The Women, the Silence and the Real in Ingmar Bergman

Abstract

The main aim of this paper is to provide a psychoanalytic interpretation of the scream in the films of Ingmar Bergman, starting from Jacques Lacan’s consideration that the scream constitutes the abyss from which the silence emerges. After the outline of the difference between Silet and Taceo, the paper  approaches three important aspects in the films of Bergman: the space of silence enveloping the silence of the film characters, the silence beyond the  phallic, masculine order, and the silence as an empty void impossible to fill in the scream of Agnes (from Cries and Whispers).