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Abstract.
The study aims to identify the semiotic mechanisms of the face’s functioning in Ingmar Bergman’s film language (1918-2007, Sweden) and to systematize them into a unified poetics. The article traces in detail the evolution of the semantics of the face, moving from a tool of psychological realism in the director’s early works to a complex semiotic construction in his mature period, where the face becomes a field of identification and a visual narrative of the characters’ inner world. Based on the films “The Magician” (1958), “Winter Light” (1963), “Persona” (1966), and others, it is argued that the Bergmanesque face is a site of communication crisis, identity disintegration, and an encounter with the “Other” (in Emmanuel Levinas’s philosophical sense – the absolutely Other, another character, the camera, or the viewer). The scientific novelty lies in the systematization of the poetics of the Bergmanesque face as an autonomous dramaturgical space where fundamental questions of being, truth, and the possibility of authentic contact between consciousnesses are addressed. The results of the study establish that the face in Bergman’s work undergoes a transformation: it initially appears as a “mask”, then reflects internal contradictions as a “crystal”, and ultimately evolves into a “landscape” of memory. Thus, the face becomes the central element that binds the entire cinematic space together.
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