Here is the synopsis of our sample research paper on Differing Interpretations of Illusion in Ingmar Bergman’s Film, “Fanny and Alexander” (1982). Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 10 page paper which examines how the film explores the contrasting perceptions of illusion between children and adults, with it taking on an element of purity in the children and serving as a form of subterfuge (façade and role-playing) in the grownups. Bibliography lists 4 sources.
Page Count:
10 pages (~225 words per page)
File: TG15_TGekdahl.rtf
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Unformatted sample text from the term paper:
Illusion is a tool the mind uses to either endure cruel realities or to escape from them. Literally, taking a page out of Scandinavian dramatist Henrik Ibsens book, Ingmar
Bergman celebrates the power of the imagination while he thematically probes the need for illusion by both children and adults in his cinematic farewell, Fanny and Alexander (1982) (Fanny and
Alexander PG). In this beautifully conceived film, illusion can be a perpetuated religious notion that is little more than a cover for dark intentions or it can be a
way to actively embrace life in all of its wonders (Fanny and Alexander PG). The setting is likely Bergmans hometown of Uppsala, Sweden in the year 1907. The
action focuses on the opulent Ekdahl family, which consists of mother Helena, eldest son Oscar, who manages the familys theater and occasionally acts in the productions, is a loving husband
to Emilie, a one-time actress and devoted father to eight-year-old Fanny and ten-year-old Alexander; Carl, a self-pitying college professor and abusive husband to Lydia; and Gustav Adolf, a prosperous restaurant
owner and philandering husband who has been placed with an understanding wife Alma, who looks the other way when Gustav conceives a child with the family maid, Maj (Fanny and
Alexander PG). The Ekdahl family mantra is, according to Helena, that actors are not the only ones who play parts - everyone does at one time or another.
Titling the film after the names of the Ekdahl children indicates that it will be a "childs perspective" that will prevail (T?rnqvist 174-175). It is no mere coincidence
that Fanny and Alexanders last name is Ekdahl, "a name that ever since Ibsens The Wild Duck has become synonymous with people consoling themselves with illusions about life" (T?rnqvist 175).
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