GR425_Oscar_Hoffman_processJournal

INGMAR BERGMAN FILM FESTIVAL

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OSCAR HOFFMAN

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DISCOVER OUR PLACE ON EARTH THROUGH EXISTENTIAL CIRCUMSTANCES THAT PLAGUE EVERYDAY PEOPLE IN THE FILMS OF INGMAR BERGMAN.

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R E S E A RC H Ingmar Bergman Selected Films Director Connections Design Brief

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DE L I V E R A B L E S Posters Catalog Website Exhibit Design Advertisement Social Media Animation Tickets Stationery System

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I DE N T I T Y Naming Logo Exploration Imagery Final Logo Graphic Tools

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R E S E A RC H Ingmar Bergman Selected Films Director Connections Design Brief

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INGMAR BERGMAN

BIOGRAPHY Ingmar Bergman was born on July 14, 1918, in Uppsala, Sweden, the son of a Lutheran minister who believed in strict discipline for his children. Raised under these circumstances, Bergman developed a love for movies, which he used as an escape from his rigid upbringing.

In 1945 Bergman directed his first film, Crisis, the story of an unhappy love affair which ends in suicide (taking one’s own life). Several films followed closely, but in 1956 Bergman reached the peak of critical and popular praise with The Seventh Seal. The Seventh Seal is a morality (having to do with the difference between wrong and right) play about a knight who, seeking to satisfy his religious doubts and unravel the mystery of the universe, challenges Death to a game of chess. Even Bergman’s critics agree that this film has visual daring with great dramatic power.

A year later Bergman directed Wild Strawberries, a touching study of the difference between youth and old age. With his next film, The Magician (1959), Bergman returned to his earlier use of symbolism, where objects or events are used to represent something else. It is the story of a group of wandering magicians and their encounters with otherworldly spirits. The Virgin Spring followed in 1960, as well as several lesser works.

In 1961 Bergman embarked upon his ambitious trilogy (three works), beginning with Through a Glass Darkly, an intense, almost hysterical, study of family violence. The second contribution, Winter Light (1962), presents the emptiness which follows loss of faith. The final portion, The Silence (1963), explores the problems of noncommunication. The trilogy is concerned with the problem of God’s absence rather than His presence, and with the pain stemming from personal isolation rather than the puzzle of human existence itself. It represents Bergman’s increasingly complex view of the world.

B O R N I N U P P SA L A , SW E DE N I NG M A R B E RG M A N I S W I DE LY R E GA R DE D A S O N E O F T H E G R E AT E S T DI R E C T O R S I N T H E H I S T O RY O F M O T I O N P I C T U R E S . H I S WO R K S A R E M A R K E D BY I N T E N S E C H A R AC T E R S , A S W E L L A S I N T E L L E C T UA L A N D S Y M B O L I C C O N T E N T.

FILMOGRAPHY 1944 Torment 1946 Crisis 1946 It Rains on Our Love 1947 Woman Without a Face 1947 A Ship Bound for India 1948 Music in Darkness 1948 Port of Call 1948 Eva 1949 Prison 1949 Thirst 1950 To Joy 1950 This Can’t Happen Here 1950 While the City Sleeps 1951 Summer Interlude 1951 Divorced 1952 Secrets of Women 1953 Summer with Monika 1953 Sawdust and Tinsel 1954 A Lesson in Love 1955 Dreams 1955 Smiles of a Summer Night 1956 Last Pair Out 1957 The Seventh Seal 1957 Wild Strawberries 1958 Brink of Life 1958 So Close to Life 1958 The Magician 1960 The Virgin Spring 1960 The Devil’s Eye 1961 Through a Glass Darkly 1961 The Pleasure Garden 1963 Winter Light 1963 The Silence

1964 All These Women 1966 Persona 1967 Stimulantia 1968 Hour of the Wolf 1968 Shame 1969 The Rite 1969 The Passion of Anna 1970 The Lie 1971 The Touch 1972 Cries and Whispers 1973 Scenes from a Marriage 1975 The Magic Flute 1976 Face to Face 1977 The Serpent’s Egg 1978 Autumn Sonata 1980 From the Life of the Marionettes 1981 Sally and Freedom 1982 Fanny and Alexander 1984 After the Rehearsal 1986 The Blessed Ones 1991 The Best Intentions 1992 Sunday’s Children 1996 Private Confessions 1997 In the Presence of a Clown 2000 Faithless 2000 The Picturemakers 2003 Saraband

