‘dissociated’ from Janov but it does not follow that heĭid not become aware of shortcomings in Janov’s doctrines or that
Tapper could well be right that Bergman never Initial, enthusiastic reading of The Primal Scream or upon Janov’s theoretical contentions, either at the time of his According to that interpretation, then,īergman was not thoroughly or consistently persuaded of the truth of Of Janov’s psychological theory and successfully expressed these To make a work ‘along Janov lines’, he had placed someĬritical distance between himself and at least some of the main tenets Third type of interpretation contends that even though Bergman planned This is a kind of interpretation that isĬompatible with the idea that Autumn Sonata is to a significantĭegree ambiguous or ambivalent when it comes to Janovian doctrine. Indeed serendipitous) non-Janovian elements in the story conveyed by theįinished audio-visual display. This interpretation purports, then, to identify unintentional (and Of the story and characterizations for Autumn Sonata, just as theįirst interpretation holds, but adds that for various reasons, theĭirector did not, finally, go on to make a thoroughly Janovian work. Kind of ‘non-Janovian’ interpretation, Bergman dulyĪccepted and worked with significant Janovian premises as he conceived The second and third interpretations both deny thatĪutumn Sonata is consistently Janovian. Theįirst reads Autumn Sonata as a work that was, like Face toįace, conceived ‘along Janov lines’, and thatĬonsequently resonates positively with the tenets of Janov’s Three mainĪpproaches to the interpretation of this film will be considered.
Investigates the Bergman–Janov connection with regard to Public sympathies with the new-age cultural phenomenon Not make it as a propaganda piece for Janov’s ideas, his The tarnished reputation of primary therapy On the basis of an examination of the relevant evidence, the chapter argues that although Bergman undeniably sought to bring out a story along Janovian lines, he ended up with one that instructively manifests ways in which that doctrine is incomplete and problematic. In other words, Bergman was not thoroughly or consistently persuaded of the truth of Janov’s theoretical contentions, either at the time of his initial, enthusiastic reading of The Primal Screen or upon subsequent reflection. An alternative interpretation contends that Bergman had taken some critical distance from at least some of the main tenets of Janov’s psychological theory and successfully expressed these reservations in his film. According to one kind of ‘non-Janovian’ interpretation, Bergman worked with significant Janovian premises as he conceived of the story and characterizations for Autumn Sonata, yet for various reasons, the director did not, finally, go on to make a thoroughly Janovian work. The second and third interpretations both deny that Autumn Sonata is consistently Janovian. A first reading describes a work that, like Face to Face, was conceived along Janovian lines, and that consequently resonates positively with the tenets of Janov’s psychology. This chapter identifies three rival interpretations of Autumn Sonata.
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