he has rejected all images of God, whether images of
Karin’s Spider-God or the Father-God, who, like his own father, is
"an invisible potentate somewhere in the dark."¹⁰
Neither image is beneficial to him, therefore, "God doesn’t exist
in my world."¹¹
The father replies by quoting from scripture, "God is love."¹²
This is immediately rejected by Minus, but his father explains that
love and God are one and the same. Therefore, the existence of love
proves the existence of God. Minus is still doubtful, but replies,
"Your words are terribly unreal, Daddy, but I see you mean what you
say. And it makes me tremble all over."¹³
Minus, in the end, is not so much convinced of the existence of God,
rather than feeling, for the first time, his own father’s love. This
feeling is heightened by the last words of the film, as Minus leaves
his father and exclaims incredulously, "Daddy spoke to me!"

These
last two scenes contrast opposing images of God. The image of God as
love seems more valid, being the rational response to the horrific
images experienced by the mentally unstable Karin. However, the rest
of the film seems to invalidate David’s words to Minus. Bergman
mocks the love Minus feels from his father, as he characterises
David’s love for his family as hallow. So, then, the choice seems to
be between Minus’ rejection of any concept of God or Karin’s vision
of the raping Spider-God.

Therefore,
the Eucharist fails in Through
a Glass Darkly
because there is no love, as one early dinner scene within the movie
illustrates. The family gathers around the table, partaking in bread
and drink together. As the ‘service’ takes place around the
table, along with the food and drink taken, is simply empty. A
family gathers together longing for salvation, and hoping that love
will finally take place between them. There faith is in vain: there
is only a frightening Spider-God. After the meal, each character
leaves the table, left alone to contemplate how the elements have
left them empty and raped.

Bread
and Wine
in
the Lutheran Sacrament of the Altar

Christ’s
importance within the sacrament of the altar is understood in
Luther’s teaching about the role bread and wine have within the
Eucharist service. Communion is not simply food eaten, but rather
the elements serve as bread and
the body of Christ, wine and
the blood of Christ together existing in a sacramental
union.
Luther’s Defence
of the Augsburg Confession
explains this union, stating, "we believe, that in the Lord’s
Supper the body and blood of Christ are truly and substantially
present, and are truly tendered, with those things which are seen,
bread and wine, to those who receive the Sacrament."¹⁴
The Lutheran term sacramental
union
refers to the marriage of the earthly and spiritual within the
elements. The sacramental union distinguishes bread and wine from
that which is served at an ordinary table because it is bound
together with the Word of God.¹⁵

Bread
and Wine Revealed in The
Seventh Seal

Bergman’s
film The
Seventh Seal
introduces the main character’s spiritual dilemma within the first
scene. The audience is introduced to a knight, Antonius Block as he
is returning "sad and bitter"¹⁶
from the Holy Land where he fought in the crusades. As he wakes in
the morning, behind him stands a pale man dressed in black. It is
Death. Death asks the knight if he is prepared, to which Antonius
responds, "My body is frightened, but I am not."¹⁷
Despite his seeming lack of fear, the knight attempts to avoid his
fate by challenging Death to a game of chess. A deal is made: as
long as he holds out, he may live, and if he wins, he will be
released from Death.

The
chess game with Death is part of a series of events that have evoked
a spiritual crisis for the knight. He and his squire have returned
to find that, "[t]he long, dusty journey from the Holy Land hasn’t
made them any cleaner."¹⁸
His time in the Holy Lands taught him that God does not seem near
enough to take care of the problems that exist in the world. At the
same time, though, He is not far enough to ignore, and instead haunts
the knight. In one scene within the film, the knight enters a church
and after kneeling before the altar, decides to enter the confession
booth. Unbeknownst to him, he begins confessing to Death. Antonius
laments, "Why can’t I kill God within me? Why does he live on in
this painful and humiliating way even though I curse Him and want to
tear him out of my heart? Why, in spite of everything is He a
baffling reality that I can’t shake off?"¹⁹
As the conversation continues, Antonius reveals his desire for God
to make Himself clear to him, yet God does not speak and all he
receives is silence. In the end he refuses to admit that God does
not exist, for that would make life too meaningless to handle.
Instead, he remains to be tormented by his faith.