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T H E S EV E N T H S E A L Ingmar Bergman 1957

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W I L D S T R AW B E R R I E S Ingmar Bergman 1957

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T H RO U G H A G L A S S DA R K LY Ingmar Bergman 1961

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DIRECTOR CONNECTIONS

I TA L I A N N E O -R E A L I S M Roberto Rossellini inspired Bergman with constantly experimenting with new styles and technical challenges and his films of post-war Italy and documentary style.

Fellini is known for his distinctive style, which blends fantasy and baroque images with earthiness—more surrealism infulencial then Bergman.

UNIQUE STYLE If Alfred Hitchcock is the epitome of the psychological thriller and Tarantino the nonlinear storylines, dark humour, anaesthetization of violence—Bergman has become the hallmark for the existential/philosophical relationship drama.

I NG M A R B E RG M A N

A RT H O U S E C I N E M A

C I N E M AT I C RO L E M O DE L S

Bergman demonstrated that film could

Mauritz Stiller or Ernst Lubitsch’s bedroom comedies, Alfred Hitchcock’s technical skills and Jean Renoir’s critiques of bourgeois hypocrisy.

be something more than entertainment: it could indeed be art. As such, it is important to remember that Bergman immediately preceded the other “modern” European directors with whom he is often mentioned: Buñuel, Fellini, Godard

N E W WAV E Budding directors like Jean-Luc Godard and Eric Rohmer were influential film critics who heralded Bergman, up until then relatively unknown, as the “world’s foremost director”.

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DESIGN BRIEF

THREAD The thread was created as a tool to make the right design choices throughout the process.

A

C

A: Who are we talking to?

B: What happens?

C: What’s the takeaway?

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ORDINARY CHARACTERS ARE FACED WITH AN EXISTENTIAL CIRCUMSTANCE THAT FACES THEM TO CONSIDER WHAT IT MEANS TO BE ALIVE AND WHAT COMES AFTER. THEIR FEAR, ANXIETIES, AND DOUBTS ARE SCRUTINIZED AND THEY ARE LEFT WITH UNCERTAINTIES ABOUT LIFE AND DEATH.

B

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G U I DI NG N A R R AT I V E The guiding narrative is a short story explaining the idea. It helped to stay on track with the concept throughout the process.

Version 1

I am a father suffering from a cancer tumor, spending my last days in my summer house with my caring family, counting the days until my death. One day, I lay on my outdoor sofa, looking up in the cloudy sky and I die.

Version 2

I have been in a coma for one year. When I suddenly wake up at the hospital, I try my best to open my eyes, feeling so much pain that I can't see clearly. I slowly start to see a blurry light, I close my eyes again, falling asleep.

AU DI E NC E Generally culturally interested people, ages 30–60 years old with have an interest in films that has an artistic expression.

People that question the meaning of life and death Those who wants to find/has experienced living with life and death.

L O C AT I O N The location of the festival shows homage to Bergman’s home on the Swedish idyllic summer island Fårö, where many of his films where created and filmed. Fårö is a small, 113 km-square island in the Baltic Sea, linked by ferry to its larger neighbour, Gotland. Its landscape is distinctive: the entire island is made up of limestone rock, with areas of agricultural land interspersed with areas of scrubland.

F I L M L I N E -U P The Seventh Seal Through a Glass Darkly Cries and Whisperer Wild Strawberries

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I DE N T I T Y Naming Logo Exploration Imagery Final Logo Graphic Tools

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NAMING

T I T L E E X P L O R AT I O N

S U B T I T L E E X P L O R AT I O N

The mind of Ingmar Bergman

Discover the fears and uncertainties about

Life and Mortality Existence of Death

life and death in the films of Ingmar Bergman Dive into the existential and philosophical mind of Ingmar Bergman

Symbolic Journey The Undefined Seeking Existence

Experience Ingmar Bergman's under uncertainties about life and death.

