Some films defy categorization as either time travel narratives or alternate histories in which the personal time experienced by the protagonists differs from both the external time and the time experienced by other characters. In these films, the main characters can go to the future or the past. The characters are able to encounter an entirely different temporal experience that diverges from the current moment, known as external time. Bergman’s film “Wild Strawberries” skillfully combines the concepts of time and memory, encouraging the audience to enter the realm of the time-image. Deleuze’s concept of the time-image contradicts traditional cinematic plots by highlighting the complicated nature of temporal experiences. This analysis explores how Deleuze’s ideas, such as the time image and the disruptions of memory, bring out the different material aspects of “Wild Strawberries,” providing a thorough understanding of the film’s plot structure and thematic significance.
Deleuze’s theory of the time-image offers an intellectual framework to analyze the complex temporal aspects of the film “Wild Strawberries.” This conceptual framework goes against the usual motion of images commonly seen in cinema by adding a transition to how time is represented. This transition is evident in the dream sequences and flashbacks portrayed in the film. The dream scenes in the film “Wild Strawberries” dramatically demonstrate Deleuze’s notion of the time image (Previtali, 2022). Dr. Isak Borg’s dreams discontinue the chronological progression of time, resulting in an intricate interplay between the past, present, and future (Deleuze, Galeta, and Tomlinson, 1989). Deleuze’s notion that cinema may represent disruptions of memory and a lack of identification becomes apparent in the dream scenes where Isak is able to navigate a subjective temporality created by his memories and concerns while causal relationships disappear within him.
The flashbacks in the film also correspond to Deleuze’s concept of the time-image, introducing temporal interruptions that diverge from traditional progressive storytelling (Previtali, 2022). Bergman chooses to do a complex examination of Isak Borg’s consciousness, portraying flashbacks as fragments of his subjective perception of time. These scenes invite the audience to interact with the narrative non-linearly, reflecting Deleuze’s concept of cinema as a medium that can portray dynamic and non-sequential temporary experiences. Isak’s flashback scene leads the audience to reflect on the fluidity and subjectivity of time within the story (Deleuze, Galeta, and Tomlinson, 1989). The idea of the breakdown in temporal representation alters the traditional cinematic setting, merging the past, present, and future into an inclusive scene.
The film’s precise use of symbolic elements resonates with the emphasis on the temporal significance of objects (Deleuze, Galeta, and Tomlinson, 1989). Clocks, mirrors, and other things go beyond their practical use, becoming permanent markers that shape how time is seen in the story. Objects possess a temporal value that can disrupt the progression of linear time (Deleuze, Galeta, and Tomlinson, 1989). The design of the clocks with no arms in “Wild Strawberries” represents the contrast between Isak’s dying anxiety and the flexible nature of time in his dreams (Grafius, 2002, pp.51–52.). Mirrors, which reflect past and current versions of oneself, serve as gateways to subjective experiences of time, causing an integration of the differences between reality and memory.
Deleuze’s concept of disturbances of memory is a critical element in understanding the complexities of the protagonist’s subjective perception of time in “Wild Strawberries” (Previtali, 2022). Isak’s dreams and flashbacks interrupt his conscious vision of reality, exemplifying Deleuze’s concept that cinema can depict the complicated nature of memory. The image of clocks without hands, which represents a damaged system of time, seamlessly aligns with the idea of disruptions in memory.
In the film, Isak’s perception of time is portrayed as a disorganized collection of memories, which presents an elaborate exploration of his psychological experience of time for the audience to explore. The dreamscape, where causal relationships break down, transforms into a visual representation of memory’s mysterious nature (Previtali, 2022). Deleuze’s perspective reveals that these disruptions are not simply narrative tools but a deep analysis of memory’s fragmented and non-linear characteristics and how they influence individual time experiences.
The time-image enables a more personal and subjective connection to temporal encounters, as shown in Isak’s voyage from Stockholm to Lund in the film “Wild Strawberries” (Deleuze, Galeta, and Tomlinson, 1989). The film serves as a medium for delving into Isak’s identity by examining his memories, free from the constraints of traditional linear chronology (Previtali, 2022). The film encourages viewers to directly connect with Isak’s perception of time, leading them to contemplate their personal encounters with time and self-identity.
The contrast between Isak’s current physical appearance and his previous self in memories blurs the distinctions between different times. Deleuze’s theory offers a theoretical foundation for comprehending the intentional merging of temporal identities, highlighting that identity, similar to time, is a dynamic and non-linear concept. By exploring Isak’s subjective experience of time, the analysis presents the idea that a linear sequence does not constrain identity (Previtali, 2022). However, it is a dynamic interaction between the past and the present. From this perspective, “Wild Strawberries” can be seen as a film that explores the complex connection between individual perceptions of time and the formation of one’s sense of self.
The narrative structure of “Wild Strawberries” closely corresponds to Deleuze’s emphasis on temporal echoes and the relationship between multiple storylines. The film delves into Isak’s past, revealed through his interactions with essential individuals such as Sara and Sigfrid. This reflection of Isak’s past aligns with Deleuze’s concept of time as simultaneously overlapping (Deleuze, Galeta, and Tomlinson, 1989). This critique refrains from referencing Bergman and instead focuses solely on applying Deleuze’s principles to the film.
Within the film, every interaction reflects events that have occurred previously, adding to a vast and intricate web of temporal intricacies (Previtali, 2022). The narrative structure intentionally defies traditional linear storytelling norms, aligning with Deleuze’s notion that film can portray a complicated, layered concept of time in which several temporal levels exist simultaneously. Isak’s Trip is a cinematic portrayal of the complex interplay between memory and time. In this representation, the past is not a remote concept but a continuous force evident throughout the narrative plot.
The film’s storyline exemplifies Deleuze’s notion of time as overlapping, prompting viewers to interact with a story that challenges traditional temporal limits. The echoes from Isak’s past enhance the storytelling and provide a means to delve into the profound interconnectivity of different periods in time. Throughout the film, the audience is captivated by a complex temporal structure that is not presented linearly. Each scene in the film adds to the overlapping of Isak’s history and present, creating a simultaneous and interconnected experience.
In conclusion, “Wild Strawberries” is a remarkable film that embraces and goes beyond Deleuze’s idea of time-image. Interactions in memory, the passing of time, and the individual perception of time all contribute to the film’s compelling plot, which invites the audience to analyze their own experiences over time. Bergman perfectly employs cinematography and narrative structure with Deleuze’s theoretical framework, establishing a mutually beneficial connection between philosophy and film. “Wild Strawberries” is evidence of the profound influence of the time image, revealing the complicated nature of time and memory in cinematic narrative.
Reference list
Previtali, G. (2022). Screening the human mind: A Deleuzian approach to altered states of consciousness in cinema history. Toward an idea of the virtual image in the cinema (II).
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