In
the middle of the film, there is scene where the knight is sitting in
the countryside with two married actors, Mia and Jof. Throughout the
film, the couple are shown in scenes of idyllic happiness,
contrasting sharply with the tone of the scenes with the knight. As
their paths intersect, the worried expression disappears from
Antonius’ face. He says to Mia, "Everything I’ve said seems
meaningless and unreal while I sit here with you and your husband.
How unimportant it all becomes suddenly."²⁰

The
scene continues as the three individuals share a bowl of strawberries
and a bowl of milk, using these images as allusions to the
Eucharistic elements. Antonius takes the milk and drinks from it
several times. Placing the bowl down, he smiles, looking satisfied.
He reacts to the communion with Mia and Jof, saying:

I shall
remember this moment. The silence, the twilight, the bowls of
strawberries and milk, your faces in the evening light. [Your baby]
sleeping, Jof with his lyre. I’ll try to remember what we have
talked about. I’ll carry this memory between my hands as carefully
as if it were a bowl filled to the brim with fresh milk. And it will
be an adequate sign-it will be enough for me.²¹

Bergman
uses the camera to focus on the silence, peace, and contentment of
the scene. The

scene
seems to suggest that Antonius has found something to fill his empty
soul. However, soon after, he is confronted with Death and nothing
has really changed. Furthermore, there is no way to win the game
against Death. The knight does complete his journey home. Antonius
gathers around the table with his family, another scene seeped in
Eucharistic images, and begins to share in a meal, but Death soon
crosses the threshold. As Death enters, Antonius cries out, "God,
You who are somewhere, who must
be somewhere, have mercy on us."²²
God does not have mercy on Antonius. The scene ends with Antonius
and his family dancing with death, disappearing into the horizon.

The
Eucharistic elements do give temporary respite from the horrible
emptiness found in life. However, the feeling does not last. Man
created God because of fear and in communion man eats God to satiate
their fearful hunger. The elements do not provide the nourishment
needed to overcome that fear. Eucharist fails for Bergman because in
the end, it is Death that claims victory over life, justifying all of
humanity’s fear.

The Word of God in the Lutheran
Sacrament of the Alter

Luther
explains the relationship between the elements and the Word of God
stating, "For it is said: Accedat
verbum ad elementum, et fit sacramentum,
If the Word be joined to the element, it becomes a Sacrament. This
saying of St. Augustine is so properly and so well put that he has
scarcely said anything better. The Word must make a sacrament of the
element, else it remains a mere element."²³
If Christ’s words, "Take, eat, this is my body"²⁴
and "Drink of it, all of you; for this is my blood of the covenant,
which is poured out for many for the forgiveness of sins."²⁵
are divorced from the service, Luther claims the bread and wine
remain simply food. When the Word of God is joined with the bread
and wine
it
becomes the true body and blood of Christ.

The
Word of God in Winter
Light

While
the words, "The Body of our Lord Jesus Christ, which was given for
thee" and "Christ’s blood, shed for thee" are repeated to each
to the five communicants by Tomas, they echo meaninglessly because
Tomas claims that any word from God is empty. In one scene, Tomas’
former mistress Märta senses his depression and asks what is
bothering him. Tomas replies, "God’s silence,"²⁶
to which Märta, an atheist, later responds, "Sometimes I think
you’re the limit! God’s silence, God doesn’t speak. God hasn’t ever
spoken because he doesn’t exist. It’s all so unusually, horribly
simple."²⁷
However, because he cannot reject God completely, the problem
remains complex.

Following
this discussion, Tomas contemplates in a scene described by Bergman,
"No footsteps, no sound of a door closing. No wind in cracks and
crevices. Complete silence. [Tomas] drags himself over to the
window. No
car, no traces. Not
a sound….God’s silence, Christ’s twisted face, the blood on the
brow and hands, the soundless shriek behind the bared teeth. God’s
silence." Tomas, at this point, echoes the words of Christ upon
the cross, as the image poignantly echoes his own agony, "God, my
God, why have you abandoned me?" Tomas steps out from the chancel
and, draws himself up from his knees, gasping, "No (Pause)
God does not exist any more."²⁸
At this point the afternoon sun begins to set and the whole church
dazzles with light. Breathless and giddy, Tomas exclaims, "I’m
free now. At last free."²⁹

Tomas
believes he has found freedom by rejecting God, but the feeling is
fleeting. As the film ends, Tomas is commencing a Eucharist service
for rows of empty pews. Märta is the only communicant in
attendance. Shortly before the service begins, Märta says to
herself, "If I could only lead him out of his emptiness, away from
his lie-god. If we could dare to show each other tenderness. If we
could believe in a truth…If we could believe…"³⁰
There is no word, and thus nothing to believe, neither in God, nor in
fellow human beings. Words simply echo between the emptiness.