Discover the human existence and

Endless Soul

uncertainties about life and death

Untouchable Appearance

Study the existential, what it means to be

The Individual Mind Vital Walk

alive and what comes after in the films of Ingmar Bergman Discover the meaning of our brief existence

Scrutinized Wonder

through the authentic existential circum-

Beyond Existence

Bergman‘s film with unspeakable yet ordinary

Vital Vitality Existence

stances that plague characters of Ingmar fears, doubts and anxieties.

Discover our place on earth through existential circumstances that plague ordinary people in the films of Ingmar Bergman.

Mortality Corpora Breath Esse Being Crossing Life Vita Vital Expressions Vital Existence

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FINAL TITLE AND SUBTITLE Vital Existence Discover our place on earth through existential circumstances that plague ordinary people in the films of Ingmar Bergman.

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LOGO EXPLORATION

I N S P I R AT I O N Being inspired by life, death, dreams and mystery in Bergman's films, I explored different techniques with typography such as blurring, reflecting and cutting letters.

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FINAL LOGO

By contrasting the harshness of death and the mystery of life and dreams, the final logo reflects both parts. The cut, mirrored letters and strokes give the logo mysterious obscurity and visual interest.

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IMAGERY

I M AG E RY C R E AT I O N With guidance from the thread and guiding narrative, abstract imagery was created that conveyed the vague and mysterious message in the films of Ingmar Bergman.

Images was divided into three sections to define the use of the imagery.

A: Primary abstract images with movement and motion.

B: Secondary abstract images.

C: Clear symbolic images.

B

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A

C

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GRAPHIC TOOLS

TYPOGRAPHY Typography plays a crucial part in the visual system to add personality of Ingmar Bergmans minimal yet conceptually messy style.

Sang Bleu Kingdom is a modern, edgy, Swiss serif typeface used for headlines in different weights and as a modified version in the logo.

SA NG B L E U K I NG D O M It is paired together Neue Mono regular and body copy and numbers ality and contrast to

with Maison italic for to add personthe system.

Maison Neue Mono Maison Neue Mono Italic COLORS The system is almost completely black and white to convey the vague and mysterious tone. A darker grey color is used in the body copy for contrast.

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GRAPHIC ELEMENT With inspiration from the cut letters in the logotype and Ingmar Bergmans conceptually messy films, a graphic element was created.

The graphic element integrates with typography and photography in the system. It is connected with a stroke that is cutting through headlines and the A of the logotype.

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DE L I V E R A B L E S Posters Catalog Website Exhibit Design Advertisement Social Media Animation Tickets Stationery System

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SET OF POSTERS

The posters of the system works as an advertising tool where all the useful information of the festival is gathered.

The posters was the first deliverable and the starting point for the visual language of the system.

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CATALOG

The most vital part of the system.

The catalog contains important facts about Bergmans life, artistic vision, films and useful information about the festival.

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WEBSITE

The website contains all the useful information about the festival—to reach out to the audience and being able to buy tickets.

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EXHIBIT DESIGN

By generating interest to the audience, the exhibit features a well designed story about Bergman’s life that the viewer can follow throughout the festival.

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ADVERTISEMENT

As promotion of the festival, advertisements where created.

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SOCIAL MEDIA

Social media is used in different platforms to reach out to the target audience.

Instagram post

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Instagram profile feed

Facebook post

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ANIMATION

An animation will be played during the festival to educate an overall vision of Bergman's films.

See the entire animation at: https://vimeo.com/556029369

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TICKETS

The ticket is one of the first touchpoints that the attendee has with the festival­ —therefore is a well-designed ticket highly important to set the tone of the festival.

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STATIONERY

To present the festival for partners and customers throughout the globe, a cohesive stationary system was designed.

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“MY BASIC VIEW OF THINGS—IS

TO NOT HAVE ANY BASIC VIEW OF THINGS. ” —INGMAR BERGMAN

REFERENCES IMAGES // www.stockvault.net CONTENT // www.ingmarbergman.se/en