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<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">SSR</journal-id><journal-title-group><journal-title>Scientific and Social Research</journal-title></journal-title-group><issn>2661-4332</issn><eissn>2981-9946</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/ssr.v6i2.6121</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Exploring the Aesthetics of Stream-of- Consciousness Movies Through the Philosophical Lens of Rationality and Irrationality: An Analysis of Bergman’s Wild Strawberries</title><url>https://artdesignp.com/journal/SSR/6/2/10.26689/ssr.v6i2.6121</url><author>LuoXue</author><pub-date pub-type="publication-year"><year>2024</year></pub-date><volume>6</volume><issue>2</issue><history><date date-type="pub"><published-time>2024-02-25</published-time></date></history><abstract>Stream-of-consciousness movies are a peculiar style of movie influenced by stream-of-consciousness novels, which are characterized by their emphasis on inner thoughts. These movies usually adopt techniques like nonlinear narrative, dream, flashback, and free association, to express the deeper workings of a character’s psyche. Ingmar Bergman’s Wild Strawberries is a masterpiece of stream-of-consciousness movies. It reflects many characteristics of stream-of-consciousness films. This paper analyzes Wild Strawberries from both rationalist and irrational philosophical perspectives, with a focus on three main aspects: the aesthetic interpretation of the film, its content and characters, and the narrative structure and threads. It delves deeply into the artistic attributes of stream-of-consciousness films.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>William J,1884, On Some Omissions of Introspective Psychology. Mind, 9(33): 1–26.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Duan P, Sun H, 2019, Fantasy and Reality: On the Role of Stream of Consciousness in Cinema and Methods of Presentation since the New Century. Contemporary Cinema, 2019(03): 48–50.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Liao Y, 2010, Interpreting the Narrative Technique of Stream-of-Consciousness Cinema from Hiroshima Mon Amour. Film Literature, 2010(19): 126–127.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>Bie Z, 2014, Wild Strawberries: Dreams and Spiritual Redemption in an Aesthetic Stream of Consciousness. Film Literature, 2014(23): 91–92.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B5" content-type="article"><label>5</label><element-citation publication-type="journal"><p>Wu Q, 2012, Reading the Movie Wild Strawberries from the Perspective of Dream. Movie Review, 2012(03): 63–64.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B6" content-type="article"><label>6</label><element-citation publication-type="journal"><p>Pan J, Shen J, Gao B, 2015, Analysis of Classic Business Cards in World Cinema, Zhejiang University Press, 167– 170.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