Salvation in the Lutheran
Sacrament of the Altar

The
central figure of Christ imparts salvation through the Eucharistic
elements and the recitation of the Word. This salvation is found
within the Words spoken to the individual during the communion
service. The benefit of taking the bread and wine to be found in the
words, "Given,
and shed for you, for the remission of sins;
namely, that in the Sacrament forgiveness of sins, life, and
salvation are given us through these words. For where there is
forgiveness of sins, there is also life and salvation."³¹

Salvation
as The
Silence

Bergman’s
film The
Silence
concludes his trilogy. The story involves the two sisters who are
travelling back home after taking a holiday. They stop in a foreign
town on the way back, as one of the sisters, Ester, is dying from
consumption. The story focuses on their stay at the hotel, as Ester
stays in bed drinking cognac trying to numb her pain and Anna finds
sexual partners in order to avoid any intimacy with her dying sister.
In one of the final scenes, Anna prepares to return home early,
leaving her sister to die alone in the hotel bed. Bergman summarized
the films underlying ideology stating, "I
remember writing down something I was tremendously pleased with…life
only has as much meaning and importance as one attributes to it
oneself.
There’s nothing remarkable about that. But for me it was like a
mining concession, full of potential wealth."³²

For
the characters in The
Silence,
however, meaning is absent from life because they do not allow it to
have any such significance. This lack of meaning directly correlates
to Bergman’s interpretation of salvation within this film. If
meaning cannot be found, salvation cannot be found either.

Even
though salvation does not seem to exist, the main characters
nonetheless seek deliverance from their current turmoil. While
staying in the foreign country, Anna seeks out a lover. Her partner
speaks another language and Anna seems to find their inability to
communicate as comforting. Anna, in her second meeting with him,
uses him as a sort of priest, choosing to confess her inner thoughts.
"When she’s ill," she complains to him, "She’s always ill.
When she’s ill, she wants to decide everything. Then, I’m a
half-wit."³³
She offers more grievances, but only receives a gaze from her
lover. Neither salvation nor absolution is available and no respite
is found, despite her sincere confession.

Likewise,
Ester receives no freedom from her own situation. Her cough often
leaves her in convulsions, with blood splattered on her clothing. She
loses her balance and falls when attempting to get out of bed. She
whimpers, "it’s so humiliating all this, I’m just not going to
put up with such humiliation."³⁴
Ester only desires to be able to think logically about her
situation. Kneeling before her bed, she mutters, "oh God, help me,
let me die home at least."³⁵
Even this sort of salvation in the midst of dying is not to be
found. In Ester’s last scene, she is in bed, her body cramped,
whispering, "No, no, no! I don’t want to die like that, no, no!
I don’t want to stifle. Oh, it was horrible! I’m frightened
now…Why doesn’t the doctor come? Am I to die here all alone?"³⁶
Despite these desires, the relationship with her sister is lacking
in any sort of salvation. Ester tells her as she leaves, "It’s a
good thing you are going." Anna leaves and Ester is shown for the
last time, "Her face is grey, sunken. Her breath comes in short
gasps."³⁷

Eucharist
fails for Bergman because salvation is not to be found. Instead,
there is only silence. However, he favours silence over the anxiety
he feels stems from religious concepts of salvation. He has said,
"Anyway the crux of the matter is-the
problem doesn’t exist any more.
Nothing, absolutely nothing at all has emerged out of all these
ideas of faith and scepticism, all these convulsions, these puffings
and blowings."³⁸
Salvation, according to Bergman, does not exist, and without it, the
Eucharist becomes nonexistant also.

Faith in the Lutheran Sacrament of
the Altar

The
aspect of faith is also stressed in the Lutheran theology of
communion. Without faith, the sacrament is meaningless and lacks any
relationship to salvation. Luther chastises those who come to the
table without faith stating, "For those who are wanton and
dissolute must be told to stay away; for they are not prepared to
receive forgiveness of sin, since they do not desire it and do not
wish to be godly." He also demands that those who are part of the
confessing community must "not absent themselves"³⁹
from the practice of the sacrament of the altar. Believers who
partake in the bread and wine not only come to the altar with an
attitude of faith, in turn have their faith strengthened from the
sacrament.

A
Passion
in which Faith Fails

As
the title suggests, The
Passion of Anna (or
En
Passion)
is about the suffering that has accompanied Anna’s life. Anna is a
young woman who lost her son and husband in a car accident. By
entitling the film En
Passion
Bergman is making a clear allusion to the crucifixion of Christ.
Bergman does not view Christ’s passion as simply a fixed event in
history, as film critic Vernon Young explains, "The
events of the passion did not merely … freeze into chronicle and
doctrine. Nothing is annulled, everything is re-enacted; every day,
everywhere, the passion is performed-persecution, betrayal, death,
and atonement."⁴⁰
The film emphasises this suffering not only in the character of
Anna, but also the violent acts towards animals on the island where
the story takes place, and references to various contemporary
suffering taking place, such as the assassination of Martin Luther
King, Jr. The passion is not just of Anna or of Christ, but of all
humanity within their day-to-day lives.

