Cinematic thought : the representation of subjective processes in the films of Bergman, Resnais and Kubrick

Drawing on a wide range of critical and theoretical material, this thesis explores the representation of subjective phenomena, such as dream, memory and fantasy, in the films of Ingmar Bergman, Alain Resnais and Stanley Kubrick. My introduction outlines my argument concerning how film represents or communicates non-verbal thought processes, before examining theories and depictions of cinematic thought in the silent era. Subsequently, the thesis is divided into three sections, each consisting of two chapters and focussing on the work of a single director. In the first section, I explore Bergman's representation of SUbjective processes. Chapter 2 offers a Close formal analysis of the dream sequences in Wild Strawberries, while chapter 3 examines the stylistic properties and thematic concerns of Bergman's later, experimental work of the 1960s and '70s. In chapter 4 I analyze Resnais' work, emphasizing in particular his early innovations in representing imagination, memory and streams of consciousness. Chapter 5 extends this analysis by examining the concept of collective memory (or imagination) in relation to Resnais' interrogation of France's recent history (the Occupation and the Algerian War). In the final section, I focus on Kubrick's work. Chapter 6 explores Kubrick's 1962 adaptation of Lolita and the notion of 'first-person' cinematic narration. My formal analysis of the film is contextualized through a .discussion of its production history, and examines the relationship between cinematic thought, censorship and the values and norms of Hollywood. Chapter 7 builds upon this analysis, exploring different forms of SUbjective narration and 'uncanny' thought in Kubrick's later work. In conclusion, I summarize the key ideas developed in my thesis in orderú to support my central' argument that cinema has a unique capacity for representing specific aspects of nonverbal thought.