Anna’s
responds to her suffering by desiring to have faith. This attitude
contrasts with the other characters’ rejection of any form of hope.
She tells her lover Andreas, "Sometimes I pray because it feels
unbearable not to pray. I find it so hard to live without God. I’m
not a believer. I can’t
believe. But I know that when I say there’s no God, I’m only
saying half the truth and denying something important that I don’t
understand or don’t want to understand."⁴¹
Furthermore, Anna explains that in the past she was able to rest in
her faith in God, but away from this faith she never is able to feel.
While Anna feels sheltered by faith, her reason for losing faith is
due to the violence and suffering she sees around her. She cries out
to God, "If You are ashamed of Your creation and want to obliterate
it, then do not destroy us in this slow way. Hurl Earth from its
orbit and let it fall into the void beyond Your knowledge. Put out
our light, silence our screams, and let us be annihilated in a
moment."⁴²
Andreas, on the other hand, feels no shelter at all from God,
claiming, "I’ve no one to turn to in protest, no one to accuse,
not even myself. I am helplessly exposed."⁴³

Anna
speaks often of faith and her desire to believe, along with the
happiness she has found in life. She describes her marriage is
idyllic terms. Andreas, however, has found a letter written by her
former husband exposing her marriage as miserable. Anna’s life,
and therefore her quest for faith, is really just a ghastly
deception. It is her desire for meaning that creates her pain. He
explains to her, "you save yourself by praying to God….Have you
ever thought that the worse off people are, the less they complain?
In the end they are quite silent, living creatures with nerves and
hands and eyes." Anna believes too
much,
to the point of believing in the ideal nature of the world, thus
falsifying reality. Those without faith, such as Andreas, are
depicted in the film as the ones who live truthfully.

Bergman’s
depiction of faith in En
Passion
as something that needs to be rejected in order to cope with the
violent horrors of the world further explains why the Eucharist fails
in his films. Without faith, the whole act simply involves drinking
a couple drops of wine and a small scrap of bread. It does not
satisfy the hunger of the stomach or the soul. However, Bergman
continues, like Anna, to seek out faith so that he can find the safe
feeling he desires to exist. While Luther claims that participating
in the sacrament strengthens ones faith, Bergman has instead found
his faith weakened as it has repeatedly let him down.

Conclusion

The Eucharist images within the
films of Ingmar Bergman depict a ceremony that repeatedly fails for
the film-maker. Bergman feels forced to choose between a
non-existent God or a raping Spider-god as the central aspect to the
sacrament. The bread and wine offered are unable to satiate the
hunger created by the fear and death the triumph in the world. The
Word of God is simply empty promises that echo in the midst of God’s
silence. Silence, however, becomes the preferred choice over that of
non-existent salvation or faith, as salvation and faith are lies that
eventually become revealed within the violent death that condemns the
world. If the central elements of the Lutheran communion are
missing, the sacrament understandably becomes an empty promise, in
which Bergman goes to in hopes to be filled, but ultimately will fail
for him each time because it has no sustenance.

 

Bibliography

Bergman,
Ingmar. A
Film Trilogy: Through a Glass Darkly, The Communicants (Winter
Light), The Silence.
Translated from the Swedish by Paul Britten Austin. London: Calder &
Boyars, 1967.

________.
Four
Screenplays of Ingmar Bergman: Smiles of a Summer Night, The Seventh
Seal, Wild Strawberries, The Magician.
Lars Malmstrom and David Kushner, translators. New York: Simon and
Schuster, 1960.

_______.
Four
Stories by Ingmar Bergman: The Touch, Cries and Whispers, The Hour
of the Wolf, The Passion of Anna.
Alan Blair, translator. New York: Anchor Press, 1976.

Bjorkman,
Stig. Torsten Manns and Jonas Sima. Bergman
on Bergman.
Paul
Britten Austin, translator. London: Secker & Warburg,1970.

Gado,
Frank. The
Passion of Ingmar Bergman.
Durham: Duke University Press, 1986.

Luther.
Martin. Book
of Concord. 7
April 2006. <http://www.bookofconcord.com>

Simon,
John. Ingmar
Bergman Directs.
London:
Davis-Poynter, 1983.

Stone,
Birgitta. Ingmar
Bergman.
New York: Twayne Publishers Inc., 1968.

Steene,
Birgitta, editor. Focus
on the Seventh Seal.
Englewood Cliffs, NJ: Prentice-Hall, Inc., 1972.

Wood,
Robin. Ingmar
Bergman.
London:
Studio Vista Limited, 1969.

Young,
Vernon. Cinema
Borealis: Ingmar Bergman and the Swedish Ethos.
New York: David Lewis, 1971.

 

1Bergman,
Ingmar. A Film Trilogy: Through a Glass Darkly, The Communicants
(Winter Light), The Silence. Translated from the Swedish by
Paul Britten Austin. London: Calder & Boyars, 1967. pp. 65.

2Ibid.
pp. 69

3Ibid.
pp. 85

4Ibid.
pp. 104

5
Bjorkman, Stig.
Torsten Manns and Jonas Sima. Bergman
on Bergman. Paul
Britten Austin, translator. London: Secker & Warburg,1970. pp.
191.

6Luther.
Martin. "Small Catechism." Book of Concord. 7 April
2006. <http://www.bookofconcord.com>

7Luther.
Martin. "Large Catechism." Book of Concord. 7 April
2006. <http://www.bookofconcord.com>

8Bergman,
Bergman. A Film Trilogy: Through a Glass Darkly, The
Communicants (Winter Light), The Silence. Paul
Britten Austin, translator. London: Calder & Boyars,
1967, pp. 58.

9Ibid.
pp. 58-59.

10Ibid.
pp. 60.

11Ibid.

12Ibid.

13Ibid.
pp. 61.

14Luther.
Martin. "Augberg Defence." Book of Concord. 7 April
2006. <http://www.bookofconcord.com>

15Luther.
Martin. "Large Catechism." Book of Concord. 7
April 2006. <http://www.bookofconcord.com>

16
Bergman, Ingmar. Four Screenplays of Ingmar Bergman:
Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, The
Magician. Lars Malmstrom and David Kushner, translators. New
York: Simon and Schuster, 1960. pp.138.

17
Ibid. pp.138.

18
Ibid. pp.140.

19
Ibid. pp.140.

20
Ibid. pp.175.

21
Ibid. pp.176.

22
Ibid. pp.200.

23Ibid.
Part 10.

24Matthew
26:26 (RSV)

25Matthew
26: 28 (RSV)

26Ingmar
Bergman. A Film Trilogy: Through a Glass Darkly, The
Communicants (Winter Light), The Silence. Paul
Britten Austin, translator. London: Calder & Boyars,
1967, pp. 76

27Ibid.
pp. 78.

28

29Ibid.
pp. 87.

30Ibid.
pp. 104

31Luther.
Martin. "Small Catechism." Book of Concord. 7
April 2006. <http://www.bookofconcord.com>

32Bjorkman,
Stig. Torsten Manns and Jonas Sima.
Bergman on Bergman.
Translated from the Swedish by Paul Britten
Austin. London: Secker &
Warburg, 1970, pp. 181.

 

33
Ingmar Bergman. A Film Trilogy: Through a Glass Darkly,
The Communicants (Winter Light), The Silence. Paul
Britten Austin, translator. London: Calder & Boyars,
1967, pp. 135.

34
Ibid. pp. 117.

35
Ibid. pp. 118.

36
Ibid. pp. 141.

37
Ibid. pp. 142.

38
Bjorkman, Stig. Torsten Manns and Jonas Sima. Bergman
on Bergman. Paul
Britten Austin, translator. London: Secker & Warburg, 1970, pp.
195.

39Luther.
Martin. "Large Catechism." Book of Concord. 7 April
2006. <http://www.bookofconcord.com>

40
Young, Vernon. Cinema Borealis:
Ingmar Bergman and the Swedish Ethos. New
York: David Lewis, 1971. pp. 274.

 

41
Bergman, Ingmar. Four
Stories by Ingmar Bergman: The Touch, Cries and Whispers, The Hour
of the Wolf, The Passion of Anna.
Alan Blair, translator. New York: Anchor Press, 1976. pp. 149.

 

42
Bergman, Ingmar. Four
Stories by Ingmar Bergman: The Touch, Cries and Whispers, The Hour
of the Wolf, The Passion of Anna.
Alan Blair, translator. New York: Anchor Press, 1976. pp. 159.

 

43
Bergman, Ingmar. Four
Stories by Ingmar Bergman: The Touch, Cries and Whispers, The Hour
of the Wolf, The Passion of Anna.
Alan Blair, translator. New York: Anchor Press, 1976. pp. 140.